The University of Dallas offers a practical and conceptual introduction to contemporary printmaking as a mode of artistic expression and a guided development of a student's ability toward a personal expression. Studio facilities enable students to make intaglios, lithographs, relief prints and screen prints, and to learn photographic printmaking processes and hand paper-making.

The University of Dallas offers a practical and conceptual introduction to contemporary printmaking as a mode of artistic expression and a guided development of a student's ability toward a personal expression. Studio facilities enable students to make intaglios, lithographs, relief prints and screen prints, and to learn photographic printmaking processes and hand paper-making.

Join a small, dedicated community of artists.

The study of printmaking at the University of Dallas encourages students to broaden the definition of the medium.

 

 

Printmaking, MA

Ideas and images should be explored and presented in their best visual form. Process only informs imagery.

Printmaking is not a way of making multiple paintings or drawings. Ideas and images should be explored and presented in their best visual form. Process only informs imagery. The term Master of Fine Arts can be taken literally. Students of the graduate program have found some interaction between image and process. They are growing into  artist-printmakers. Technical virtuosity is not necessary, and we have no (real) prejudices against vegetarians or heavy-metal fans.

Space & Equipment

Space and equipment are available for work - single or in combination - in intaglio, lithography, relief printing, screen printing, papermaking, and photo processes where applicable.

At any given time one will find in our students a mixture of personalities and attitudes and widely differing imaginations. Prints coming out of the studios are diverse, often complex, using color and sculptural elements. Students in the department get to make prints, think prints, dream prints, exhibit prints - and most continue to make art (if not exclusively prints) after they have left the University and moved on.

As part of their education, graduate students actively participate in an annual editioning workshop as well as in regular demonstrations/lectures and critiques by visiting artist-printmakers. A growing substantial collection of contemporary prints allow for the study of the state of contemporary American printmaking.