Printmaking
Work with the entire printmaking toolbox, from traditional to digital processes.
Carve out your experience
Our graduate program is ranked #4 nationally (#3 publicly) by U.S. News and World Report.
The Printmaking Program provides a complete studio experience leading to the BA, BFA, or MFA degree in Studio Art with regular courses in intaglio, lithography, relief, monotype, book/papermaking, and screen print. We encourage our students to work with the entire printmaking toolbox, from traditional to digital processes. We emphasize the importance of making work with processes and materials that inform and develop conceptual ideas.
Read feature article about the program
We emphasize both traditional and exploratory techniques and concepts, including monoprints and variable editions, combinations of print and non-print methods, and photo-print processes. No style, technique, or aesthetic approach is stressed over another, so that the individual quality of one’s work is the essential measure of achievement.
Programs in Printmaking
MFA
For a select group of graduate students, we offer an advanced program that has been ranked among the top printmaking programs nationally since 1998. Our program is comprehensive, encompassing traditional as well and new media and approaches. Additionally, our program is known for a commitment to connecting theory to practice.
Graduate students are required to place a greater emphasis on applying theory to the development of a mature body of work. Our program provides preparatory experiences for college-level teaching for students on a Graduate Teaching Assistantship.
We strongly encourage applicants to come to Knoxville to meet us and the current students and to see our facilities. The UT Printshop is located in room 241 on the second floor, north-west corner.
Features
Our studio facilities are large and comprehensive and include over 4,500 square feet. Graduate students in our MFA program also have individual studios in a nearby building. In addition, the UTK Letterpress Studio provides a creative space for members of the university community, including many students in art, design, architecture, and creative writing, an opportunity to experience setting type and printing posters, broadsides, and even small books.
We have an active community in our shop, with frequent visiting artists, many of whom work on projects in our studios, and an active student-led print club. See our Printmaking Student Resources for links to documents and other resources that support student learning, including an Annotated Bibliography in Printmaking that is frequently used by printmakers and educators around the world. All students are encouraged to pursue opportunities for artistic growth by attending conferences and outside workshops.
We encourage a pedagogical approach that treats prints as one of many tools in an expanded field of art production. In serving this wide range of areas within the School of Art, printmaking has the potential to function as an important meeting ground for artistic issues and ideas, from the autographic and painterly, to the mechanical, computer-aided and photographic, from the private gesture to the public action. In this sense, print methods can function as a bridge, crossing the boundaries that often divide the fine from the applied arts. For this reason, we see the mission of the printmaking area as a critical component of the School of Art’s mission.
To learn more about our students, faculty, staff, and alumni, please read our Fall 2019 newsletter.
Courses
- ART 503: Theory/Practice/Art Fundamentals — Required for all GTAs. Surveys art theory and practice as it relates to teaching art foundations. Practical instruction, professional development, and pedagogy will be introduced in the form of lectures, group discussions, readings, and project development.
- ART 504: First-Semester Graduate Seminar — Issues in art, design and art history presented by School of Art faculty.
- ART 507: Professional Practice: Teaching Internship — Individual study in the development of skills and methodology in teaching studio courses.
- ART 561: Graduate Printmaking I — Directed exploration of any or all matrix-based imaging: intaglio, relief, lithography, screen printing, photo-print methods, and monoprint.
- ART 562: Graduate Printmaking II — Directed exploration of any or all matrix-based imaging: intaglio, relief, lithography, screen printing, photo-print methods, and monoprint.
Students are required to take topics courses in Art History and encouraged to take elective courses outside of the School of Art, as well as graduate-level studio art in ceramics, painting + drawing, sculpture, or time-based art.
Degree Requirements
A minimum of 60 credit hours to include the following:
- A minimum of 16 credit hours of studio courses in a concentration area.
- A minimum of 9 credit hours of graduate-level academic (non-studio) courses of which at least 6 credit hours are to be in art history.
- 1 credit hour of First-Semester Graduate Seminar.
- A minimum of 14 credit hours of electives consisting of any combination of courses offered by the University of Tennessee for graduate credit. Students with a GTA are required to successfully complete 3 credit hours of ART 503 – Theory and Practice of Art Fundamentals. These credit hours are considered to be elective. A concentration area may have course requirements that reduce the number of elective credit hours.
- In lieu of a comprehensive exam, MFA students must complete a Project in Lieu of Thesis with written statements and accompanying documentation. In the third year of semi-independent study, students must have completed all required coursework prior to taking 20 credit hours of ART 599 Projects in Lieu of Thesis.
Academic Standards
- First-year evaluation. At the end of the first two semesters in residence, the student must present a portfolio for evaluation by the faculty and receive permission to continue in the program.
- Second-year evaluation. With the completion of all course work, the student must present work for evaluation by the faculty and receive permission to register for Project in Lieu of Thesis.
- If, in a review by the student’s major area faculty, the student’s progress is deemed insufficient, the faculty may recommend a work period without advancement toward the degree, probation with specific goals set for a specific time, or dismissal.
Option: Art History Minor
A graduate minor in art history may be arranged during the student’s first semester of study with the consent of the student’s area instructors and the art history faculty. Students must complete a minimum of 12 credit hours in art history that is agreed upon by the art history faculty after review of previous undergraduate course work. A reading knowledge of French, German, or Italian is a prerequisite unless waived by the art history faculty. Graduate Council policy stipulates that a member from the minor unit must serve on the thesis committee.
BA in Art
OR Bachelor of Fine Arts in 2D
The printmaking workshop environment is conducive to the artistic growth of undergraduate majors, coupled with a sound, well-rounded background in the concepts, history, and craft of printmaking. Graduating students are prepared to pursue graduate school, to pursue teaching licensure, to work as independent artists or illustrators, or to undertake printer training in specialized programs.
Details
Courses
- ARTA 262: Intaglio (3 credits) — Intaglio printing includes etching and engraving from metal, plastic, or other surfaces. This is the technique used to print money and fancy wedding invitations. Famous artists who have work in intaglio methods have included Rembrandt van Rijn, Francisco de Goya, Giovanni Battista Piranesi, and Kate Kollwitz. Intaglio produces rich and varied surfaces, and, printed from dampened paper, are often notable for their embossed plate edges. For this course, you will experience the medium with traditional approaches based in drawing, as well as methods that incorporate photographic processes. In addition to printing small editions, you will be able to explore variable editions using color inks. The course has a series of assignments designed to help you in the development of a personal artistic approach.
- ARTA 263: Lithography (3 credits) — While traditionally lithography was printed from limestone, for this course you will be taught ways to print lithographs from plates and polyester plates. Of all of the printmaking processes, this is closest to drawing, but with transfer and photo-plate methods, it allows you to integrate digital and photographic sources. Well-known artists who have worked in lithography have included Honoré Daumier, Pablo Picasso, Robert Rauschenberg, and June Wayne, co-founder of the Tamarind Lithography Workshop. Today, offset photo-lithography is used to print most magazines and books. In addition to printing small editions, you will be able to explore variable editions using color inks. The course has a series of assignments designed to help you in the development of a personal artistic approach.
- ARTA 264: Screen Printing (3 credits) — Screen printing is a stencil-based printing process that allows the artist to print on not only paper, but fabric, metal, and wood. Sometimes called “silkscreen,” or “serigraphy,” screenprint has extensive applications for commercial production. Andy Warhol is one of the best-known artists to use screen print, often referencing its commercial uses. As an art form, the process allows for flexibility, speed of production, and the capacity to print many color layers incorporating both hand-drawn and photo-mechanical imagery. In this course, you will be able to apply this method to works in both small and larger editions. The course has a series of assignments designed to help you in the development of a personal artistic approach.
- ARTA 265: Relief Printing (3 credits) — Relief printing is the oldest and most direct printmaking method. Traditionally done from wood, other materials such as linoleum and various plastics can also be used. Letterpress printing is also a form of relief printing that is introduced in this class. While relief printing is usually done from printing presses, one of the great things about relief printing is that it is so direct, you can make a print with a wooden kitchen spoon! Famous artists who have used relief printing include Albrecht Dürer, Frans Massreel, the German Expressionists, and Swoon. In this course, you will learn about a variety of cutting methods and tools and will be able to explore different registration and color printing techniques. The course has a series of assignments designed to help you in the development of a personal artistic approach.
- ARTA 266: Monoprint (3 credits) — Most printmaking processes are based on systems of replication and reproduction. In contrast, monoprinting turns this principle on its head and treats the press not as a tool for replication, but a place where the artist can investigate variability. With monoprinting, one can explore ways of making 10 different prints from the same matrix rather than 10 prints that are identical. In many ways, monoprint has much in common with painting and drawing, except that one can create even more images. This course draws from several printmaking processes, including hand-drawn and photo-based approaches in intaglio, relief and lithography to create unique works on paper. Notable artists who have used monoprint include Nathan Olivera, Helen Frankenthaler, and Robert Gordy. The course has a series of assignments designed to help you in your development of a personal artistic approach.
- ARTA 291: Book Arts and Papermaking (3 credits) — In an era when many people seem content to read from e-books and computer screens, what is the purpose of making books? The answer is, in part, that books have a physical and tactile presence that one cannot get from a computer screen. In this class, you will learn the history and craft of a variety of book forms, including pamphlets, accordion books, drum leaf, coptic, pop-up books, and even some sculptural forms, as well as learn how to form sheets of paper for use in your books. Book arts bridges studio art and design, but also involves 2D, 3D, and 4D properties. You will also be able to apply printmaking and other methods to give these book forms context, with an emphasis on the development of a personal artistic approach.
- ARTA 361: Intermediate Printmaking Workshop (4 credits) — This upper-division course is for students wishing to explore printmaking as a central or supportive component of their undergraduate education. The course incorporates a variety of techniques at the discretion of the instructor, but often involving intaglio, lithography, relief printing, screen printing, monoprint, papermaking, book arts, and/or photo-print processes. The course often has readings or oral book reports on print history and theory to inform the assignments, and exposes students to professional standards in the framing and handling of works on paper. In addition, this course often involves at least one collaborative assignment or project. Emphasis is placed on the development of a set of visual and conceptual skills to pursue student-initiated work at the senior level.
- ARTA 461: Advanced Printmaking Workshop (1-6 credits) — This senior-level course is for students pursuing printmaking as their major concentration. To enhance the rigor of the experience for undergraduate students, this course is held in conjunction with the graduate level printmaking studio classes. The course involves student-initiated creative research projects that are completed on five-week cycles, with individual conferences in progress, and group critiques at the conclusion of each working period. At the discretion of the instructor, the course involves readings on print history and theory, the development of annotated bibliographies, presenting public artist lectures, group and/or visiting artist collaborative projects, and other activities designed to help students not only to develop a strong body of work, but to launch a sustainable artistic practice following graduation.
Requirements
BA in Art
The Bachelor of Arts degree with a major in art is a humanities degree with 45 credit hours in studio art and art history coursework. Many students who choose the BA path earn a second major in another field of study. The BA option allows for flexibility to pursue wide-ranging interests and career paths and to study abroad for a full semester.
BFA in Studio Art – 2D
The Bachelor of Fine Arts with a major in studio art is a professionally-oriented degree intended for students planning careers or graduate study in the visual arts.
For Current Students
The School of Art uses a combination of a professional advisor and faculty mentors to meet the needs of our students. You are assigned to our professional staff advisor, Brittany Hunt-Woods, upon admission to the School of Art. Brittany will do all primary advising (clearing registration holds, discussing graduation requirements, etc). In addition, a faculty mentor will be assigned after you pass portfolio review. You will be expected to meet with your faculty mentor at least once per year.
Printmaking Portfolio Review
Prerequisites:
Students submitting to the Printmaking Portfolio Review should have passed Art History 172, 173 and 183, the studio core comprised of Art 101, Art 102 and Art 103, Drawing I, and at least two 200-level printmaking courses.
The portfolio review is conducted in person with the printmaking faculty in AA 241.
Requirements:
The reviews are scheduled for 30 minutes during the end of the semester and take the form of a critique. Students should bring prints and any other works that inform their artistic development. Students should also submit a copy of their Degree Audit Report (DARS), and a one-page statement of intent.
Students receive a personal letter indicating whether they have passed the review.
Minors and Non-Art Majors
We make it easy for undergraduate students to take hands-on printmaking classes while pursuing another field of study. Contact the School of Art office to declare a studio art minor: (865) 974-3407.
Minor
Select 6 hours of Art History (grade of C or better):
- ARTH 172 – Western Art: Ancient through Medieval *
- ARTH 173 – Western Art: Renaissance to Contemporary *
- ARTH 183 – Asian Art *
- Required:
- Select 15 hours of art courses of which a minimum of 3 must be at the 300-400 level.
PRINTMAKING OPTIONS
- ARTA 262: Intaglio (3 credits) — Intaglio printing includes etching and engraving from metal, plastic, or other surfaces. This is the technique used to print money and fancy wedding invitations. Famous artists who have working in intaglio methods have included Rembrandt van Rijn, Francisco de Goya, Giovanni Battista Piranesi, and Kate Kollwitz. Intaglio produces rich and varied surfaces, and, printed from dampened paper, are often notable for their embossed plate edges. For this course, you will experience the medium with traditional approaches based in drawing, as well as methods that incorporate photographic processes. In addition to printing small editions, you will be able to explore variable editions using color inks. The course has a series of assignments designed to help you in the development of a personal artistic approach.
- ARTA 263: Lithography (3 credits) — While traditionally lithography was printed from limestone, for this course you will be taught ways to print lithographs from plates and polyester plates. Of all of the printmaking processes, this is closest to drawing, but with transfer and photo-plate methods, allows you to integrate digital and photographic sources. Well-known artists who have worked in lithography have included Honoré Daumier, Pablo Picasso, Robert Rauschenberg and June Wayne, co-founder of the Tamarind Lithography Workshop. Today, offset photo-lithography is used to print most magazines and books. In addition to printing small editions, you will be able to explore variable editions using color inks. The course has a series of assignments designed to help you in the development of a personal artistic approach.
- ARTA 264: Screen Printing (3 credits) — Screen printing is a stencil-based printing process that allows the artist to print on not only paper, but fabric, metal, and wood. Sometimes called “silkscreen,” or “serigraphy,” screenprint has extensive applications for commercial production. Andy Warhol is one of the best-known artists to use screen print, often referencing its commercial uses. As an art form, the process allows for flexibility, speed of production, and the capacity to print many color layers incorporating both hand-drawn and photo-mechanical imagery. In this course, you will be able to apply this method to works in both small and larger editions. The course has a series of assignments designed to help you in the development of a personal artistic approach.
- ARTA 265: Relief Printing (3 credits) — Relief printing is the oldest and most direct printmaking method. Traditionally done from wood, other materials such as linoleum and various plastics can also be used. Letterpress printing is also a form of relief printing that is introduced in this class. While relief printing is usually done from printing presses, one of the great things about relief printing is that it is so direct, you can make a print with a wooden kitchen spoon! Famous artists who have used relief printing include Albrecht Dürer, Frans Massreel, the German Expressionists, and Swoon. In this course, you will learn about a variety of cutting methods and tools, and will be able to explore different registration and color printing techniques. The course has a series of assignments designed to help you in the development of a personal artistic approach.
- ARTA 266: Monoprint (3 credits) — Most printmaking processes are based on systems of replication and reproduction. In contrast, monoprinting turns this principle on its head and treats the press not as a tool for replication, but a place where the artist can investigate variability. With monoprinting, one can explore ways of making 10 different prints from the same matrix rather than 10 prints that are identical. In many ways, monoprint has much in common with painting and drawing, except that one can create even more images. This course draws from several printmaking processes, including hand-drawn and photo-based approaches in intaglio, relief, and lithography to create unique works on paper. Notable artists who have used monoprint include Nathan Olivera, Helen Frankenthaler, and Robert Gordy. The course has a series of assignments designed to help you in your development of a personal artistic approach.
- ARTA 291: Book Arts and Papermaking (3 credits) — In an era when many people seem content to read from e-books and computer screens, what is the purpose of making books? The answer is, in part, that books have a physical and tactile presence that one cannot get from a computer screen. In this class, you will learn the history and craft of a variety of book forms, including pamphlets, accordion books, drum leaf, coptic, pop-up books, and even some sculptural forms, as well as learn how to form sheets of paper for use in your books. Book arts bridges studio art and design, but also involves 2D, 3D, and 4D properties. You will also be able to apply printmaking and other methods to give these book forms context, with an emphasis on the development of a personal artistic approach.
- ARTA 361: Intermediate Printmaking Workshop (4 credits) — This upper-division course is for students wishing to explore printmaking as a central or supportive component of their undergraduate education. The course incorporates a variety of techniques at the discretion of the instructor, but often involving intaglio, lithography, relief printing, screen printing, monoprint, papermaking, book arts, and/or photo-print processes. The course often has readings or oral book reports on print history and theory to inform the assignments, and exposes students to professional standards in the framing and handling of works on paper. In addition, this course often involves at least one collaborative assignment or project. Emphasis is placed on the development of a set of visual and conceptual skills to pursue student-initiated work at the senior level.
- ARTA 461: Advanced Printmaking Workshop (1-6 credits) — This senior-level course is for students pursuing printmaking as their major concentration. To enhance the rigor of the experience for undergraduate students, this course is held in conjunction with the graduate level printmaking studio classes. The course involves student-initiated creative research projects that are completed on five-week cycles, with individual conferences in progress, and group critiques at the conclusion of each working period. At the discretion of the instructor, the course involves readings on print history and theory, the development of annotated bibliographies, presenting public artist lectures, group and/or visiting artist collaborative projects, and other activities designed to help students not only to develop a strong body of work but to launch a sustainable artistic practice following graduation.
Courses for Non-Art Majors
Register for ARTN courses to learn printmaking alongside art majors, while skipping the prerequisites. Class sizes are limited.
- ARTN 211 Non-Major Intro to Drawing
- ARTN 213 Non-Major Intro to Painting
- ARTN 221 Non-Major Intro to Ceramic Sculpture
- ARTN 222 Non-Major Intro to Pottery
- ARTN 231 Non-Major Intro to Photography
- ARTN 232 Non-Major Intro to Performance & Sound Art
- ARTN 239 Non-Major Intro to Special Topics in 4D Art
- ARTN 241 Non-Major Intro to Sculpture
- ARTN 262 Non-Major Intro to Intaglio (Printmaking)
- ARTN 263 Non-Major Intro to Lithography (Printmaking)
- ARTN 264 Non-Major Intro to Screen Printing
- ARTN 265 Non-Major Intro to Relief (Printmaking)
- ARTN 291 Non-Major Intro to Book Arts and Papermaking
Faculty
Beauvais Lyons
Divisional Dean for Arts and Humanities and Chancellor’s Professor
Area of Study: Printmaking
Printmaking News
- MFA Student Gaby Hurtado-Ramos: Internship in Mexico City and Oaxaca
- MFA Student Chloe Wack: Internship at Penland School of Craft
- MFA Student Gino Castellanos: Winner of Best in Show at Arts in the Airport
- Kimberly D. Iles Scholarship Awards – 2023
- Ericka Walker (MFA ’10) Honored at Annual College Awards Ceremony
- Art as (my) Medicine with Dr. Eric Avery
- An Annotated Bibliography for Contemporary Printmaking
- Printmaking Faculty/Staff Present RETRoSPECT Exhibit
- UTK Printmaking News
- Zoe Brester-Pennings (MFA ’23) Receives Artist-in-Residence Position in Printmaking
- Ericka Walker (MFA ’10) to Receive 2023 Alumni Promise Award
- Student Profile: Shannon Ferguson
Printmaking Resources
Short Films Demonstrating Printmaking Processes
What is the time commitment for printmaking classes?
Printmaking faculty members in the UT School of Art have developed the following formula for calculating how much work we expect in our classes:
THE FORMULA: 50 hours of work per credit (includes time both in and outside of class) For 3 credits hours, minimum expectation is 10 hours / week x 15 weeks = 150 hours/ semester. For 4 credits hours, 13.3 hours / week x 15 weeks = 199.5 hours / semester. For 5 credits hours, 16.6 hours / week x 15 weeks = 249 hours / semester. For 6 credits hours, 20 hours / week x 15 weeks = 300 / semester.
This formula is intended as a common set of expectations of all students taking courses in printmaking. Each faculty member has additional criteria regarding qualitative assessment of student work including such things as whether the project fulfills the assignment, technical skill, composition, concept, etc.
This formula represents an average, and in many cases will represent a minimum of effort per credit. Students should note that under this formula 12 credits represents a time commitment of 40 hours/week and 15 credits is 50 hours/week. Students who have a part-time job should never expect to take more than 12 credits per semester.
While time spent in the studio does not necessarily equate to quality of work, the expectation of all students is that they are regularly and consistently involved in their studio practice. Studio work time represents time spent in the studio, printing, drawing, sketching or actively engaged in historical or technical research.
Woody Allen once stated that “eighty percent of success is showing up.” However, just being in the studio does not constitute working. It is worth noting that the last 5 to 10 percent of effort is what distinguishes the successful artist from the average one. It was Chuck Close who said “Inspiration is for amateurs; the rest of us just show up and get to work. Work kicks open doors. In the process of doing something, other things occur to you, and you end up where you didn’t plan to be.”
Students taking 6 credit hours in Art-Print 461 or who are working on a capstone thesis semester are expected to be engaged in a rigorous creative research project based on an approved proposal that involves the production of a cohesive body of work. Taking 6 credit hours is a major commitment, and should represent at least 50% of your time in school.
Downloads
Click on the following links to download the PDF files to your desktop :
- Printmaking quotes
- Results of the Survey of Printmakers for the 2010 Mid-America Print Council Session “New and Old Generations: Teaching Printmaking.”
Kevin Haas, has compiled this excellent set of handouts (as pdf’s) covering various aspects of digital applications with traditional printmaking.
- Digital Basics for Printmaking
- Positive Films for Screenprint
- Positive Photolithography
- Pronto Plate Lithography
- Polymer Photogravure
Keith Howard’s Surviving Teaching Practices in University and College Studio Art Programs.
First presented and published in 1993, Howard classifies art schools into five systems to be avoided, 1) the Jungle School, 2) The Clone School, 3) The Omnipotent School, 4) The Laissez-faire or Noninterference School and the 5) The Curriculum School of Inflexibility. Howard advocates for a more supportive and nurturing system of art education. To print this document as a two sided pamphlet on letter-size paper print document A on four sheets in a landscape orientation, and insert in the printer before printing document B. The pamphlet may be completed by saddle-stitching.
Links of Interest
The Southern Graphic Council is the largest printmaking organization in the world. Their conferences were held in Knoxville in 1992, 1995 and 2015: http://web.utk.edu/~sphere/Pages/Home.html
The Mid-America Print Council publishes an excellent journal twice a year and holds a conference every other fall.
Art in Print is an electronic journal devoted to printmaking edited by Susan Tallman.
Internships and Workshops
Arrowmont School of Arts and Crafts
556 Parkway, Gatlinburg, TN 37738
Arrowmont offers print and book related art classes regularly through their summer sessions. Several assistantships are available. These are work assistantships (studio assistance, gallery installation, bookstore/storeroom sales, clerical, airport runs using the school van, etc.,) in exchange for room/board and tuition coverage. The assistantship does not cover material, lab fees or University fees for credit. To qualify for an assistantship, an individual must have at least four years of completed course work in one specific media. Summer assistantship applications are due April 1. Their Artist-In-Residence Program is designed to give pre-professional self-directed artists time and studio space to develop a major body of work in a creative community environment of students and visiting faculty. Five artists are selected annually to participate in this eleven-month program. Applications are due February 1 for the following year.
Center for the Book Arts, New York, NY
28 West 27th Street
New York, NY 10001
They have many classes on bookbinding and the letterpress. Some of interest; Hands-on History of Type, When is a font not a font? Where is the lead in leading? Learn typographic history by experience as you hand set type and print it on a letterpress. See examples of early printing in The Center’s library. Students will come out of the workshop with a collaborative sampler of typefaces from The Center’s collection.
Frogman’s Printmaking Workshops
105 North 3rd Street
P.O. Box 142
Beresford, SD 57004
Held for two weeks each July, Frogman’s offers excellent one-week workshops in a variety of print processes by some of the nations best printmakers. Inexpensive housing is available in student dorms. Registrations are due at the end of April. UTK Faculty have taught in the program and several of our graduate students have been awarded the Frogman’s Graduate Student Fellowship Award.
Lower East Side Printshop
306 West 37th Street, 6th Floor
New York, NY 10018
The Lower East Side Printshop is a not-for-profit workshop that promotes and advances the art of printmaking. They provide open access to professional printmaking facilities, financial and technical assistance to artists, innovative education programs, and public lectures and exhibitions. Their internships allow students to become involved in all aspects of running and maintaining a vibrant and diverse non-profit printmaking workshop. All of the following internships are unpaid, but can be coordinated for college students to receive credit at their academic institutions.
Penland School of Crafts
P.O. Box 37
Penland, NC 28765
Penland School of Crafts is a national center for craft education located in the Blue Ridge Mountains of Western North Carolina. Penland offers one, two, and eight-week workshops in books, drawing, photography, printmaking, and other mediums. The school also sponsors artists’ residencies. They have an excellent print studio, and many of our students have taken summer courses there.
Pyramid Atlantic: A Center for Printmaking, Hand Papermaking and the Art of the Book
8230 Georgia Avenue
Silver Spring, MD 20910
Pyramid Atlantic offers an internship program for college students. Internship offers students the opportunity to gain experience in a professional studio while fulfilling academic requirements. Interns develop new skills and knowledge by assisting visiting artists, workshop faculty and staff in the studios and administration. Interns are involved in the papermaking, bookmaking, printmaking and graphic arts activities of Pyramid’s ongoing programs. They assist instructors, prepare materials, install exhibitions, assist with special events (such as a national Book Arts Fair and the Making Connections program) and assist administratively. On weekends, students may take numerous one or two day workshops of their choosing. Interns are unpaid, but receive free workshops (weekends and longer Summer Institute classes)with nationally recognized teachers who are a part of Pyramid’s Faculty.
Robert Blackburn Printmaking Workshop
Elizabeth Foundation for the Arts
323 West 39th Street, 2nd Floor
New York, NY 10018
The Robert Blackburn Printmaking Workshop is a not-for-profit workshop that provides open access to professional printmaking facilities, publishes editions by noted assistance artists, and offers innovative education programs, and public lectures. Their internships allow students to become involved in all aspects of running and maintaining a vibrant and diverse non-profit printmaking workshop. All of the following internships are unpaid, but can be coordinated for college students to receive credit at their academic institutions.
Santa Reparata International School of Art
Santa Reparata International School of Art is in Florence, Italy offers an internship that is worth 3 undergraduate or graduate credit hours for a three week session. Classes are six hours a day, five days a week. The shop has strengths in intaglio and monoprint processes. The use of computer generated images is highly encouraged. Students are housed in nearby apartments with single and multiple occupancy options.
Scuola internazionale di grafica
Calle Seconda del Cristo, 1798
30121 Venice, Italy
Located in Venice, Italy, this school has a printmaking and book arts assistantship. Responsibilities include maintenance of studio, preparation of materials and assistance to international students. Applicants must have a BA or BFA with concentration in Printmaking or Artist Books and should have an intermediate academic level of Italian. You are provided with accommodations, $285 a month stipend, access to materials and facilities.
Women’s Studio Workshop
P.O. Box 489
Rosendale, NY 12472
This is the women’s studio workshop. It’s two hours north of New York City, in a 100 year old house surrounded by marsh and woodland. They offer fellowship grants and on site housing, with unlimited access to studios. Other grants are offered. The Women’s Studio Workshop is a full service shop with strengths in bookmaking. They also have regular visiting artists and exhibits.