Sara Inacio ’17
Marisa D’Andrea ’17
Ashley Hall ’16
Sophie Cangelosi ’16
Possibly Stained for Weeks at a Time.
Lasting Impressions. Discover New Techniques.
Make spectacular art that blends cutting-edge technology with centuries-old printmaking techniques. Grow your technical skills, develop your formal and material sensibilities, and study the history of print as a fine art form, a vehicle for vernacular culture, social dissent, and cultural identity.
Printmaking majors at MECA master a physical process that demands patience, skill, and limitless experimentation. You’ll work with a wide range of materials, methods and alternative forms of print including installation, digital fabrication, fine art editions,collaborative projects, public art, and entrepreneurial endeavors.
As a Printmaking major you’ll have the opportunity to work with screen printing, relief printing, lithography, etching, and photo and digital print processes. Graduate with a strong professional foundation and the confidence to convert your passion for printmaking into a life long creative practice and a broad range of career pathways.
I’ve loved to make art as long as I came remember. Mostly drawing. I came to MECA after graduating high school, and growing up with fantastically creative friends who helped me to exercise my imagination through everything from large scale drawings of the comic book heroes we’d designed together to DIY 3 person skateboard mobiles . . .Read More
Debra Bickford (Printmaking ’79) was honored on April 8, 2017 for winning the “Maine Art Education Association [MAEA] Art Educator of the Year” award. The award was presented by Suzanne Goulet, the President of MAEA. MECA also received the 2017 business award “MAEA Art Advocates of the Year”. The Maine Art Education . . .Read More
Printmaking alum Carter Shappy Printmaking ’15 is the Artist-in-Residence at Bigelow Lab. After graduation, Carter wanted to expand his practice to incorporate a science component; MECA connected him with Bigelow Laboratory for Ocean Sciences in East Boothbay. You can follow his blog at art.bigelow.org. Bigelow Laboratory for . . .Read More
Public Engagement Fellow Sarah Milkowski-Dahlgren ’17 has been selected to receive the Maine Campus Compact Student Heart and Soul Award at their 15th annual awards ceremony, hosted at the Hall of Flags at the Maine State House in Augusta. Maine Campus Compact recognizes six undergraduate students who have been actively involved in . . .Read More
In 2015, Sara Inacio was awarded a Professional Development and Entrepreneurship Grant, which helps BFA, MFA, and MAT students to advance their studio and professional skills by accessing opportunities and experiences beyond the MECA classroom. She is using her funds to participate in a project conducted by Braddock Tiles, a community . . .Read More
Born and raised in Paris, France of Haitian heritage, Edwige Charlot emigrated to the United States at the age of 9. She received her Bachelor of Fine Arts in printmaking with honors from the Maine College of Art. Recently, Edwige led a printmaking art project with the Edmunds Consolidated Schools in Edmunds, ME and participated in . . .Read More
Adriene Herman, an interdisciplinary artist from Cape Elizabeth who is a professor of the MFA i n Studio Art and Printmaking at Maine College of Art, began spending time at the landfill, and grew ever more curious about the parade of people who drove up in their cars and trucks and unloaded piles of trash, debris and personal belongings . . .Read More
Elizabeth A. Jabar wrote “If You Want Creative Solutions, Start with Creative Partnerships” for Maine Audubon’s Habitat Winter 2018 issue. Read the entirety of her article here via PDF. Elizabeth serves as the Former Chair of the Printmaking Program at MECA, where she is also Associate Dean and Director of Public . . .Read More
Two former faculty members, Elizabeth Jabar, Assistant Dean, Director of Public Engagement & Program Chair of Printmaking, and Colleen Kinsella, Printmaking Instructor & Printmaking Studio Technician, recently were interviewed for their art collective Future Mothers on CSArt: Maine. “What / who is currently inspiring you . . .Read More
What differentiates MECA from your own college and grad school experience? MECA’s intimate scale facilitates symbiotic flow between faculty and students. Of course, significant connections evolve at all schools. However, I doubt I had nearly the influence on my instructors in college or grad school that my extraordinary students have . . .Read More
How does the quote, ‘Who will guard the guardians?’ relate to your work, if at all? It raises questions about our intentions around autonomous machines and how much we intend to control them. Is surveillance a form of public engagement? Why/why not? Yes, to the degree that it has a psychological effect on the population . . .Read More
Adjunct Assistant Professor of Printmaking Michel Droge and students in her FY-In class, Climate Change and Maine Island Communities, partnered with The Island Institute to study climate change and its impact in Casco Bay. The goal was to bring local fishermen, artists and scientists together through a mutual concern for the future . . .Read More
Students exploit the print matrix in purposeful experimentation of variation, permutation, and theme and explore the impact of series, sequence and multiples on visual imagery.
Students use print as a means to rethink and expand drawing practices and question formal habits or preconceptions about making images.
Students learn matrix development using a range of materials and media, and understand the capabilities of them in terms of surface, texture, depth, and graphic range.
Students have a general understanding, across all techniques, of the principles of layering, transparency, color separation and integration (clear grasp of optical and physical mixing of inks).
Students are versatile in integrating fabricated (hand-drawn) imagery with sampled (photo/digital) imagery with high degree of visual coherence and material integrity.
Students gain technical proficiency in a broad range of print techniques including, but not limited to, relief, intaglio, monoprint, screenprint, book arts, stone and positive plate lithography, digital print, and alternative/experimental processes, including, paper plate lithography, photo transfers, pronto plates, solar plates, cyanotype and CNC technologies.
Students acquire understanding and technical mastery of editioning (ability to generate a series of hand pulled prints from multiple matrices) as a professional, creative, and collaborative practice.
Students develop the ability to integrate photo/digital media, either into print-based works or as purely digital output and are facile with current software programs and pre-press processes necessary to integrate sampled imagery.
Students develop the ability to integrate disciplines from outside traditional print into studio practice: examples include drawing/ painting, installation, photo processes, sculpture/casting/3D printing, web-based applications and proficiency in exhibition practices and conventions.
Students develop a basic understanding of print’s history and current relevance, and an understanding of printmakings role within the canon of fine art and as a vehicle for vernacular culture, social dissent, and cultural identity.
Students gain a familiarity with how contemporary artists have exploited the “high-art“ and “low-art” legacy of printmaking and learn to draw conceptual inferences from formal or technical decisions.
Students explore layering as a tool to create visual and conceptual hierarchies within a given piece, come to grasp critical context for sampling and appropriation within a postmodern paradigm, and develop the ability to integrate self-directed research practices into studio work.
Students learn to critically discuss and interpret studio works within the context of historical and contemporary print and to articulate printmaking vocabulary into other disciplines (examples: investigations of multiple form in sculpture and installation, strategies of dissemination or alternative delivery in web-based or graphic design, investigations of the social dimensions of printed matter in public engagement and community based art.)
Students come away with the ability to write clearly about their personal artistic practice and to examine methods of inquiry for art making and research, artistic influences and relationships to historical and contemporary printmaking.
Students come away with a full grasp of editioning conventions, presentation, and curation of printed works. Examples include designing, organizing, and producing an exhibition of prints for a gallery, collaborative event, or publication.
Students are given the opportunity to work in a variety of collaborative situations and contexts including public and private schools, nonprofit organizations, community programs, and with visiting artists.
Students engage with conventional exhibition practices as well as alternative means of distribution and access to printed imagery (public engagement projects and installations, publications and exchange portfolios, correspondence art, etc.)
Students develop competency with general professional practices: resume preparation, press releases, promotional materials and portfolios, and documentation of work .
Master printer, studio artist, teacher at the K-12 and college level, independent publisher/professional fine art press, organizer/teacher in nonprofit community organizations and education organizations, and graphic design.
Students take required the Professional Practices course and prepare a professional artist packet complete with resume, artist statement, and portfolio of images. Students participate in exhibitions, including curating, mounting work, preparing press releases, and design and print promotional materials. Students participate in at least one Public Engagement collaborative project with a local community partner working with students from K-12 schools and/or other art colleges, and nonprofit organizations. Students learn project planning, work with community members in real world settings, and lead community workshops. Many of the printmaking courses are part of the new Public Engagement Minor at the college. The Printmaking Department is a leader in incorporating public engagement projects in the curriculum. Students learn how to write for different professional applications including, project proposals, artist statements, and thesis papers. Students are also skilled at articulating ideas verbally, and participate in rigorous studio critiques with their peers and faculty. Students are also given the opportunity to attend professional conferences in the field, including the Southern Graphics Council, a national conference of professionals and students in the printmaking world. The print department also invites national artists to the college to introduce students to the rich and varied field of printmaking practice and professional opportunities, and provide the students with an expanded network of artists.
Master printer, teacher in K-12, teacher at the college level, graphic design, nonprofit community workshops, community outreach, studio assistant, studio artist, and gallery associate.
Two electives in printmaking, and/or photo, digital, or drawing elective.
Formal, technical, conceptually proficient in both traditional and digital printmaking, experience in collaborative work, project planning, public engagement practices, exposure to teaching though partnership work, and collaborative projects.
Yes! Printmaking is a multi-disciplinary field and incorporates a diversity of materials, methods, and ideas. Students are encouraged to work across disciplines and incorporate ideas from outside the traditional boundaries of printmaking.
Classes that combines media include Pixels to Ink and the Printmaking Workshop. There are also a full range of traditional technique classes including Relief, Etching, and Lithography.
Integration of Public Engagement curriculum, community partnership work, projects, and exhibitions.
Our faculty includes diverse, active artists in the local and national community; all the faculty use printmaking in very different and dynamic ways. This diversity provides the students with multiple models of printmaking practice and teaching methodology.
Our large, well equipped facilities provides student-access to all traditional and digital print technologies.
King Middle School, Cathedral School, Cultivating Multicultural Alliances, Wolfe Editions, Pickwick Press, as well as internships as a studio assistant or a gallery intern.
Preparation (1st & 2nd Year)
(2) PR Studio Electives
Junior Year (3rd Year)
Printmaking Majors Studio (PR 301-PR 302), Pixels To Ink (PR 305), Introduction To The Discipline: Printmaking (PR 351), Junior Seminar (SEM 352-3-4), and (1) Approved Studio Elective
Senior Year (4th Year)
Printmaking Majors Studio (PR 401-PR 402), Senior Synthesis (SEM 451-SEM 452), and (2) Approved Studio Electives
MECA has impacted me to pursue what I love... that I should pour into it with all of who I am. Not to be afraid of failing. Not be afraid of falling down. From my friends and peers to the faculty and staff, I've really been surrounded by a community of people who encourage me to learn, encourage me to take a leap of faith— to try something new, and to fall down, but then to get back up.Hannah Howard '17 2017 // Jaffrey, NH
Professors in the Printmaking Program are resourceful—every one of them is continuing to develop their own practice. They aren’t timid about bringing their own failures and successes into the classroom. The facilities have developed in just the two years I’ve been in school, and it’s exciting to have room to play and explore without ever running out of new processes.Kristina Buckley 2015 // Printmaking // Hollis, NH