CONVERSATIONS ABOUT INK (NEW!)

February 25, 2012 | Saturday, 10:30 am–4:30 pm

Instructor: Kathy Caraccio

$125

This one–day workshop/seminar will focus on the dynamics of intaglio and relief inks. A number of hands–on demonstrations will cover the aspects of ink itself (viscosity, tack, saturation), various ways of applying and controlling ink (rolling, carding, pochoir, à la poupée) and ways of adding to and modifying inks (oils, driers, retarders, etc.). Workshop participants are encouraged to bring any and all questions about ink. This class is designed for everyone from the beginning printmaker to the experienced artist.

Limited to eight students

REDUCTION RELIEF PRINTS: WOODCUT (NEW!)

February 27–March 26, 2012 | Mondays, 6:30–9:30 pm

Instructor: Frederick Mershimer

Five weeks | $280 (includes a $20 materials fee)

With this form of relief printmaking, participants will gain hands–on experience in all phases of creating a multi–colored print using a single block. The class will focus on how to design an image, transfer the image to the block, cut the wood, mix inks and execute the printing process. Each student will learn how to print from the etching press and also how to work at home. The class will discuss inventive traditional and non–traditional printing techniques, as well as focus on contemporary images that will be created spontaneously and directly. All levels welcome. 

Limited to eight students

OFF THE WALL: EXPERIMENTS IN PRINTMAKING (NEW!)

March 13–27, 2012 | Tuesdays, 10:30 am–4:30 pm

Instructor: Robin Dintiman

Three weeks | $420

This class will explore alternative print materials such as fine mulberry papers, cotton batiste and silk organza as well as printing on plastics and non–traditional materials. Ad hoc methods of printing, collagraph, block and stencil techniques will be utilized. Some prior familiarity with printing is preferred.

Limited to eight students

MONOTYPE INTENSIVE

March 25 and April 1, 2012 | Sundays, 10:30 am–4:30 pm (studio use from 4:30–6:00 pm)

Instructor: Danielle De Mers

Two weeks | $280 (includes a $10 materials fee)

Monotype combines the spontaneity of painting with the distinct qualities of a print. This intensive class will explore traditional monotype methods of image making, investigating both additive and subtractive methods of inking the plate and mark–making techniques. Works are developed on re–usable Plexiglas plates employing a wide range of materials, including rollers, brushes, stencils and other implements to impart line and texture. Also covered will be multiple printing techniques with simple registration methods and the “ghost” print. Chine collé, a way of incorporating oriental papers into the print, will also be taught. Both oil–based and water–based printing inks and water–based crayons will be used. No previous printmaking experience is necessary to enjoy monotype, though many printmakers use it to enrich existing prints and/or plates.

Limited to eight students

EXPERIMENTS IN MONOTYPE: A SOLVENT-FREE WORKSHOP (NEW!)

April 14 and 21, 2012 | Saturdays, 10:30 am–4:30 pm (studio use from 4:30–6:00 pm)

Instructor: Liz Marraffino

Two weeks, $280 (includes a $10 materials fee)

In this class we will experiment with new, oil–based but water–mixable etching inks as well as with Golden’s Open Acrylic line of paints. Unlike other monotypes or monoprints made with water–based inks and/or watercolors and wax water–soluble crayons, these prints—once dry—can be reworked and redeveloped by re–wetting the paper and enhancing the images with either the same materials or traditional oil–based printing inks, creating a complex and layered effect. The class is good for novice printmakers as well as printmakers with previous monotype experience who want to try out something new and fun. We will experiment with texture, templates, non–traditional tools and lots of imagination.

Limited to eight students

GLASSPRINTS AND CHEMIGRAMS

April 22 and 29, 2012 | Sundays, 10:30 am–4:30 pm (darkroom use from 4:30–6:00 pm)

Instructor: Douglas Collins

Two weeks | $280 (includes a $25 materials fee)

Also known as cliché–verres, glassprints have a distinguished history, from Corot and the Barbizon school through Cubism and into the present. They exist at the intersection of photography and painting: we will create them by drawing on acetate, and print them in the photographic darkroom. Glassprints can be extraordinarily expressive, producing gradations of tone unlike those in any other kind of printmaking. They are also amazingly forgiving: mistakes are just wiped off, as with monotypes, and yet the plate itself can be preserved for endless editioning. On the second day we will learn how to manipulate darkroom chemicals and certain simple resists to produce colored glassprints, called chemigrams. Here we seem to enter the world of alchemy. Also discussed will be printing strategies, advanced topics, and exhibition venues. No prior experience necessary. 

Limited to five students