| Spring 2010 |
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Intaglio/Etching
January 26 - April 13
Tuesdays: 6:30-9:30 pm
Twelve weeks,
$440
Instructor Frederick Mershimer
(BEGINNING STUDENTS ARE REQUIRED to add $35 fee for copper plate and some materials.)
(includes twelve hours of additional workshop time per week) |
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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. |
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Intaglio/Etching
January 27 - April 28
Wednesdays: 2:00-5:00
Fourteen weeks,
$500
January 29 - April 23
Fridays: 10:30 am-1:30pm
Twelve weeks,
$440
Instructor: Vijay Kumar
(includes twelve hours of additional workshop time per week)
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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. |
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Monotypes and the Lithography Press
March 11 & 18
Thursday, 6:30 - 9:30
Two weeks
$150
(includes a $10 materials fee)
Instructor: Don Nicoulin
(includes twelve hours of additional workshop time during the week following the class) |
Monotypes are prints made from blank (non-matrix) plates. In this class thin clear acetate and/or mylar sheets serve as the plate and the prints are “pulled” using the litho press. Each print is a one-of-a-kind impression printed from an image created through applications of oil-based inks and paints. The ink is rolled, brushed, daubed, and manipulated on the plate until the desired image is achieved. Different ink and color pigment applications and plate/paper registration will be explained. Printing the “ghost”, or image that is left on the plate after the first printing, will be explored. Prints created using this process combine a painterly application of color and many fluid
techniques similar to those of stone lithography. Students need basic printmaking knowledge but no previous lithography experience is required. Limited to five students.
Don Nicoulin is a printmaker, painter, and architectural-model builder. His recent work combines experience with stone and aluminum-plate lithography, as well as monotype printing using the etching press. He has taught at the University of Louisville and at Brooklyn College
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Paper Lithography:
New Dimensions
April 8 & 15
Thursdays, 10:30 - 4:30
Two weeks
(includes a $10 materials fee)
$215
Instructor: David Thomas
(includes studio use from 4:30-6:00 plus twelve hours of additional workshop time during the week following the class ) |
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 eight 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. |
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Lithography
February 3 - April 21
Wednesdays, 6:30-9:30pm
Twelve weeks,
$450
Instructor: Arnold Brooks
(includes twelve hours of additional workshop time per week and $10 materials fee for inks, mylar and transfer paper) |
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Lithography is the most direct form of printmaking. The immediacy of the artist’s hand is kept throughout the process. One can achieve a broad range of effects, from fine line drawing to transparent washes or deep rich areas of color. Whether you are a beginner or an experienced printmaker, this course will present the unique properties of lithography. The course covers the basic techniques of hand-drawn aluminum plate, photo-lithographic plates and printing in both black-and-white and in color. Limited to six students.
Arnold Brooks is a painter and printmaker. He has printed at a number of NYC print shops, including Solo Press and Derriere L’Etoile. He is included in the collection of the Brooklyn Museum, the Miami Art Museum, and Florida Center for the Arts. |
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Silkscreen: Water-Based
January 26 - April 13
Tuesdays, 6:30-9:30 pm
Twelve weeks,
$440
Instructor: Margaret Nussbaum
(includes twelve hours of additional workshop time per week) |
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Silkscreen is the ideal printmaking medium for those who enjoy experimentation and a variety of approaches to art. It is especially suitable for multi-color work.
Water-based inks can be used on paper, fabric, canvas, and metal to create infinite colors, textures, and images. The course covers photo techniques, stencils, and drawing directly on the screen, and includes both monoprinting and edition printing. The prints are easy to envision and plan, as they are not reversed images. Limited to six students.
Margaret Nussbaum is a silkscreen printer, lithographer, and painter. She has exhibited her work in group shows throughout New York State, most recently in a two-person show at the Garrison Art Center. She is a founding member of MGC. |
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Japanese Woodblock
February 25 - April 15
Thursdays, 6:30-9:30 pm
Eight weeks,
$350
Instructor: Takuji Hamanaka
(includes twelve hours of additional workshop time per week and $20 materials fee) |
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Learn the basic techniques in the Japanese tradition of woodblock printmaking with water-based inks. This tradition is associated with the extraordinary lessons of design and color passed on from the earliest Ukiyo-e masters. All aspects of the process will be introduced: proper care and use of the carving tools, preparing and carving the wood blocks, and hand printing using the baren. Japanese papers, water-based pigments, and color registration are also covered in this class. Limited to six students.
Takuji Hamanaka is a printmaker and painter. He has been trained as a traditional Japanese woodblock printer and worked for different studios in Japan and in the U.S. |
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Mezzotint:
From Dark to Light
January 31 - February 14
Sundays, 1:30 - 5:30
Three weeks,
$250
(includes a $45 materials fee)
Instructor: Frederick Mershimer
(includes twelve hours of additional workshop time during the week following the class) |
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Mezzotint is a non-toxic print medium known for its rich blacks and subtle gradations of tone. With only three tools – a rocker, scraper, and burnisher – mezzotint plates can be created at home without acids. Mezzotint is a subtractive process in which a subtle chiaroscuro image is brought to light from a black field. This technique is one of the most direct forms of printmaking: the artist’s hand creates the image on the plate, as if drawing with a white pencil on black paper. The students will learn how to prepare a mezzotint ground with a rocker, use of a scraper and burnisher to create the image, and inking techniques. In addition, a pre-rocked plate will be provided. For the first session, students should bring a small scraper and burnisher and several ideas they would like to work on. Chiaroscuro images, with strong darks and bright highlights,
are especially suited to the process. Limited to eight 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. |
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Monotype Intensive
February 27 - March 13
Saturday, 10:30 - 4:30,
Three weeks
$300
Instructor: Joseph Osina
(includes studio use from
4:30-6:00 plus twelve hours of additional workshop time during the week following the class)
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Monotype combines the spontaneity of painting with the distinct qualities of a print. Works are developed on re-usable Plexiglas plates, employing a wide range of materials; including brushes, rollers, and stencils. In this intensive class both the additive and subtractive methods of image making will be presented. Also covered will be multiple-printing techniques that use simple registration methods, and the "ghost" print. Both oil-based and water-based inks and water-based crayons will be used. No previous printmaking experience is necessary. Limited to eight students.
Joseph Osina is a printmaker, book artist and conservator. His prints and artist’s books have been exhibited in Europe and in the U.S. and are included in the collection of the Metropolitan Museum of Art. He is a founding member of MGC. |
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Glassprints, Gum Prints & Chemigrams
April 11 & 18
Sundays, 10:30 - 4:30
Two weeks,
(includes a $40 materials fee)
$245
Instructor: Douglas Collins
(includes twelve hours of additional workshop time during the week following the class) |
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Glassprints are extraordinarily expressive, producing gradations of tone. Glassprint plates are created on acetate instead of glass, and the printing stage occurs in a darkroom. They are also amazingly forgiving: mistakes are just wiped off, as with monotypes, and yet the plate itself
can be preserved for endless editioning. After exploring black-and-white glassprints, we will learn to color our prints with pigments, using a
simplified gum-bichromate process. Finally, we will learn how to
manipulate darkroom chemicals to produce colored glassprints using no pigments at all. Bring markers, paints, or other drawing materials, and drawings (no larger than 8x11 inches). No prior experience necessary. Limited to five students
Douglas Collins is a painter and printmaker. He has worked as a
photographer, urban designer, oceanographer, and instructor in physics. He is an award-winning art filmmaker. His work was called “dazzling” by Life magazine.
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