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Our printmaking program has consistently ranked in the top 5 in the nation, according to U.S. News & World Report. We have four highly accomplished full-time faculty who are respected in their field and whose research is shown internationally with significant acclaim.
The printmaking program in the School of Art recently ranked fifth in the nation by U.S. News & World Report, believes the techniques, skills and concepts embodied in printmaking have never been more relevant, exciting or broadly defined. Printmaking students develop skills in technical processes, logic, planning, organization and conceptual development. The printmaking area encourages experimentation and the development of unique approaches and an understanding of the many printmaking processes and media in both traditional and contemporary formats. Four full-time faculty teach in seven well-equipped studio spaces including a digital lab, intaglio, lithography, relief and book arts, letterpress, screenprinting and papermaking studios. Other graphic applications such as photogravure, monotype and experimental print processes are offered regularly. Students are encouraged to pursue a personal direction while becoming well-rounded printmakers with experience and understanding of many media and processes. Collaboration, experimentation and transdisciplinary approaches are encouraged. Students often work in other areas within the School of Art, particularly photography, intermedia, social arts practice and sculpture.
The four full-time faculty offer expertise in nearly all print media areas, including relief, intaglio, lithography and screenprinting. In addition to the four pillars of printmaking, faculty offer current methods of digital media including inkjet printing, laser engraving/cutting, vinyl cutting for a wide variety of uses and 3D printing, as well as printing film transparencies. The program also offers specialties seldom found at other programs such as traditional copper-based photogravure. The letterpress and book arts studios offer artist book and hand papermaking classes providing students with additional creative paths. Contemporary issues in the field such as installation, nontraditional print materials, social practice and distribution are also part of the curriculum. Collaboration, one of the historical underpinnings of printmaking, is encouraged, as well as cross-disciplinary extensions of graphic thought and sensibility into film, video, performance and other time-based media.
The diverse skills and talents of the printmaking faculty complement each other and provide students with a multitude of possibilities to develop individual studio practices. More information on the faculty can be found here.
Few other printmaking programs in the country boast a range of resources as complete as those at the ASU Herberger Institute School of Art.
The print area has a spacious lithography studio with a large quantity of limestones as large as 24 by 38 inches, an oversized exposure unit for photolithography plates, as well as traditional plate lithography equipment.
The 1,800-square-foot screenprinting studio is fully equipped with an exposure unit capable of handling a 48-by-60-inch screen frame, a one arm press for screens as large as 40 by 50 inches, a large backlit washout booth with a 1,500 psi power washer, a small darkroom for screen prep, and a number of individual printing tables.
The intaglio studio is a has a large footprint with a dedicated acid room, three sinks, and four etching presses including two Takach presses, one Charles Brand press, and one Griffin electric press.
The digital print lab houses a 42-inch vinyl cutter, Epson inkjet printers for medium and large formats on paper, fabric or film, a Makerbot 3D printer, and boasts a 24-by-36-inch Universal Laser System to engrave and cut a variety of materials and substrates. Students get hands on learning with expensive pieces of professional grade equipment and are encouraged to explore the integration of these technologies within their studio practice.
The largest collection of lead type of any teaching institution in North America is housed in two dedicated letterpress studios equipped with a Vandercook Universal I proof press, two Vandercook SP20 flatbed proof presses, and a Columbian hand press. Other equipment includes a 26.5-inch Chandler & Price Buckeye hand lever paper cutter, Hammond Glider Trim-O-Saw, Rouse Vertical Rotary Mitered, a Nolan and a Vandercook hand proof press, and over 3,000 cases of type.
The Book Arts and Relief studio has a 33-by-60-inch Takach etching press, an Albion-style hand press, a small assortment of type, a large computer monitor and scanner, a converted Epson printer for printing films, composition rollers, sewing frames and other book arts and relief supplies.
The papermaking studio includes a 2-pound Hollander beater, a 1.5-pound Voith Valley beater, a 2-pound Reina beater, and a 5-pound Noble & Wood. Other equipment includes a Dreager-pulper hydropulper, vats in small, medium and large sizes, 4-by-4-foot hydraulic piston press, 3-by-4-foot vacuum bed, two smaller vacuum casting boxes with vacuum pump system, pulp sprayer, a stove for cooking fibers, a heated drier for Washi, felts, laid line and woven moulds in various sizes, and related equipment.
The Map(ing) project – Multiple Artists Printing (Indigenous and Native Geographies) –, established in 2009, is a biennial event that investigates the personal and cultural histories of Native American and Indigenous artists. Under the direction of professor Mary Hood, every odd year five artists are invited to work collaboratively with graduate students from ASU’s School of Art (SOA) Printmaking program. Over a 10-day period, collaborative teams create a limited-edition print exploring the works’ meaning, content and symbolism. The project also features a public exhibition and moderated public forum that engages participants and audience with contemporary Native artistic practices. Together new forms of knowledge are generated by using printmaking and visual storytelling for the sharing of culture, place, language and identity.
In the fall of 2015, the School of Art’s Pyracantha Press and book arts program welcomed a major donation of pristine letterpress type and vintage hand-presses from a private Southern California collector Dr. Edward Petko. Located in Tempe Center, Suite 170, the collection is the largest of its kind for academic teaching programs in North America. Delivered in three semi-trucks, the collection includes 30,000 pounds of metal type and an 1836 Columbian handpress that is visible from the storefront’s picture window. The extensive type collection is currently being inventoried and cataloged that greatly expands the capacity of creative research and student works. Suite 170 has a changing pop-up gallery window featuring student and community letterpress works and an interior display offers a sampling of Pyracantha Press publications from the past 30 years.