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Multiple(s) Choices: Printmaking Laboratory August 1 — 6 9am—12N Tuition: $650 + $75 studio fee Open to all We will explore printmaking techniques that utilize inexpensive materials and can be used in the creation of artists' books. Plexiglas drypoint, collograph, flexi-cut, stencils, relief printing and pochoir are among the techniques that will be presented. A number of simple, elegant and versatile binding structures, particularly useful in binding single printed pages will be demonstrated. Supply list will be sent upon registration.
Drypoint is a method of creating a print by incising into the plate with a metal scribe. Ink is collected both in and around the incised line, creating a characteristically fuzzy quality inherent only in drypoint; the weight of line can be varied from very fine and thin, to wide and dark. Various methods of drawing on the plate, wiping and printing will be demonstrated, as will drypoint's use as a technique alone and with the intaglio techniques of monoprint, monotype, à la poupée, chine collé and criblé. Two plate prints will be discussed and demonstrated, including registration and concept. Historical and contemporary references of artists' use will be discussed throughout the course. Students will be encouraged to explore imagery of interest.
This process combines aspects of collograph, aquatint, and drypoint techniques. Carborundum grits (silicon carbide in powdered form) are mixed with adhesive and applied to the surface of Plexiglas, cardboard, or metal plates to produce rich tonal areas, often in a very painterly manner. The plates may also be incised with various sharp tools to create velvety linear marks, and/or combined with monotype. Students will work with both single and multiple plate images, in b/w as well as layered color. Plates will be inked, wiped, and printed in the intaglio (etching) method. Printmaking experience is helpful but not necessary. Historical background and examples (several in reproduction) will be provided. Please bring ideas for imagery and a spirit of experimentation.
For the printmaker who is knowledgeable about the corrosive chemicals and odorous solvents of a traditional printmaking studio, this intensive Master Class will demonstrate a safer, healthier way of intaglio printmaking. Artists will use the innovative photopolymer plate which uses ultra-violet light to fix an image which is "etched" with plain water. The plate is then inked with professional water-based ink and printed just like a typical etching. Plate-making is fast, therefore participants can expect to accomplish much in a week. At the end of the day, clean up with soap and water.
In this workshop, students will investigate images by combining photos, artwork and collage on transparent surfaces. The transparencies are then transferred onto pre-sensitized zinc plate, exposed to sunlight or ultraviolet light table and developed at room temperature in a nontoxic water-based solution. The developed plate is then ready to be etched in any of the standard intaglio methods. Traditional and new etching techniques will be taught in conjunction with this process. Photoetching accelerates the printmaker's working process before the first inked proof, which consequently pushes the inventive possibilities of the final print. Creative reworking of the matrix and imaginative application of printmaking skills will be emphasized. Paper and plates will be available at cost to students.
www.hpeiklarsen.com
This workshop will explore various
techniques available in monoprint— from
traditional plates to watercolor prints,
collage, and multiple impressions. While
learning new processes, each artist will
start to build a personal vocabulary.
During the workshop, the goal will be to
work toward creating a suite of prints.
Throughout the week, every participant will
receive individual reviews on the progress
of their work.
This course will introduce and explore
techniques for making one-of-a-kind
prints with oil-based inks in a low-toxicity
environment (vegetable oil clean up). Daily
demonstrations will include a painterly
approach using thin films of transparent
color in the creation of a multi-layered
and luminous surface, subtractive work,
transfer, and registration methods. We
will also explore possibilities for the use
of chine collé (collage), drypoint, and
stencils. Additional instruction will be
tailored to suit the needs of the individual.
Feel free to bring a portfolio or examples
of work for discussion. Students will be
encouraged in a supportive atmosphere
to develop a series of prints through
experimentation and the use of the residual
image. The experimental/accidental nature
of monotype, the sharing of facilities, and
the resulting community of working artists
makes the printshop the perfect laboratory
for artistic change/growth.
Please bring Plexiglas plates, chine collé
papers, and an etching needle if you have one.
In this lithography course each class
member will experience the original
lithography technique, which utilizes the
sublime drawing surface of Bavarian
limestone. The emphasis will be on
developing, processing and printing from
the stone surface. After completing the
process, each participant will grain the
surface of the stone to prepare for a new
drawing. Stones will be provided. A broad
selection of lithographs will be examined.
Lithographic crayons, liquid tushe and
paper will be available at cost. All levels of
experience are welcome.
Master printmaker dan Welden, originator
of the solar plate, will demonstrate this
simple and exciting process in an intensive
weeklong workshop for printmakers with
little or no experience working with solar
plate. Printmaking with solar plate is a safe
alternative to traditional etching and relief
printing, and has the ability to produce a
wide range of professional results. No acid,
asphaltum grounds or petroleum solvents
are used in any way for the preparation of
the plate. The etched solar plate may be
used for traditional intaglio or relief printing.
Truro Center for the Arts at Castle Hill will
offer a successive course in solarplate
printing, utilizing the basic techniques taught
in this workshop, and introducing more
advanced processes, from June 21-25.
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BIOGRAPHY
Lynne Avadenka combines words and images,
working in a variety of media. She was awarded
a Kresge Artist Fellowship in 2009, and received
individual artist grants from the National Endowment
for the Arts and the Michigan Council for Arts and
Cultural Affairs. A guest faculty member at Dartmouth
College in Spring 2009, she has also taught at the
Center for Book Arts in New York and Penland School
of Crafts. Her work is included in these selected
institutions: The British Library, London, England; The
Library of Congress in Washington, D.C.; The Jewish
Museum, New York; The Detroit Institute of Arts; The
Israel Museum in Jerusalem, Israel; The New York
Public Library; The Meermano Museum at The Hague;
and the Sackner Archive of Concrete and Visual
Poetry in Miami, Florida.
BIOGRAPHY
Betsey Garand is presently Resident Artist at Amherst
College where she is head of printmaking, and has
taught and/or been a visiting artist at numerous
institutions including American University in Corciano,
Italy; Parsons School of Design; Trinity College; and
Hampshire College. She exhibits regularly both here
and abroad. She has an artist's book in the travelling
exhibit "Monumental Ideas in Miniature Books,"
organized by the University of Akron, Myers School of
Art, and a print in the portfolio published by Cannonball
Press entitled Mockery, a tribute to the printmaker
Richard Mock. A series of prints for collaboration with
the Mexican poet Juan Armando Rojas were published
in Ceremonial of Wind. Her work is included in
numerous public collections including the Santa Barbara
Museum of Art; Arkansas Arts Center; the Art Museum
of Estonia; Tokyo Geijutsu Daigaku, Japan; and the
Sado Woodcut Print Village Museum, Sado Island,
Japan. Her awards and honors include a Pollock-
Krasner Foundation Grant and fellowships at Dorland
Mountain Arts Colony and the MacDowell Colony.
BIOGRAPHY
Louise Hamlin has exhibited her paintings and
prints in solo and group exhibitions around the
country. Her honors include awards from the Ingram
Merrill Foundation, New York Foundation for the
Arts, Mellon Foundation, and Vermont Council on
the Arts, a residency at the Djerassi Foundation,
a Sony Fellowship from Dartmouth College and
faculty grants from Dartmouth and Union colleges.
Her 2009 film, Ink Across Time, co-produced with
Michael Sacca, won a gold medal from the Council
for the Advancement and Support of Education. Her
work has been featured in many public and private
collections, including the Walker Arts Center, the
Metropolitan Transit Authority, the University of
Iowa, and the Wellington Management Co. She is
chair of the Studio Art department and area head of
Printmaking at Dartmouth College.
BIOGRAPHY
Anthony Kirk is Artistic Director and Master Printer at
the Center for Contemporary Printmaking, Norwalk,
CT. He previously headed the etching department
of Tyler Graphics Ltd., where he collaborated with
artists such as Helen Frankenthaler, Al Held, Joan
Mitchell and Frank Stella. He has been a guest
instructor at universities and printmaking centers
throughout the US.
BIOGRAPHY
Peik Larsen studied art at Middlebury College and
the San Francisco Art Institute, and received an MFA
from the School of the Museum of Fine Arts/Tufts
College graduate program. He has worked as a
professional printer at Fox Graphics in Boston and
Via Santa Reparata in Italy. He shows his paintings,
prints, and books at Victoria Munroe Fine Art in
Boston and Freight & Volume in New York City, and
is in many collections in this country and in Europe.
For several years he taught printmaking at Harvard
and has been a visiting artist and critic at New
England art schools.
BIOGRAPHY
Andrew Mockler is a painter-printmaker working in
Brooklyn, New York, where he collaborates with
artists making monoprints, lithographs, etchings, and
woodcuts at Jungle Press Editions. He studied at
Cornell University and Yale School of Art, where he
went on to teach printmaking and graduate painting.
He has also taught at Columbia University and the
Rhode Island School of Design. He currently teaches
at Hunter College and Bard College. His paintings
have been shown at George Billis Gallery in New
York and Los Angeles, and most recently at Metaphor
Contemporary Art in Brooklyn, NY.
BIOGRAPHY
Vicky Tomayko is an artist and printmaker who
makes monotypes that combine a variety of
printmaking techniques. Her recent work explores
the mutability of memory. She was awarded a
fellowship at the Fine Arts Work Center in 1985,
and has been the recipient of two Ford Foundation
Grants. Her work is exhibited locally at Schoolhouse
Gallery in Provincetown, and has been included in
exhibitions in New York, Boston, Miami, Los Angeles,
Venice, Istanbul, and Melbourne. She was Artist-in-
Residence at the Cape Cod Lighthouse Charter
School for ten years. She also teaches at Cape
Cod Community College, the Museum School at
Provincetown Art Association and Museum, at Castle
Hill Center for the Arts in Truro, and for the MassArt
at the Fine Arts Work Center in Provincetown low-residency
MFA program.
BIOGRAPHY
Bob Tomolillo began his career during the
burgeoning of the print workshops in the late sixties.
He worked at Impressions Workshop in Boston; R.E.
Townsend, Inc.; and at The Printshop in Amsterdam,
Netherlands. A member of the Boston printmakers
since 1984, his lithographs are included in collections
here and abroad. In 2008 he exhibited in 15 national
and international print competitions. He has written
several articles on printmaking with a feature, "Art
and Politics," in last year's Print Alliance Journal.
A contributor to Thieves Jargon, Literal Minded,
Orange Alert, Shine Journal, Askew Reviews,
Glossolalia, Blinking Cursor, and Bap Q journals,
he was the 2009 co-winner of the first Dayton Arts
Museum International Peace Prize for his digital
"Think Peace" poster design.
BIOGRAPHY
Dan Welden has been pioneering safer alternative
printmaking techniques since the early 70's when
he first developed solar plates. He is co-author of
Printmaking in the Sun, and Director of Hampton
Editions, Ltd. in Sag Harbor, NY, where he has
collaborated with many artists including Willem and
Elaine de Kooning, Eric Fischl, and Dan Flavin. He
has been the recipient of numerous international
printmaking grants extending from Belgium to New
Zealand, and was invited to juror the international
Printmaking Biennal in Italy in the fall of 2008.
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