HEATHER MCMORDIE

TEACHING PORTFOLIO

Table of Contents

Teaching Philosophy 2-3

Inclusivity Statement 4

Course Descriptions 5-6

Sample Syllabus 7-11

Project Assignment 12-13

Midterm Feedback Form 14-15

Course Assessment 16

Critique Statement 17

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Teaching Philosophy

In my final semester of my undergraduate degree, I sat in a classroom full of Soil Science and BioGeoChem graduate students while the professor explained the significance of a recent study on Peruvian soil regeneration post mudslide. As the only fine art student in the room, I may have felt isolated from the conversation due to my lack of expertise; however, the professor’s actions welcomed me to engage with the course connect in ways that suited me. Although I was not one of his research fellows, he made time for conversation and connected me with other faculty members he felt would be helpful for my educational goals. I felt empowered to seek opportunities that made sense for my particular skill level. In this classroom—a field completely outside my own—I had every opportunity to pursue a line of inquiry that interested me.

My experience as a printmaker studying soil science informs what I value when teaching. I aim to create a learning environment that:

● Advances new lines of questioning● Welcomes multi-disciplinary learning ● Encourages collaboration between students from all personal and academic backgrounds.

Advancing New Lines of QuestioningAs an artist in a highly technical field with a rich history of practice, my goal is to provide students in both introductory and advanced courses with a foundation of technical skills from which they can build in a variety of directions. In Introduction to Intaglio, gaining technical mastery and understanding historical relevance of intaglio printmaking are initial goals. These skills, established early on in the course, serve as a foundation for a deeper conversation about how students’ personal practice may intersect, overlap, and parallel intaglio printmaking. Students are then encouraged to pursue these new lines of thinking through working collaboratively, sharing in discussion and critique with other classes, or experimenting with new materials and ideas. The final assignment for the course is a collaborative print. Students may choose to collaborate with one another, bring intaglio into conversation with another medium, respond to a piece of text, or interpret collaboration in any other way they choose. Mastery of any skill is, of course, important, but encouraging new modes of working and lines of inquiry takes priority in my studios.

Welcoming Multi-Disciplinary LearningMulti-disciplinary learning is important in my personal artistic practice, and in my classroom experiences. In my own work, I use soil science as a counter balance to my visual and artistic practice. In the classroom, I encourage students to bring their own perspectives—visual or non-visual—to artmaking and critiques. Introductory level courses in particular, offer valuable opportunities for conversations about printmaking in relationship with a variety of different fields. In order to facilitate multi-disciplinary learning, I frequently offer at least two prompts

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and/or methods for each project to give every student the opportunity to engage in the process in ways that makes the most sense for their learning style and academic background. Amanda Thompson’s essay ‘Making a Place: Art and a Multi-Modal, Multi-Disciplinary Approach’ is an excellent example of the value of multi-disciplinary work. Thompson argues that prints, photographs, artist books, and installation bring an experiential quality to communicating field research that cannot be communicated through text alone. The arts in general, and printmaking in particular, makes valuable contributions to many fields, and I encourage my students to bring those fields into the studio and carry their artistic practice into other classrooms.

Encouraging CollaborationMulti-disciplinary learning goes hand in hand with collaboration. In my personal artwork and in my courses, I encourage collaboration of all forms: collaboration with other disciplines, with other students, with other mediums. I make it a point to highlight the collaborative nature of printmaking by tasking students with curating and collating exchange portfolios, practicing the traditional structure of artist-master printer, or incorporating non-traditional materials into the printmaking practice. In non-printmaking courses I also seek to encourage collaborative work. You’re throwing that out?! is a course I created with the idea that participants could learn from and create with the material waste created by each others’ process. Collaboration opens avenues to new ideas and practices that may not be immediately evident.

Student learning in the aforementioned areas is assessed through a combination of grading rubrics, self-evaluation, and peer-evaluation. Course grading standards and expectations are clearly established on the first day of class, and are based on an evaluation of completion of assignments, cooperation, and engagement. The finished piece is often not as important as the investigations that led to it; therefore, grading is heavily weighted towards engagement with course content. Students are asked to keep a record of questions they ask over the duration of the course, and self-evaluations are taken into consideration when grading. In certain assignments, grading may be even generated in part through peer evaluations. Students often provide insights that I do not have context for and the practice of peer evaluation serves as preparation for peer-to-peer interactions in the professional world.

Similarly, in assessing my personal growth, I welcome evaluations and suggestions from my own peers and from students. In a recent course, one student took the initiative to redirect a class discussion that was more inclusive of quieter student perspectives. I appreciated his thoughtfulness towards his classmates and his kindness towards me in pointing out a problem while simultaneously presenting a solution. Inviting collaboration, critical thinking, and multi-disciplinary learning into the studio necessitates a significant amount of humility and an openness to hearing students’ diverse perspectives. I aim to create learning environments that give all students room to explore the material processes and their own unique ideas.

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Inclusivity Statement

It is my intent to conduct courses in a way that engages students from all diverse backgrounds and perspectives, addresses students’ learning needs both in and out of class, and views the diversity students bring to this class be viewed as a resource and benefit. I aim to present materials and activities that are respectful of diversity comprised within the complexity of our current social and historical context: gender identity, sexuality, disability, age, socioeconomic status, ethnicity, race, nationality, belief system, and culture.

I recognize that a genuinely rich and diverse learning environment consists of students that bring different experiences, viewpoints, and talents to the community, and aim to ensure that students with varying backgrounds and life experiences have the specific support and guidance they need to thrive in the studio. For this reason, the syllabus is open to change based on the individual interests and needs of those enrolled in the course. Changes may include (but are not limited to) adjusting course content; reevaluating course pacing; and altering evaluation methods that account for different learning modes, contexts, and skills. I welcome and depend on input from students, so that I may improve the effectiveness of the course for all student groups.

I aim to create courses that are equally technical and conceptual, and leave ample room for each student to bring their personal interests and ideas into play with the medium. For this reason, it is imperative that there be an atmosphere of trust and safety in the studio. I attempt to foster an environment in which each class member is recognized, heard, and supported by both myself and other students. I am particularly sensitive to the variety of ways (both verbal and non-verbal) that students may share ideas and participate in discussions. I believe that written feedback, in addition to verbal critique, provides artists with the time and space to reflect on feedback, and is an important way to give all students an opportunity to share thoughts. Especially in regards to critique culture, I aim to create an environment conducive to honest, open, thoughtful and respectful conversation. Prior to critiques, I discuss with the class our expectations for critique and ask all students to approach the studio and critiques respectfully.

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Course Descriptions

Introduction to Intaglio: Inquiry and InnovationWinter 2020PrintmakingCredits: 3Tues 1:10 - 6:10

Major RequirementEst. Course Cost: $300Capacity: 14 students

Throughout history intaglio printmaking has been utilized in multiple forms: recording engraved designs in metal craft, illustrating texts, as a complement to painterly and sculptural practices, and (of course) as an art form in and of itself. Now, over 500 years after the first intaglio print was pulled, we are asking: Where can intaglio go next?

Initial coursework and visits to the RISD Museum Print Room will ensure that students grasp both the technical aspects of the printmaking process and the history and tradition of editioned prints. After the technical foundation is established, students will be encouraged to bring their knowledge of other mediums into play with the intaglio process. We will explore the potential for print to expand in all dimensions---from 2D into 3D, from image into concept, from etching into a totally different process---and push the medium into new realms of collaboration and experimentation. A context for artistic practice will be established through viewing prints by artists such as Belkis Ayon, Helen Frankenthaler, Howard Hodkins, and Goya.

This is an introductory level course. No prerequisite is required and all levels are welcome.

Dining, Driving, and Diving through PatternFall 2020PrintmakingCredits: 3Thurs 1:10 - 6:10

Prerequisite: Intro to Screen Printing

Major Elective, Open to Juniors and aboveEst. Course Cost: $300Capacity: 14 students

The multiple nature of printmaking lends itself to expansive and scalable artworks and installations. Contemporary artists such as Virgil Marti, Sarah Sze, Yinka Shonibare, Renée Green and many others are pushing printmaking and patterning into immersive installations that utilize the multiple in distinctive ways. Students in this course will design, develop, and realize immersive, patterned, and print-based installations that consider how a viewer interacts with and moves through a patterned world.

The technical aspects of designing and screen printing repeats on fabric and paper will be covered in the first five weeks of the semester. Students will spend the remainder of the semester developing individual, self-directed, pattern-based installations. Demos on building armatures, suspending textiles, and wheatpasting will provide students with the skills necessary to realize immersive installations. Discussions about pattern design will be complemented by visits to the RISD Museum Print Room and

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Textiles Collection to look carefully at Japanese pattern books, historical wallpaper prints, as well as ancient patterns in cloth and contemporary materials in textiles.

You’re throwing that out?!Spring 2021PrintmakingCredits: 3Wed 1:10 - 6:10

Non-Major ElectiveEst. Course Cost: $50Capacity: 14 students

The dumpsters and recycling bins of our studios are filled with “trash”---paper, fabric, and wood scraps too small for our original design. But are these items completely beyond use? In this course, students are challenged to turn the waste from each other’s practices into new artworks and designs. Emphasis will be placed on iterating and experimenting with works that are long-lasting, utilize no “new” materials, and generate little new waste.

This course is part seminar, part studio. Every other week will be spent discussing project development, contemporary artworks and readings on material culture. On alternate weeks, students will have studio meetings with faculty members and student collaborators to further project development. This is an Advanced Level course hosted by the Printmaking Department, but open to juniors and seniors in all departments. Studio work will be complemented with readings by Suzi Glabik, works by Mierle Laderman (among others), and visits to local recycling centers such as Second Life in Providence, Rhode Island.

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Syllabus

Introduction to Intaglio: Inquiry and InnovationWinter 2020PrintmakingCredits: 3Tues 1:10 - 6:10

Course Description:

Intaglio printmaking has existed since the fifteenth century and held many different functions as an art form. Throughout history intaglio printmaking has been used for recording engraved designs in metal craft, illustrating texts, as a compliment to painterly and sculptural practices, and (of course) as an art form in and of itself. Now, over 500 years after the first intaglio print was pulled, we are asking: Where can intaglio go next?

Initial coursework and visits to the RISD Museum Print will ensure that students both the technical aspects of the printmaking process and the history and tradition of editioned prints. After the technical foundation is established, students will be encouraged to bring their knowledge of other mediums into play with the intaglio process. We will explore the potential for print to expand in all dimensions---from 2D into 3D, from image into concept, from etching into a totally different process---and push the medium into new realms of collaboration and experimentation.

This is an introductory level course. No prerequisite is required and all levels are welcome.

Material fee: $300

Goals:● To develop a familiarity with printmaking practices in general, and a confidence with traditional

intaglio techniques in particular● To recontextualize traditional technical skills within a contemporary art practice.● To expand printmaking into other artistic practices● To establish collaborative modes of working

Learning Objectives:

1. Completion of all five course assignments:a. Personal Introduction: Exploration of personal and artistic

expression through monoprint & drypoint.

70%

b. Print Pairs: Practice traditional intaglio techniques through the creation of a pair of print editions. Editions should

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implement two demonstrated techniques.

c. Edge to Edge: Understanding of the relationship of the printed image to the edge of the paper. Editioned print should incorporate three demonstrated techniques.

d. Adventures in Space: Advancement of the 2D print into a 3D artwork. Artwork may be editioned or unique. At least two demonstrated processes must be used.

e. Collaboration: Open-ended and self-directed exploration of collaboration. Collaboration can between individuals, processes, materials, dimensions, art historical periods, etc. Students may work collaboratively or individually.

2. Engagement with Course Content and Attentiveness to Personal Growth:

a. Record of questions, ideas, and personal assessments to be kept in sketchbook.

3. Course Attendance:

20%

10%

Course Schedule:

First Class:

● Lecture – Introduction to the print shop; Shop rules & regulations, health/safety, security

● Syllabus review & Distribution of supplies.

● Demonstration - Monotype & Drypoint

● Demonstration - Press Usage

Assignment #1: Personal Introductions: Using demonstrated techniques, create a print to introduce yourself as an individual and/or artists. Be prepared to share at least one monotype/monoprint at the start of the second meeting. (Prints in process are okay.)

Print Size: 8 in x 10 in DUE AT SECOND MEETING

SecondClass:

● Discussion - Personal Introductions with Monotype & Drypoints; BRIEF sharing of work and self (5 min per person), NOT a critique.

● Demonstration - Hard Ground and Line Etching

Assignment #2: Print Pairs: Start a pair of related print editions incorporating at least three of the techniques demonstrated thus far. (Additional techniques will be demonstrated at next meeting)

Min. Print Size: 5 in x 7 inMax. Print Size: 11 in x 15 in

At least 2 proofs DUE AT THIRD MEETING

Third Class:

● Demonstration - Aquatint, Soft ground & Sugar lift

Assignment #2: Print Pairs: Completed editions due AT FIFTH MEETING

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Fourth Class:

● Field Trip - Visit to RISD Museum Print Room; Key artworks include prints by Belkis Ayon, Howard Hodkins, Goya, and Takuji Kubo

● Demonstration – Proofing, Signing, & Curating an Edition

Assignment #3: Edge to Edge: Edition of prints the demonstrates careful consideration of the relationship of the printed image to the edge of the plate.

Min. Print Size: 5 in x 7 inMax. Print Size: 11 in x 15 inMin. Edition Size: 3 (plus at least 3 states)

Sketches, ideas, and/or working proofs. DUE AT FIFTH MEETING

Emerging Outcomes:● Ability to define of intaglio printmaking and identify its place and importance within an art

historical context.● Translation of personal mark making/artistic style through intaglio processes.● Portfolio of two print editions that demonstrate proper printing and editioning techniques.

Fifth Class:

● Individual Meetings - review Assignment #2 and discuss ideas for Assignment #3.

● Presentation - Printmakers pushing the boundary of the printed image (Helen Frankethaler, Howard Hodges, Belkis Ayon, etc.)

Assignment #3: Edge to Edge: Continue working on edition.

Sixth Class:

● Lecture - Prints off the page● Demonstration - Shaped Plates● Demonstration - Collograph

and collage

Assignment #3: Edge to Edge: Completed edition DUE AT SEVENTH MEETING

Assignment #4: Adventures in Space: Use a 2D print to create a 3D artwork. Artwork may be editioned or unique. At least two demonstrated processes must be used.

No minimum print size.Sketches, materials, proofs of process, etc. DUE AT SEVENTH MEETING

Seventh Class:

● Midterm Critique - Review of Assignments 1-2. All finished prints and relevant proofs should be shown.

Assignment #4: Adventures in Space: Continue working on 3D prints.

Developing Outcomes:

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● Addition of one more print edition to portfolio that demonstrates understanding of the traditional printmaking standards of creating an editioned print

● Recognition of the relationship of the printed image with a sheet of paper● Exploration of the relationship between 2D prints and 3D objects● Sketchbook and/or other form of personal assessment that records a critique of their own work

and identifies areas for growth and areas of interest

Eighth Class:

● Lecture - Collaboration in print (Amze Emmons, Jane Kent, Swoon, etc.)

● Demonstration - Viscosity inking, stencils, and other methods for introducing color

Assignment #4: Adventures in Space: Continue working on 3D prints.DUE AT NINTH MEETING

Assignment #5: Collaboration: The final project is largely open-ended and self-directed. Students are encouraged to expand upon different modes of collaboration explored in previous weeks (collaboration between processes, materials, dimensions, etc). Students may choose to work in pairs or individually. Students MUST submit a project proposal for final project.

Upload a one paragraph description including processes, materials, and reference links or sketches to google drive by 10PM on [insert date before 8th class].

Ninth Class:

● Discussion - Assignment #4 and final project ideas. (10 min per student)

● Printing session/working time

Assignment #5: Collaboration: Begin working on final project. Consider additional opportunities for collaboration (with other students or with other processes)DUE AT FINAL MEETING

Tenth Class:

● Printing session/working time● Individual Meetings - Review

plans for final projects and identify additional demos and personal process needs.

Assignment #5: Collaboration: Continue working on final project.DUE AT FINAL MEETING

Eleventh Class:

● Printing session/working time● Demonstrations - Specialized

demonstrations on an as-needed basis

Assignment #5: Collaboration: Complete final project. DUE AT FINAL MEETING

Twelfth Class:

● Group Critique - Completed final projects. Any arrangements for special

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installation needs must be made in advance.

Advancing Outcomes:○ Addition of two more print projects to portfolio that demonstrate an understanding of

traditional print practices and an exploration of the medium○ Construction of a collaborative process within printmaking○ Incorporation of other knowledge bases into personal printmaking practice○ Generation and timely completion of a project plan and timeline.○ Identification of points of similarity and overlaps with fellow students’ methodologies

and thought processes.

** Note: This schedule is tentative pending the pace and progress of the class. **

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Assignment Description

Adventures in Space: Advancement of the 2D print into a 3D artwork.

While printmaking is undeniably a 2D artform, the process has at its core three dimensional sensibilities. At this point in the semester, we have seen how the beveled edge of the embosses and creates new relationships to the paper’s edge. We have also explored the variety of ways in which the grooved surface of the plate can deposit microscopic mountains of ink onto the paper. This next assignment requires you to take these low-relief elements to the next level by literally building out your body of 2D work into a 3D object.

Using any two of the techniques addressed thus far in the course, create an edition of prints and transform them into 3D object. Your object may take the form of paper sculpture, print installation, book, quilted cushion, or any other 3D form you desire. Examine the connection between form and content with your prints and subsequent object. Experiment with the materials you print on and with. Consider the ways in which your other studio skills may be utilized in the creation of this print object.

Goals1. To create an edition of prints to be utilized in the creation of a 3D object.2. To explore the 3D potential of print, and push the printed image beyond the sheet of paper.3. To consider the connection between form and content.4. To reframe and incorporate different studio practices into a print object.

Outcomes:1. A 3D object that incorporates printed elements 60%2. An evident connection between form and content 20%3. A demonstrated competence of at least two intaglio techniques 20%

Methods: 1. Using 2-3 of the techniques demonstrated in the class thus far, create an edition of intaglio

prints.2. Create drafts and models of your object on a small scale to plan for your final object. Paper

folding and simple book making techniques demonstrated in class may inform the structure. Project designs will be discussed in one-on-one meetings during week 8.

3. Proof your prints on different substrates to determine the best materials for your object4. Take one or more of the prints from this edition and create a 3D object. Object may be unique

or editioned.

Assessment:Basic competency:

● All elements are completed: Print edition using intaglio techniques; Related 3D object● Sketches, proofs and models were provided at individual meeting.

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Advanced competency:● Printed elements demonstrate mastery of intaglio processes.● Intentionality and critical thinking is evident in the relationship between form and

content.● Idea development is evident in sketches, proof, and models. ● 3D object incorporates studio techniques and skills not traditionally utilized in

printmaking processes, but inherent to student’s personal artmaking background.

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Midterm Feedback Form

Intro to Intaglio: Inquiry and Innovation

Course Goals:● To develop a familiarity with printmaking practices in general and a confidence with traditional

intaglio techniques in particular● To recontextualize traditional technical skills within a contemporary art practice.● To expand printmaking into other artistic practices● To establish collaborative modes of working

Please Rate: Circle one. 5 - Strongly Agree, 1- Strongly Disagree,

The course content has been presented clearly and in a manner I am able to understand.

5 4 3 2 1

The demonstrations, lectures and assigned readings have been thought provoking and good jumping off points for individual research.

5 4 3 2 1

Discussions are engaging and open to a variety of different student experiences and perspectives.

5 4 3 2 1

The feedback I have received has been valuable and relevant to my individual goals.

5 4 3 2 1

Class time is well paced, organized, and expectations are clear.

5 4 3 2 1

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Short Response:

Which of course content materials (demos, lectures, museum visits, etc.) have been the most and least useful to your learning in this class?

What have been the strengths of the instructor and the course? What could the instructor do toimprove the course?

What have been your strengths throughout the course? Are there any ways you would like to work differently in the second half of the course?

To achieve the course goals, are there any specific topics you would like to be addressed or reviewed in the second half of the course?

Other: Please use this space to provide additional comments.

Name (optional): __________________________________________________________________________

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Course Assessment

Engagement with Course Assignments (60%)

Attentiveness to Personal Growth (20%)

Attendance & Participation (20%)

Superior (A)

Innovative completion of all assignments. Exceeds the requirements of the instructor. Demonstrates independent experimentation with intaglio processes.

Actively engaged with self-assessment. Keeps sketchbook and documents progress through prototypes and proofs. Evidence of critical thinking about the relationship of printmaking to personal studio practice.

Regularly attends class. Pushes class towards deeper discussion and positive work environment.

Above Average (B)

Accurate completion of assignments. Meets all requirements of the instructor.

Regularly engaged with self-assessment. Keeps sketchbook and documents progress through proofs.

Regularly attends class. Positive benefit to the class discussion and environment

Average (C)

Completes assignments. Some evidence of need for motivation in studio work.

Limited engagement with self-assessment.

Regularly attends class. Indifferent to class discussion and environment.

Below Average (D)

Completes some, but not all assignments and requirements. Requires signification motivation in studio work.

Does not keep sketchbook or personal record of growth. No noticeable growth.

Irregularly attends class. Indifferent to class discussion and environment.

Failing (F) Does not complete all assignments and requirements.

Irregularly attends class. Uncooperative and/or negative benefit to the class discussion and environment.

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Critique Statement

My courses are designed to leave ample room for each student to bring their personal interests and ideas into play with the medium. For this reason, it is imperative that there be an atmosphere of trust and safety in the studio. Critiques are conducted in a variety of ways to give students opportunity to share insights in the way that is most comfortable to them. Critique format is as follows:

● In-progress work is discussed during one-on-one critiques at the mid-point of each project. Students are encouraged to share thoughts, sketches, and/or questions via Google Drive prior to the critique.

● Mid-term and final group critiques take the form of an honest, open, thoughtful and respectful conversation. I ask all students to approach these critiques respectfully. Verbal feedback is shared during the critique. Each student is also required to complete an anonymous 4-question peer evaluation for every student at mid-term and final critiques. (See peer evaluation form below)

Peer Evaluation:

Artist: ______________________________________________________________

Please Rate: Circle one. 5 - Strongly Agree, 1- Strongly Disagree,

Project Completion and Presentation: Artwork meets assignment requirements and is thoughtfully presented. Print margins are clean.

5 4 3 2 1

Innovation: Artwork implements the print processes demonstrated in class, and pushes the medium into new and unique avenues. Any proofs shown indicate an experimentation with the process and careful development of the image.

5 4 3 2 1

Artistic Clarity: Artist’s intentions and personal goals are clearly evident in the work.

5 4 3 2 1

Please provide 1-2 sentences of additional feedback for the artist.

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