CURRICULUM

INSTITUTE OF FINE ARTS

UNIVERSITY OF CHITTAGONG
Under Graduate Program (BFA Honors) Printmaking Discipline
(4 Years BFA Honors in Printmaking Degree Program)

Visual arts education inspires students to perceive and shape the visual, spatial, and
aesthetic characteristics of the world around them. Using a variety of ways to explore,
learn, and communicate, students develop their capacity for imaginative and reflective
thinking. The field includes the traditional “fine arts” of drawing, painting, photography,
printmaking and sculpture; the design fields including industrial, ceramic, textile,
furniture, graphic design, printing and publication and architecture, landscape design,
urban, regional, and rural planning. Visual arts are a continuously evolving field that also
explores technologies such as film, holography, video, and other electronic forms of
image-making.
Learning Standards for the Visual Arts:
1. Methods, Materials, and Techniques. Students will demonstrate knowledge of the methods, materials, and
techniques unique to the visual arts.
2. Elements and Principles of Design. Students will demonstrate knowledge of the elements and principles of
design.
3. Observation, Abstraction, Invention, and Expression. Students will demonstrate their powers of
observation, abstraction, invention, and expression in a variety of media, materials, and techniques.
4. Drafting, Revising, and Exhibiting. Students will demonstrate knowledge of the processes of creating and
exhibiting their own artwork: drafts, critique, self-assessment, refinement, and exhibit preparation.
5. Critical Response. Students will describe and analyze their own work and the work of others using
appropriate visual arts vocabulary. When appropriate, students will connect their analysis to interpretation
and evaluation.
Connections Strand, beginning
1. Purposes of the Arts. Students will describe the purposes for which works of dance, music,
theatre, visual arts, and architecture were and are created, and, when appropriate, interpret their
meanings.
2. Roles of Artists in Communities. Students will describe the roles of artists, patrons, cultural
organizations, and arts institutions in societies of the past and present.
3. Concepts of Style, Stylistic Influence, and Stylistic Change. Students will demonstrate their
understanding of styles, stylistic influence, and stylistic change by identifying when and where art
works were created, and by analyzing characteristic features of art works from various historical
periods, cultures, and genres.
4. Inventions, Technologies and the Arts. Students will describe and analyze how performing and
visual artists use and have used materials, inventions, and technologies in their work.
 CURRICULUM

5. Interdisciplinary Connections. Students will apply their knowledge of the arts to the study of
English language arts, foreign languages, health, history and social science, mathematics, science
and technology/engineering.

Dance, music, theatre, and the visual arts, people express ideas and emotions that they cannot express in
language alone. In order to understand the range and depth of the human imagination, one must have
knowledge of the arts. An effective curriculum in the performing and visual arts enables students to:
communicate fluently and effectively in at least one artistic discipline;

1. Apply both imagination and rational thinking to the making of art;

2. Understand the value of reflection and critical judgment in creative work;
3. Present and perform art publicly, with confidence, pride, and distinction;
4. Use artistic literacy as a natural enhancement to learning other subjects;
5. Understand how world cultures have been historically influenced and shaped by the arts; and
6. Understand the ways in which the arts contribute to contemporary life.

Printmaking Discipline
Printmaking program positions Print as an expanded field which situates the printing press as the pre-
history of computing and the web. We collectively explore the many ways technically mediated images
alter and expand the world. Students work from a range of positions; some working through print;
making prints directly and others work with print, using archives, collage and installation to explore the
rich cultural legacies of printed matter. We aim to develop the potential of each student in ways
appropriate to their concerns and consciously select an extremely diverse group of students to creatively
expand the field.

Seminars, visiting artists, exchange program, printmaking workshop, publishing projects and the wider
environment of the Institute of Fine Arts (IFA) and University of Chittagong will help to provide a
critical framework to question the nature of expanded Printmaking practices. The multiplication of
images always raises questions of originality, authenticity and value. Printmaking includes industrial
production and craft processes. Its history is inextricably linked to education, commerce and
entertainment. As the demand increases for all Fine Art practices to be replicated and transmitted
digitally, the difference between hard copy and screen-based images grows ever more complex as
evidenced by current debates and the role of social media. How do shifts in the registers of different
media affect our lives, ways of communicating and the stories we tell?

In IFA the teachers are all practicing artists working in a wide range of media who share a fascination
with the centrality of prints and replication to contemporary culture. Students have access to well-
equipped technical printmaking studios across the institute of Fine Arts, U of C. However, the program
is not primarily about technical skills, but about how technologies are used to communicate and
distribute images, ideas and understandings.
 Printmaking Undergraduate program at IFA, U of C
Basic Relief Process Color in Relief Process
The Print in Relief Process Hand Additions
Art History: Albrecht Dürer Art History: Japanese Ukiyo-e Prints
Relief Carving Tools and Techniques: Reduction Prints
Wood Engraving, Wood Cut, Linocut Elements of Art: Color and Shape
How To: Ink and Print a Relief Print Expressive How To: Make a Reduction Print Process Books
Possibilities Studio Experience: Reduction Print and Process
Studio Experience: Self-Portrait Linocut Book
Career Profile: Mary Azarian Career Profile: Elizabeth Catlett

Review Review
Intaglio (Non-toxic Printmaking) Lithography (Stone & Waterless Litho)
Intaglio Basics Intaglio Techniques: Etching, Salt Lithography Basics:
bite Etching, Dry point, Aquatint, Lift ground A New Technology Lithography and Printing
etching, Lithography, Commerce, and Culture
How To: Create an Intaglio Print How to: Stone Lithography, Waterless
Creating Value in Dry point, Etching Lithography, Paper-Based Lithography, Wood
Studio Experience: Radial Design in Dry point Lithography “Drawing” with Lithography
Career Profile: Trenton Doyle Hancock Color Lithography, Lithography and New Media
Recording Daily Life:
Review Lithography and Collage
How to: Transfer Collage to Litho Paper
Studio Experience: Litho Collage
Career Profile: Beauvais Lyons,

Review
Screen Print

Digital Print

Heat Print

Eco Print
 1st Year BFA Honors: Foundation Course: All Discipline
(PAINTING, PRINTMAKING, SCULPTURE, APPLIED ART)
Major Course
Course Type Marks Credits
F. Art: Fine Arts
PM:
Course Title
Printmaking Theoretical / Studio Work/ Practical
650 26
Theoretical:
F. Art- 101 Introduction to Art 100 04
Introduction to Art and Visual Language
Theoretical :
F. Art- 102 History of Art: I 100 04
Pre Historic period to Gothic Art
Studio Work / Practical
Figure Study
F. Art- 104 Observational Study: I 75 03
Sketch / Water Based color / Pastel
Objective Composition
F. Art- 105 Observational Study: II 75 03
Sketch / Water Based color
Basic Painting: Oil Based Color
Basic Medium Practice Basic Printmaking: Relief Print Process
F. Art- 106 (Alternately as three cycle 50 02
routine – 6 months)
Basic Sculpture: Clay forming
Basic Applied Art: Typography
Related Course Course Title Studio Work / Practical
F. Art – 107 Study from Nature
Observational Study: III 50 02
(Allied) Water Based color / Acrylic Color
F. Art – 108 Color and Design
Color Theory: I 50 02
(Allied) Collage / Paint & Brush
F. Art – 109 Human Head Study
Observational Study: IV 50 02
(Allied) Water Based color / Pastel / Sketch
F. Art – 110 Perspective: Create illusion of depth
Technical Drawing 50 02
(Allied) Sketch / Pen / Water Based color
Class Marks/ Tutorial (Field study / Museum study/ Class attendance/Note book practice) 25 01
Viva-Voce 25 01
Total 650 26
Eng. 001 (Theory) (Optional English / French / other European Language) 100 04

Objective Composition:
A composition is defined as the way of the objects and subjects that you're going to draw are arranged,
organized and combined. You may want to arrange the things you're going to draw. You may want to
organize them into groups. Also, you may want to combine different things, such as different types of fruit in
a bowl.

PAINTING PRINTMAKING
F Art: 106 A F. Art: 106 B
Basic Medium
Practice

2 CYCLE x 3
6 MONTHS
D C
APPLIED ART SCULPTURE
 2nd Year BFA Honors: Printmaking Discipline

Major Course Course Type

Marks Credits
F. Art: Fine Arts Course Title
PM: Printmaking Theory /Studio Work / Practical 650 26
Theoretical
F. Art- PM- 201 History of Art: II 100 04
Renaissance Art to Impressionism
Theoretical
F. Art- PM- 202 History of Art: III 100 04
Indian Art (Ancient Period)
Theoretical
Art Materials and
F. Art- PM- 203 Printmaking Process and application 75 03
Techniques
steep by steep
Studio Work / Practical
Life drawing
F. Art- PM- 204 Recording Daily Life: I 50 02
Sketch / Water Based color
Study from Nature
F. Art- PM- 205 Observational Study: V Sketch / Water Based color (Study) & 75 03
Intaglio Process (Etching)
Related Course Course Title Studio Work / Practical
Figure Study
F. Art- PM- 206
Observational Study: VI Sketch / Water Based color (Study) & 50 02
(Allied)
Intaglio Process (Dry point)
Still Life
F. Art- PM- 207
Observational Study: VII Sketch / Water Based color (Study) & 50 02
(Allied)
Relief Process
Human Head study
F. Art- PM- 208 Relief Process
Observational Study: VIII 50 02
(Allied) for Any Discipline: other than Printmaking
Discipline (08 students from each Discipline)
Color and Design
F. Art- PM- 209
Color Theory- II (Paint & Brush/ Collage) 50 02
(Allied)
CAD (computer aided design)
Class Marks/ Tutorial (Field study / Museum study / Class attendance / Note book practice) 25 01
Viva-Voce 25 01
Total 650 26
END OF THE YEAR REVIEW: Group Exhibition / Individual Display

Study from Observational: Art is to draw or paint a subject as accurately as possible.

The subject may be a still life, figure model, portrait or landscape and the image must be
created from real life rather than a photograph or the artist's imagination.
 3rd Year BFA Honors: Printmaking Discipline

Major Course No. Course Type Marks Credits

F. Art: Fine Arts Course Title
PM: Printmaking
Theory / Studio Work / Practical 850 34

Theoretical
F. Art -PM- 301 History of Art: IV 100 04
Eastern Art History
Theoretical
F. Art -PM- 302 History of Art: V 100 04
Post-Impressionism to Surrealism
Theoretical
F. Art -PM- 303 Philosophy of Art: I 100 04
Aesthetics & Art Criticism
Studio Work / Practical
Recording Daily Life: Life Drawing
F. Art -PM- 304 75 03
II Sketch / Water Based color
Intuitive and Creative Mark Making
F. Art -PM- 305 75 03
Creative Thinking: I Sketch / Combined Mediums
Study from Nature
Intaglio Process
F. Art -PM- 306 Basic Printmaking- I 50 02
for Any Discipline: other than Printmaking Discipline
(08 students from each Discipline)
Figurative Composition
F. Art -PM- 307 Composition - I Sketch / Water Based color (Study) 75 03
Intaglio Process & Combined Process
Objective Composition
F. Art -PM- 308 Composition - II Sketch / Water Based color (Study) 75 03
Relief Process
Non- Objective Composition
F. Art -PM- 309 Composition - III Sketch / Water Based color (Study) 75 03
Plano graphic Process (Stone / Waterless)
Computer Aided Design Digital Imaging
F. Art -PM- 310 Solar Etching/Waterless Lithograph/Screen Print/ 75 03
CAD - I
Portfolio Presentation
Class Marks/ Tutorial (Field study / Museum study/ Class attendance/Note book practice) 25 01
Viva-Voce 25 01
Total 850 34
END OF YEAR REVIEW: Group Exhibition / Individual Display

Creative Mark Making:

This is a tool that encourages intuitive and creative thinking about the improvement of a current
situation. The subsequent comparison of drawings enables participants to share their views of the present
situation, and future possibilities, bringing forth shared visions and perceptions in the process.
 4th Year BFA Honors: Printmaking Discipline

Major Course
Course Type Marks Credits
F. Art: Fine Arts Course Title
PM: Printmaking Theory / Studio Work / Practical 850 34

F. Art -PM- 401 History of Art: VI Theoretical : Art of Bangladesh 100 04

F. Art -PM- 402 History of Art: VII Theoretical : Survey of Modern Art 100 04
Studio Work / Practical
Intuitive and Creative Creative Mark Making
F. Art -PM- 403 100 04
Thinking: II Combined Mediums
Digital Imaging
Computer Aided Design
F. Art -PM- 404 CAD -II
Solar Etching / Waterless Lithograph / Screen Print 100 04
Portfolio Presentation

Objective / Non- Objective Composition

F. Art -PM- 405 Composition - IV 100 04
Intaglio Process & Combined Process

Objective / Non- Objective Composition

F. Art -PM- 406 Composition -V 100 04
Relief Process – (multi matrix & color)

Non- Objective Composition

F. Art -PM- 407 Basic Printmaking- II Intaglio Process & Combined Process 100 04
for Any Discipline: other than Printmaking Discipline
Contemporary Art Practices: CAP
Composition -VI Plano graphic Process / Combined Process / 75 03
Waterless Lithograph
F. Art –PM- 408
Concept Paper Written Concept Paper 25 01

Class Marks / Tutorial (Field study / Museum study / Class attendance / Note book practice) 25 01
Viva-Voce 25 01
Total 850 34
END OF YEAR REVIEW: Group Exhibition / Individual Display

Non-objective Composition: Representational art is designed to represent real life, and non-
representational art is the opposite. It is not meant to depict anything found in nature, instead relying on shape,
line, and form with no particular subject. Abstract art can include abstractions of real-life objects such as
trees, or it can be completely non-representational.
Non-objective art takes non-representational to another level. Most of the time, it includes geometric shapes in
flat planes to create clean and straight forward compositions. Many people use the term "pure" to describe it.
Non-objective art can go by many names, including concrete art, geometric abstraction, and minimalism.
However, minimalism can be used in other contexts as well. Other styles of art are related or similar to non-
objective art. Among these are Bauhaus, Constructivism, Cubism, Futurism, and Op Art. Some of these,
such as Cubism, tend to be more representational than others.
 CURRICULUM
INSTITUTE OF FINE ARTS
UNIVERSITY OF CHITTAGONG
Graduate Program: MFA
CURRICULUM OF MFA in Printmaking Discipline

MFA: Printmaking Discipline

Program Purpose:
The MFA program at University of Chittagong, Bangladesh is an advanced graduate degree program
with a focus in studio art. The MFA is a terminal degree which prepares students at the graduate level
for a professional studio career in art and preparation for research, teaching, business and industrial job
market. This rigorous studio-based program is designed to engender contemporary art practice by
challenging students with new and innovative approaches to materials and techniques while fostering
growth within their chosen area of specialization. Students gain in-depth knowledge and professional
competence in printmaking disciplines through creative endeavor, inquiry, and investigation. Students
are encouraged to consider the relationship between multiple disciplines through required intermediary
study. Students can pursue an MFA in Visual Art with Printmaking. This program of study is planned to
provide:
• Opportunity to create studio art or design work that shows specific intent, content, methodology, and
product-In-depth professional competence in studio art and Printmaking.
• Opportunity to investigate the relationship between materiality, technique and conceptual content.
• Opportunity for research and scholarship in the areas of art and design history, theory, criticism, and
pedagogy.
• Opportunity to contextualize art and design research on a larger social, cultural, educational,
economic and Technological scale.
• Opportunity to contribute to the body of knowledge and practice in Printmaking.
• Opportunity to enlarge breadth of competence between areas of art and design specialization
• Opportunity to teach undergraduate majors and non-majors at the university level or any educational
institutions.
• Demonstrate advanced capabilities with technology in areas of specialization and resources
associated with the field of fine art, printmaking studio practice, and pedagogy.
 MFA: Printmaking Discipline
Major Course
Course Type Marks Credits
F. Art: Fine Arts Course Title
PM: Printmaking Theory / Studio Work / Practical 600 24
Theoretical
F. Art -PM- 501 History of Art 100 04
Survey of Contemporary Art Trends

Theoretical
F. Art -PM- 502 Philosophy of Art 100 04
Art and Ideas
Studio Work / Practical
Intuitive and Creative Mark Making
F. Art -PM- 503 50 02
Creative Thinking Combined Mediums

Non-Objective Composition
F. Art -PM- 504 Composition - I 75 03
Intaglio Process & Combined Process

Non-Objective Composition
F. Art -PM- 505 Composition - II 75 03
Relief Process – (multi matrix & color)
Contemporary Art Practices: CAP*
Composition - III Plano graphic Process / Combined Process 75 03
F. Art -PM- 506 Waterless Lithograph
Concept Paper Written Concept Paper 25 01
Class Marks / Individual Display (Field study / Class attendance) 50 02
Terminal 25 01
Viva-Voce 25 01
Total 600 24
END OF YEAR REVIEW: Group Exhibition / Individual Display

Contemporary Art Practices (CAP*) as a term reflects the wide spectrum of creative practices of
artists currently working in the art gallery, museum, public space, online, and multiple other contexts of art
making and exhibition. This field as it is understood today encourages an open and questioning observation of
the contemporary world we live in. Artists no longer limit themselves to traditional forms of expression like
drawing, painting, Printmaking and sculpture, and contemporary art practice reflects this transition as it
encompasses a wide range of mediums, both old and new. Artists take on media both from everyday life and
new technologies, to explore and understand our present day contexts. These can include digital imaging and
the internet, video art, electronic music, performance art, textiles, bio art; ecological art and even short lived
social interventions with ephemeral mediums like ice or dust. Contemporary artists are known to challenge
the existing traditional social systems and boundaries by working with a range of materials, methods, concepts
and subjects. They have pushed the interdisciplinary art out of the safe confines of a studio and an academic
environment into communities, the streets and out in nature.
** Contemporary Art Practices (CAP) সমসাময়িক যিল্প অনুিীলন: বর্তমানন আর্ত গ্যালাযি,
জাদুঘি, পাবযলক স্পেস, অনলাইন, যিল্প তর্যি এবং প্রদিনীি
ত একাযিক অনযানয প্রসনে কাজ কিা যিল্পীনদি
সৃজনিীল অনুিীলননি যবস্ত„Z বর্ালীনক
ত প্রযর্ফযলর্ কনি ৷ এই স্পেত্রটর্ স্পেমন স্পবাঝা ো়ি আজ আমিা স্পে
সমসাময়িক যবনে বাস কযি র্াি একটর্ উন্মুক্ত এবং প্রশ্নযবদ্ধ পেনবের্নক
ত উৎসাযির্ কনি ৷ অযিবযক্তক্তি
প্রথাগ্র্ রূপ স্পেমন অঙ্কন, যিত্রকলা QvcwPÎ, dwjZ wkíKjv এবং িাস্কনেিত মনিয যিল্পীিা আি
যননজনদিনক সীমাবদ্ধ িানে না, এবং সমসাময়িক যিল্প অনুিীলন এই রূপান্তিটর্নক প্রযর্ফযলর্ কনি-কাির্
এটর্ যবস্ত„Z উি়িই পুিাননা এবং নর্ু ন মািযমগুযলনক অন্তিুক্ত
ত কনি| আমানদি বর্তমান সমন়িি
স্পপ্রোপর্গুযল অনেষর্ এবং স্পবাঝাি জনয যিল্পীিা তদনক্তিন জীবন এবং নর্ু ন প্রেুক্তক্ত উি়ি স্পথনকই যমযি়িা
গ্রির্ কনিন। এি মনিয যিক্তজর্াল ইনমক্তজং এবং ইন্টািননর্, যিযিও আর্ত , ইনলকট্রযনক যমউক্তজক,
পািফিমযান্স আর্ত , স্পর্ক্সর্াইল, বান়িা আর্ত , ইনকালক্তজকযাল আর্ত এবং এমনযক বিফ বা িুনলাি মনর্া ের্স্থা়িী
মািযনমি সানথ স্বল্পস্থা়িী সামাক্তজক িস্তনেপ অন্তিুক্ত
ত থাকনর্ পানি। সমসাময়িক যিল্পীিা যবযিন্ন উপকির্,
পদ্ধযর্, িাির্া এবং যবষ়ি যনন়ি কাজ কনি যবদযমান ঐযর্িযগ্র্ সামাক্তজক বযবস্থা এবং সীমানানক িযানলঞ্জ
কিনর্ পযিযির্। র্ািা (Interdisciplinary Art) যবস্ত„Z মািযমগুযলনক একটর্ স্র্ুযিও এবং একটর্
একানিযমক পযিনবনিি যনিাপদ সীমানা স্পথনক সম্প্রদা়ি (Society), িাস্তা়ি (Road) এবং প্রকৃযর্ি
(Nature বাইনি AwZµg Ki‡Z PP©v ïiæ Ki‡e।
 CURRICULUM
INSTITUTE OF FINE ARTS
UNIVERSITY OF CHITTAGONG
Graduate Program: MFA
MFA in Printmaking Discipline
(Thesis Group)
Major Course
Course Type Marks Credits
F. Art: Fine Arts Course Title
PM: Printmaking Theory / Studio Work / Practical 600 24
Theoretical
F. Art -PM- 501 History of Art 100 04
Survey of Contemporary Art Trends

Theoretical
F. Art -PM- 502 Philosophy of Art 100 04
Art and Ideas

Methodology in Theoretical :
F. Art -PM- 503 75 03
Research Paper Methods and Methodology of Research
Theoretical : (Submission with full format)
F. Art -PM- 504 Master Thesis 100 04
Defense :
Studio Work / Practical
Intuitive and Creative Mark Making
F. Art -PM- 505 50 02
Creative Thinking Combined Mediums
Non-Objective Composition
F. Art -PM- 506 Composition - I 50 02
Intaglio Process & Combined Process
Class Marks / Field study / Class attendance 25 01
Terminal 25 01
Viva-Voce 25 01
Total 600 24