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LIZA FOLMAN Etching Explorations AUGUST 17-22 9am–12N Type: Printmaking Price: $650 + $75 studio fee Open to all
This course is for beginners as well as those
with experience in etching techniques, with
instruction geared towards the individual
needs and varied levels of the students.
There will be classroom demonstrations
of hard and soft ground etching, aquatint,
drypoint and sugar-lift techniques, as well
as a brief history of the medium including
contemporary trends. Students will discover
that each technique has it's own unique
expressive qualities, and can be used alone
or in various combinations on the plate.
Plate revision and the use of proof prints
to document and expand creative process
will be discussed, with an emphasis on
individuality in image development. The
class will explore traditional as well as
unique approaches to printing in both black
and white and color.
BETSEY GARAND This course will explore the extensive possibilities inherent in this non-acid technique 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 or with the intaglio techniques of monoprint, monotype, à la poupée and chine collé. 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.
LOUISE HAMLIN This process combines aspects of collograph, aquatint, and drypoint techniques. Carborundum grits (silicon carbide in powdered form) are mixed with glue and applied to the surface of Plexiglas 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. Please bring ideas for imagery and a spirit of experimentation. Historical background and examples (several in reproduction) will be provided.
DANIEL HEYMAN Carve some marks, print in yellow. Carve again, print in red. Slice through those shapes, now print the green on top, obliterating most of the previous layers. Again slice the block up for the blues, again for the purples, then the browns, grays and blacks. The result? A multiple color print as rich in colors and textures, marks, shapes and lines as any process allows. Making a reduction print takes planning, and in this course you will learn how to think through each color layer in advance. Students will make prints by carving and re-carving pine blocks printing multiple color images working backwards from lightest to darkest colors. The method lends itself to numerous aesthetics from bold graphics to subtle arrangements of color shapes. Abstract or realistic – that decision is up to you. Carving tools can be available for purchase with advance notice, or can be borrowed from the instructor.
PEIK LARSEN
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.
ANDREW MOCKLER In this workshop, we will explore the range of possibilities available in monoprint and monotype. Working with plates and woodblock, each student will develop their own language of mark-making, layering, and exploration of craft. Focused on the individual, the class will start with demonstrations of various techniques, and then expand to one-on-one instruction. By focusing on individual development over the week, we will discover a working method that best matches each sensibility. A model will be available for those who wish to work from life. A materials list will be sent upon enrollment.
REBEKAH TOLLEY The immediacy of polyester plate lithography is a simpler introduction to lithography; it's easier to grasp the basic principles and is great for those interested in non-toxic printmaking while offering new options for traditional litho lovers. The workshop will explore a variety of ways a plate can be imaged, including drawing, washes, photocopying or printing digitally generated imagery directly from the computer onto the plate. Polyester Plate lithography eliminates much of the processing and chemicals of traditional lithography while still embracing the basic principles of the process, grease repelling water and retaining the meditative process of sponging to preserve the nonimage area. What to bring: Students should bring waterproof pens, markers, and files of digital imagery if they wish.
VICKY TOMAYKO 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 printroom the perfect laboratory for artistic change/growth. Please bring: Plexiglas plates, chine collé papers and an etching needle if you have one.
BERT YARBOROUGH This workshop will focus on the development of each student's work through individual critiques and group discussions. Primary emphasis will be given to the development of the individual's work and their ability to discover fresh directions through a painterly approach to the monotype/monoprint medium. Participants may have any level of experience. Beginning students will be introduced to a variety of techniques and will spend the week developing their own visual language through the print medium. Those students with varying degrees of expertise can experiment and expand the scope of their personal work through one-on-one critiques and/or structured investigations. There will be opportunities to work from the figure, explore the sequencing of images through the residual image (ghost) and the use of chine-collé and collage. What to bring: A materials list will be sent to all registrants and it will be essential to have all those materials for this class.
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BIOGRAPHY
Liza Folman is Professor of Fine Arts at the
Art Institute of Boston at Lesley University,
where she teaches printmaking and drawing.
She has previously taught at MassArt and
Boston University. She studied at SUNY at
Buffalo and Boston University, and has been
the recipient of a Fulbright Fellowship (to
study with S.W. Hayter in France) as well as
a MacDowell Colony Fellowship. Her prints
are in several public and private collections
including the Museum of Fine Arts, the
De Cordova Museum, the Boston Public
Library and the Bibliothèque Nationale in
Paris. Her recent prints were featured in a
solo exhibition at the Scuola Internazionale
di Grafica in Venice, Italy in 2006, and in
"Ink·Wipe·Roll·Print" at the Art Institute of
Boston in 2007.
BIOGRAPHY
Betsey Garand recently completed a series
of prints for collaboration with the Mexican
poet Juan Armando Rojas, published in
Ceremonial of Wind. Her work is included in
numerous public collections including the
Santa Barbara Museum of Art; California
State University at Long Beach's Museum
of Art; Hammer Museum's Grunwald
Center for the Graphic Arts; Arkansas Arts
Center; Tokyo Geijutsu Daigaku, Japan;
and the Art Museum of Estonia. Awards
include a Pollock Krasner Foundation Grant
and fellowships at Dorland Mountain Arts
Colony and MacDowell. She exhibits both
here and abroad, most recently at Paper/
New England, Hartford Connecticut; at im
n il Gallery in Williamsburg, Brooklyn; LSU
School of Art in Louisiana; and Gallery 6 in
Tallinn, Estonia. Betsey is presently Visiting
Assistant Professor at Amherst College
in the Department of Art and Art History
where she is head of printmaking, and
has also been a visiting artist at numerous
institutions including American University in
Corciano, Italy; Parsons School of Design,
New York City; Two Rivers Printmaking
Studio in Vermont; and Hampshire College
in Massachusetts.
BIOGRAPHY
Louise Hamlin is represented by the Gross
McCleaf Gallery in Philadelphia, and the
Maple Ridge Gallery in Vermont. Her
honors include awards from the Ingram
Merrill Foundation, NY 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 a faculty
grant at Union College. 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 currently area head
of Printmaking at Dartmouth College.
BIOGRAPHY
Daniel Heyman has received numerous
awards including a Reynolds International
Fellowship, an Independence Foundation
Grant; an AMJ Foundation Grant, two
RISD Professional Development Grants,
and residencies at the Millay Colony, the
Nagasawa Art Park in Awajishima, Japan,
and the MacDowell Colony. His work is in
many public and private collections, including
the Library of Congress, Yale University Art
Gallery, the New York Public Library, the
Baltimore Museum of Art and the Princeton
University Museum of Art. He has taught at
Fashion Institute of Technology, the University
of Pennsylvania, Philadelphia University,
and Tyler School of Art. He currently teaches
printmaking at the Rhode Island School of
Design and Swarthmore College.
BIOGRAPHY
Peik Larsen studied art at Middlebury
College and the San Francisco Art Institute.
He 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 and printmaker
living in Brooklyn, NY, where he also
collaborates and publishes limited editions
with artists at Jungle Press Editions. He
teaches at Hunter College, and has taught
at the Yale School of Art, the Rhode Island
School of Design, and Columbia University.
He shows with George Billis Gallery in New
York and Los Angeles.
BIOGRAPHY
Rebekah Tolley is a printmaker and digital
media artist. Her recent work uses digitally
generated imagery and animation in various
forms of presentation, and has appeared
in Montreal-based magazines such as
Matrix and the Gazette's "Trends." She
is represented in collections such as the
National Library of Quebec, the Conseil
d'estampes de Quebec, Concordia
University, The Southern Graphics Council,
Amity Art Foundation, Georgetown
University, University of Wisconsin, and the
Kohler Library as well as numerous private
collections. She was awarded the Laureat
of the 2000 Prix Albert-Dumouchel, by
the Quebec Print Council. In recent years
her work has been exhibited in galleries
in Canada, France, Japan and across the
United States. She has taught at UNC-Chapel
Hill and is currently Assistant Professor and
Gallery Director at Colby-Sawyer College,
teaching printmaking and digital media.
BIOGRAPHY
Bert Yarborough is currently an Assistant
Professor of Fine and Performing Arts at
Colby- Sawyer College in New London, NH,
and has taught Painting and Drawing at
Harvard University, Plymouth State College
and several other institutions. Twice a Fellow
at the Fine Arts Work Center, he also served
as Visual Arts Coordinator for four years.
He has received two New Hampshire State
Arts Council Grants in Painting, an NEA
Fellowship in Sculpture, and a Fulbright
Fellowship to Nigeria, also in Sculpture.