For both beginners and experienced printmakers, this course will focus on traditional methods of working copper plates. Intaglio techniques include a number of rich and varied processes. The class will cover etching, drypoint, aquatint, use of soft and hard grounds, and the combination of techniques on a single plate. Printing techniques will be demonstrated, including color printing, and the registration of multiple plates. Limited to ten students.

Frederick Mershimer focuses the class on the traditional methods and steers artists to the processes that fit their visual sensibilities. His mezzotint prints are in the Whitney Museum, the Brooklyn Museum, the Corcoran Gallery, and many others.

Traditional techniques of etching, drypoint, aquatint, and the use of soft and hard grounds will be demonstrated in this class, as well as contemporary methods of
non-toxic photo etching, viscosity, toner, and Xerox transfer.When time permits, more in-depth plate work will allow the combination of techniques on a single plate, as well as multiple color printing,and non-toxic photo techniques. Limited to ten students.


Vijay Kumar covers the traditional as well as contemporary methods of non-toxic photo etching, viscosity, toner and Xerox transfer. His work is included in the collections of the New York Public Library, the Museum of Modern Art, and the Brooklyn Museum.

Photogravure enables one to etch a photographic image into a copper plate and print
it with remarkable subtlety and nuance. Starting from a black-white negative, a high resolution digital file or a hand drawn image on frosted mylar, it is a true continuous tone photographic process. The tones are etched in varying depths into a copper plate, allowing for a range of gradations and manipulations not possible in any other photographic printing process.The class is structured to give students a hands-on, detailed step-by-step experience of the process. During the three days, each student completes one photogravure print under close supervision by the instructor. Limited to six students.

Lothar Osterburgis a European-educated artist and printmaker. As a master printer for Crown Point Press, San Francisco, he specialized in Photogravure. He has worked with John Baldessari, Christian Boltansky, Ray Metzker, Markus Raetz, Laurie Simmons, Lorna Simpson, and others. He is currently proprietor of his own printmaking studio in New York City

This workshop explores intaglio printmaking as an adventurous medium using pre-existing etched plates. Plates can be monoprinted and then printed in combination with a variety of surfaces, to create new and enriched imagery. Unusual methods will be explored, including use of acrylic gels for painterly transparencies and carborundum for textural effects. The class also explores the use of secondary shaped plates and embossing effects, and the creative possibilities of printing techniques
such as chine collé and a la poupée that make each result entirely
individual. The focus is on the endless capacity for experimentation. Limited to eight students.

Anneli Arms is a painter, sculptor and printmaker who has exhibited nationally and internationally. Her prints are in the collections of
Rutgers Dana Library, the U.S. Dept. of State, The Library of Congress, The N.Y. Historical Society and The N.Y. Public Library.

Students will learn how to pull a print from a black-and-white photocopy,
then go back into the print to add color and texture. They will also learn how to create a monoprint on a Plexiglas plate, and incorporate
it into a paper litho print. The class will go beyond the single image, using mesh, acetate stencils, and Plexiglas to create a dimensional
monoprint. The print can be one of a kind, one of an edition, or one element that can be combined with other painted or printed images. Students are encouraged to bring pre-existing prints with which they can experiment. Materials fee includes inks and plate oil. Limited to six students

David Thomas is a ceramist, painter, and printmaker. His work has been exhibited in the U.S., India, and Japan, and is included in the collections of the Library of Congress, Anheuser-Busch,and a number of private collections in the U.S., Europe, and Japan.

Color is one of the most amazing and daunting challenges for many artists. Joseph Albers made major advances in color theory, but his explanations are often difficult to understand and to apply to an individual aesthetic. This three-part class is focused on demystifying color. Part one will introduce the basic principles by which all color behaves, and will explore methods for controlling it. This part is in lecture format in combination with visual aids. The second part will utilize each participant’s artwork to address individual coloristic problems, in addition to discovering coloristic solutions to conceptual problems. Finally we will use hands-on color mixing and printing to develop and control a unique color palette. All levels welcome. Limited to ten students

Phil Sanders is the Director and Collaborative Master Printer at the Robert Blackburn Printmaking Workshop in New York. His work is included in the collections of Yale University, the University of New Mexico, Arizona State University, and many others. He has taught at Stanford University, San Francisco State, and the Penland School of Crafts.

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