NonToxic Workshops 2010 SEARCH THE SITE
SCROLL DOWN OR CLICK ON THE LINKS FOR WORKSHOP DETAILS
SQUEEGEEVILLE
HENRIK BOEGH INTERNATIONAL WORKSHOPS
CLICK CALENDAR FOR AN OVERVIEW OF All PRINTMAKING WORKSHOPS & EVENTS
..........................................................................................................................................
Each year, Squeegeeville Studio presents training courses and workshops to fit the needs of people who want to learn more
March 13 & 14 Special Gigposter Screenprinting Workshop at Coronado Studio, Austin, TX
This is a remote squeegeeville course led by Andy MacDougall focusing on screenprinting rock posters in a well equipped studio. You will walk out with a complete multicolor print run under your arm and a newfound confidence in your printing abilities along with a bagful of new tricks. A unique opportunity and limited enrollment. All materials supplied. Some previous knowledge required. For more information or to sign up, contact James (james@serieproject.org) or the Staff at Coronado Studio on 512-385-3591.
March 18-19-20 Flatstock 24 at SXSW - Live printing demos, main floor, Austin Convention Center
Squeegeeville, Coronado Studio, and the American Poster Institute will be continuously printing posters featuring the art of some of the best poster artists working today. Flatstock 24 is the world’s premier rock poster show, taking place at the centre of the musical world (at least during this week), the SXSW Music conference. 1900 registered bands performing around the clock in Austin. Good friends, Beer, BBQ, and Music – does it get any better than this?
March 26 & 27 SGC Conference Vendor’s Fair, Philadelphia, PA
We won’t be printing but will have the TMI Screenprinting booth there, showing off our equipment and the book Screenprinting Today, The Basics. Come by and say ‘Hi’, and let’s talk about how we can help make your screenprinting department at university or college better, more modern, and more in tune with what today’s students want to do with screenprinting.
Intro to Screenprinting, Royston, BC
Small group courses will be held on the following dates:
April 17 & 18,
May 15 & 16
June 12 & 13
July 24 & 25
August 21 & 22
September 18 & 19
Sept 4, 5 & 6 Flatstock 26 at Bumbershoot, Seattle WA - Live printing demos, Fisher Pavilion
Bumbershoot is the ultimate music and arts festival, and Flatstock 26 will showcase the best artists working in today’s rock poster scene. Sponsored by the API and featuring the work of member artists, drop by the Squeegeeville poster printing demos and see how it’s done.
October 13, 14, 15 Specialty Graphic Imaging Association Show, Las Vegas, NV
All dates tentative and subject to cancellation if we don’t get enough people to sign up. Remember, if you and your friends want to create your own course, we can set that up – midweek or yearound. just call the number below.
For inquiries and to register contact Andy MacDougall andy@squeegeeville.com or telephone 250-334-2598.
..........................................................................................................................................
Zea Mays Printmaking offer a wide range of workshops for all levels, taught by experts in the field. Unless otherwise noted, workshops are for all levels. All workshop fees include materials. Lunch is delivered to the studio and we'll usually make a pot of espresso in the afternoons! Scroll down for full descriptions of the following workshops.
- Drawing Into Etching
- Viscosity Monotype and Transfer Drawing
- Painterly Monotypes with Mixed Media
- Chine Collé Intensive
- Mezzotint: Engraving Light out of Darkness
- Spit Bite Aquatint
Drawing Into Etching
with Mark Zunino
January 9/10, 10-5
$275
Although there are an incredibly wide variety of techniques under the ‘umbrella’ process of Etching, it remains, primarily, a drawing medium, and this workshop will focus on that approach. Participating artists will develop their plate using soft- ground, hard-ground and aquatint to develop a tonally rich yet dynamically spontaneous image. Drawing freely through several states of soft-ground, and using a variety of timed etches, participants will begin to create an overall composition. The image will be refined by using reductive techniques such as burnishing and scraping, and by several applications of aquatint. Lastly the print is further developed with hard-ground to create sharp edges and specific details. An artist need only bring their love and passion for drawing to this workshop, to discover how subtle yet bold, precise yet broad, and tonal yet graphic a drawing medium Etching can really be. All levels are welcome and all differing drawing approaches are encouraged!
Mark Zunino is a Printmaker/Painter who teaches drawing, painting and printmaking at the Loomis Caffe School in Windsor, CT. Mark was the Technical Assistant for the Smith College Studio Art Department for five years. He received his BFA from the University of Hartford's Hartford Art School, where he served on the adjunct faculty teaching Printmaking and drawing for two years, and his MFA in Printmaking from the University of Massachusetts.
Mark has exhibited his prints and paintings in many national exhibitions and is currently represented by Sherry French Gallery in New York City and Wm. Baczek Fine Arts Gallery in Northampton MA. Mark is an innovator in his field and has presented printmaking demonstrations at the Southern Graphics Council, Tamarind Institute of Lithography, and Hartford Art School.
Viscosity Monotype and Transfer Drawing
with Joyce Silverstone
January 23, 10-5
$130
We will spend one day discovering the atmospheric painterly qualities of viscosity rolls and the immediacy of transfer drawn lines. We will have the presses at Zea Mays to extend the range of possibilities, but this could all be done in a home studio without a press. Participants will take their viscosity prints through several states, to create a series of related prints throughout the day.
We will be layering plates and working directly into prints with simple transfer drawing techniques. Using water-based inks for their luminous colors, and oil paint to achieve crisp linear marks, we will explore bringing these two simple printing methods together.
Joyce Silverstone studied painting and printmaking at the School of the Museum of Fine Arts Boston. She was a traveling Scholar and showed her work in NYC and Boston, collected by MIT and the De Cordova Museum. Joyce has been exploring ways of blending printing and painting for 30 years. She has taught image development and printing at Guild Studio School and Snowfarm in Williamsburg, MA. Joyce is a certified Rosen Method Bodywork Practitioner and teaches creative process to students of meditation and self awareness.
Painterly Monotypes with Mixed Media
with Lynn Peterfreund
February 13/14, 10-5
$275
One of a kind prints offer the artist many ways of creating images that combine basic printmaking techniques with more familiar drawing and painting skills. In this workshop, we’ll use oil based inks and a variety of tools to create prints by rolling out ink, adding and removing it for marks and textures, and by using stencils and trace methods. Besides learning how to layer prints to achieve complex value and color relationships, we’ll explore ways of integrating pastels and drawing inks directly onto the print. Participants can be new to or already skilled in printmaking as the emphasis in this class will be on how to work in an improvisational way to develop images that come from drawing, photos or the imagination.
Lynn Peterfreund has been working as a painter, printmaker and art educator since receiving her MFA in 1980 from Pratt Institute. Her work reflects her interests in both representational and abstract art. Her most recent bodies of work are monotypes and monoprints that employ a vocabulary of forms based on years of working from observation of nature, still life and the figure. The prints emphasize color, composition and personal interpretations of forms and the landscape. Lynn has taught at a variety of institutions over the past thirty years. Her work is included in hundreds of private and corporate collections. Her mural work can be seen in hospitals, schools, bookstores, museums, and homes in western Massachusetts and beyond. http://www.peterfreund.com/lynn/
Chine Collé Intensive
with Louise Kohrman
March 13/14, 10-6
$275
Chine collé is the process of concurrently printing and mounting a thinner sheet of printing paper onto a thicker backing sheet in order to achieve a luminous printing surface. Gain insight into this process through demonstrations and individual work with the instructor. We will learn how to cook and prepare the wheat paste adhesive, various application methods, dampening techniques, plate and press preparation, printing methods and corrections after printing. We will experiment with the different papers and less traditional techniques such as collage. Some printing experience is recommended. Everyone is asked to bring at least one pre-worked plate to class.
Louise Kohrman is an artist and printmaker. She was born in Copenhagen, Denmark and currently lives in Shelburne Falls, MA. She received her MFA in Printmaking from The Rhode Island School of Design, her BA in studio art at Smith College and has completed a printmaking and book arts program in Italy through the University of Georgia. Louise interned at Zea Mays Printmaking as a studio assistant and worked as a printer at Wingate Studio in New Hampshire. She has taught various printmaking classes and workshops at RISD, The Center for Contemporary Printmaking (CT), The Printed Page (RI), and Zea Mays Printmaking (MA). Her work has been exhibited nationally, including group exhibitions at the New Bedford Art Museum (MA), The Lancaster Art Museum (PA), The RISD Art Museum (RI), The International Print Center New York, and Copley Society of Art in Boston, MA. http://www.louisekohrman.com/
Mezzotint: Engraving Light out of Darkness
with Carol Wax
April 10/11, 10-5
$275
The focus of this two-day workshop is mezzotint engraving, a method for engraving luminous prints with rich tones and dramatic lighting effects without the use of acids or other toxic substances. It’s the drypoint equivalent of drawing by blackening a white sheet of paper with charcoal and erasing the image areas. In mezzotint, a “rocker” tool churns a copper plate into a black background on which images are drawn with scrapers, burnishers, and various polishing materials. Traditional mezzotint methods presented include the most efficient way to prepare a mezzotint ground, proper care and handling of tools, image-making and printing techniques. Mezzotint accommodates all artistic styles; one-on-one instruction addresses use of mezzotint and related engraving techniques to enhance one’s imagery and overcome common intaglio problems. Mezzotint rockers are supplied. Prior printmaking experience is helpful, but not necessary.
Carol Wax, author of The Mezzotint: History and Technique, is an internationally recognized artist whose award-winning prints are in numerous museum collections including The Metropolitan Museum of Art, The National Museum of American Art, and The Philadelphia Museum of Art. Among the honors she has received are: two Artist Fellowships and a Concordia Career Advancement grant from the New York Foundation for the Arts; The Louise Nevelson Award for Excellence in Printmaking from the American Academy of Arts and Letters; and residencies at the MacDowell Colony and Marie Walsh Sharpe Art Foundation. In addition to mezzotint workshops presented throughout the country, she has been on the faculty at the Rhode Island School of Design, New York University, and The State University of New York at New Paltz.
Spit Bite Aquatint
with Anita Hunt
April 24/25, 10-5
$275
Painterly intaglio! This workshop is an update on the traditional method of spit bite, using acrylic resist in place of rosin for the aquatint. The resist is sprayed on the copper plate with an airbrush then ferric chloride is brushed on, dripped on, or applied with a squeeze bottle to create soft tones and painterly marks. We will explore the many possibilities of this beautiful technique through the use of color, transparency and the overprinting of multiple plates. We will experiment with alternative materials for stopping out the plates prior to etching such as markers, litho crayons, and gouache to attain a greater range of tones and marks. Further development of the plates with scraping and burnishing will also be encouraged. All levels of experience are welcome.
Anita S. Hunt studied art at Antioch College in Yellow Springs, Ohio and at the School of the Museum of Fine Arts, Boston. She has been an active printmaker for more than 25 years, frequently exhibiting her work in museums, university art galleries, and art centers throughout New England, at venues such as the DeCordova Museum and Sculpture Park, the Duxbury Art Complex Museum, Wheaton College, the Danforth Museum of Art, Vermont College, the Attleboro Arts Museum, and the Newport Art Museum. Her prints and artist's books are regularly included in national and international printmaking biennials. Recent exhibits include: 72nd Midyear Exhibit at theButler Institute of American Art, New Prints 2009/Winter and 2007/Winter at IPCNY, New York, La Biennale d’estampe Internationale Contemporaine de Trois-Rivieres in Quebec, Canada (2009, 2007), The Bradley International Print and Drawing Exhibition (2005), The Boston Printmakers North American Print Biennial (2009, 2005, 2003), Parkside National Small Print Exhibition (2007, 2005, 1995), BIMPE International Print Exhibition (2008, 2006), Delta National Small Prints Exhibit (2008, 2004), International Miniature Print Biennial at the Center for Contemporary Printmaking (2005), The Minnesota National Print Biennial (2004), and the Janet Turner Print Museum, among many others.
Anita is a member of the Boston Printmakers and the Past President of the Monotype Guild of New England. Her work is held in dozens of private collections and in the permanent collections of the Portland Museum of Art (Maine), Smith College Museum of Art, Arkansas State University, the DeCordova Museum and Sculpture Park, and the Boston Public Library Print Collection.
CANCELLATION POLICY
If a workshop is cancelled because of low enrollment, your registration will be fully refunded.
If you cancel your registration at least two weeks prior to the workshop, you will receive a refund for the total fee minus 10%.
Cancellations within two weeks of the workshop will result in a refund only if someone is found to fill your space.
Workshop Registration Form [PDF]
www.zeamaysprintmaking.com/workshops.html
..........................................................................................................................................
Director: Regina Held, 3812 Central Avenue SE 100B, Albuquerque, NM 87108, Telephone 505-268-8952 Email: director@newgroundsprintshop.com
- Introduction to Monotype
- Non-toxic Photogravure/Solarplate Etching
- Collagraph
- Advanced Photogravure/Solarplate Etching
- Advanced Monotype
- Advanced Etching
- Relief Printing
Registration: Payment must be made at the time of registration. No refunds will be given if a cancellation occurs less than 96 hours before the class. All major credit cards accepted. Max 8 students per class.
Introduction to Monotype
This liberating medium combines painting and printmaking techniques. In this four day course, students will be introduced to a variety of techniques from basic to experimental, and work with high-quality waterbased Akua-Kolor monotype inks.
Class Dates: Saturdays and Sundays, January 16, 17, 23, 24
Class Time: 9AM - 5PM, includes lunch break
Class Fee: $275.00 + tax, includes all printing materials (paper needs to be purchased separately)
Instructor: Mary Sundstrom, MFA
Non-toxic Photogravure/Solarplate Etching
This four day workshop provides an exciting opportunity to create beautiful limited edition prints using two distinctly different methods. The first results in rich and detailed photographic images, the second is a great alternative to lithography for artists who love to draw!
Class Dates: Saturdays and Sundays, February 6, 7, 13, 14
Class Time: 9AM - 5PM, includes lunch break
Class Fee: $275.00 + tax, includes 2 small plates and all printing materials (additional plates are available)
Instructor: Diane Alire, MFA
Diane Alire, Waiting for Godot, Two plate gravure with chine colle
Collagraph
Translated literally as "collage prints," this medium is for artists who thrive on textures and tactile art-making. Students will use this two day class to construct several different plates and learn a variety of printmaking techniques.
Class Dates: Saturday 20 and Sunday 21, February
Class Time: 9AM - 5PM, includes lunch break
Class Fee: $200.00 + tax, includes most printing materials
Instructor: Tanya Landin, Gallery and Workshop Assistant
Advanced Photogravure/Solarplate Etching
This four day workshop introduces the thrill of color separation to create painterly, rich colored images. Artists can work with photographic images, drawings, or both.
Class Dates: Saturdays and Sundays, March 6,7,13,14
Class Time: 9AM - 5PM, includes lunch break
Class Fee: $275.00 + tax, includes 3 small plates, and all printing materials (additional plates are available)
Instructors: Diane Alire, MFA and Regina Held, MFA.
Jorge Tristani, Gateway to the Sun, Multiple plate gravure
Advanced Monotype
In this four day class, students will work with a variety of layering techniques and mixed media approaches such as chine colle, collage, cut paper, and viscosity printing. Students will work with high-quality waterbased Akua-Kolor intaglio inks. This class is only offered once a year.
Class Dates: Saturdays and Sundays, March 20, 21, 27, 28
Class Time: 9AM - 5PM, includes lunch break
Class Fee: $275.00 + tax, includes all printing materials (paper needs to be purchased separately)
Instructor: Mary Sundstrom, MFA
Mary Sundstrom, Brushstrokes, Monotype and gravure
Advanced Etching
This four day class will present a variety of ways to create color etchings. Methods covered will include multiple plates, viscosity printing, stencils, and precision selective wiping. Open to all etchers with solid knowledge of line etching, aquatint and softground, even if they are not familiar with non-toxic printmaking. There will be a brief review of our non-toxic methods, but the focus will be on going beyond basic techniques to produce multi-color prints. This class is offered once a year.
Class Dates: Saturdays and Sundays, April 10, 11, 17, 18
Class Time: 9AM - 5PM, includes lunch break
Class Fee: $275.00 + tax, includes most materials
Instructor: Ray Maseman, BFA
Pamela DiMauro, Deliver Me From Silence, Etching, Aquatint and Chine Colle
Relief Printing
In relief printing, the image is printed from a raised surface which was produced by cutting away non-image areas. This four day class covers several techniques from basic ones to multi-plate and reduction printing. Artists will work with non-toxic waterbased inks.
Class Dates: Tuesday thru Friday, July 6-9
Class Time: 9AM - 5PM, includes lunch break
Class Fee: $275.00 + tax, includes most printing materials
Instructor: Tanya Landin, Gallery and Workshop Assistant
Tanya Landin, Burning Element, Color Reduction Linoleum Cut
For more information go to www.newgroundsprintshop.com
..........................................................................................................................................
2990 San Pablo Avenue
Berkeley, CA 94702
t
- Japanese Woodblock
- Etching Portfolio - Part III: Advanced: Multiple Color Intaglio
- Printmaking in the Classroom: Part 1: Monoprinting
- Introduction to Screenprinting
- Photogravure
- Independent Projects in Digital Printing
- Letterpress History and Practice
- Large Scale Digital Printing
- Introduction to Linoleum Cut
Japanese Woodblock
with Tomoko Murakami
January 9, 16, 23 Saturdays 10am-4pm
$299 (includes materials)
For artists in home studios without a press, this beautiful, low-tech process may be the perfect solution. This workshop introduces a traditional Japanese woodblock printing process, Ukiyo-E technique. Participants learn to carve the woodblock, use Japanese carving tools, and print with water-based ink on Japanese paper. Participants will cut their own woodblocks and create a small edition of multicolor prints. All levels are welcome. 
Tomoko Murakami is a multi disciplinary artist who explores the medium of printmaking as a multi-dimensional art form, bringing attention to new possibilities in the mixed media art world). She received her MFA in printmaking from San Francisco Art Institute and MA in Transformative Arts from John F. Kennedy University. She is a recipient of the 1992 Kala Art Institute Fellowship and 2008 Susan Boulet Award. Her work has been presented by Gloria Delson Fine Arts in Los Angeles, Gallery on the Rim in San Francisco, Tomura Gallery in Tokyo, Richmond Art Center, and Sebastopol Center for the Arts. Currently, she teaches at CCA, and NIAD Art Center. http://www.mayu-art.com
Etching Portfolio - Part III: Advanced: Multiple Color Intaglio
with Kazuko Watanabe
January 10, 17, 24 Sundays 10am-6pm
Tuition $384 + Materials $90: Total Cost $474
For artists experienced in etching who are ready for the challenge of making multiple plate color etchings. Participants bring a copper, zinc or photopolymer plate (solarplate) that has been previously prepared by any intaglio method - from simple drypoint to photo-etching or complex computer imagery. This plate will serve as the key plate. Then, using a transfer method, two more plates are prepared for the additional colors. Students also learn to develop shades, texture, and gradation. Kazuko demonstrates scraping and sanding techniques to achieve tone adjustment and color blending using three plates. Prior intaglio experience is required. Most techniques covered are nontoxic. Enrollment is limited to 7 students.
Kazuko Watanabe has worked in print media for over twenty years. She has researched and developed three-dimensional prints, print sculpture, the use of intaglio in artist's books and the combination of traditional print media with computer techniques. In 1999, she received the Library Fellows Award from the National Museum of Women in the Arts in Washington, D.C. In 2001, her work was selected for the "Print National" exhibition at the Brooklyn Museum of Art, New York.
Printmaking in the Classroom: Part I: Monoprinting
with Susan Wolf
January 11 & 18 Mondays 6pm-8.30pm
$100 (includes materials) or $225 for Printmaking in the Classroom I & II
Printmaking is a dynamic equalizer that connects with students of every experience level. Printmaking in the Classroom introduces Monotype and Relief printing to teaching artists and classroom teachers who are interested in a quality art making experience for yourself and your students. Model lessons will be presented from multiple entry points demonstrating the ways in which the printing process can be matched with the skill set and age level of your students.
Together we will practice Studio Habits of Mind through the printmaking process so that you will be comfortable sharing it with your students. Particular emphasis will be placed upon energizing your own artistic practice and learning new techniques that will be accessible to your students.
Check out Printmaking in the Classroom Part II: Relief Printing.
Susan Wolf is a printmaker and mixed-media artist currently working as an artist in residence at Kala. Ms. Wolf leads workshops with communities of children and teachers in Emeryville and Berkeley to develop, design, and execute a variety of projects including: murals, mosaic planters, totem poles, banners, and gateways. She recently completed a mural commission for Anna Yates Elementary School in Emeryville entitled What is Community?. AY students developed imagery for this project through a series of printmaking workshops over the past year. Ms. Wolf is a California credentialed K-12 teacher and completed Harvard’s Teaching for Understanding training course.
For more information contact Jamila Dunn, Artists-in-Schools Program Coordinator:
Introduction to Screenprinting
with Ben Venom
January 16-17 Saturday-Sunday 10am-5pm
Tuition $224 Materials $75 Total Cost $299
This course is designed to give you a comprehensive knowledge of the screen-printing process through hands on demonstrations, lectures, and group discussions. The course will cover digital separations in Photoshop, working with photo-emulsion, and paper and fabric printing techniques. Students are encouraged to develop and complete individual projects throughout the workshop. The first half of the workshop will focus on multi-color editions on paper using water-based inks. After working with paper, participants may explore printing onto fabric.
Students should have some experience with Adobe Photoshop. Enrollment is limited to 6 students.
Ben Venom graduated from the San Francisco Art Institute in 2007 with a Master of Fine Arts. He was the recipient of an emerging artists scholarship at Anderson Ranch Art Center in 2007. His work has been shown both nationally and internationally, including Neurotitan Gallery (Berlin, Germany), Eye Level Art , Compound Gallery, Youngblood, Mina Dresden, and 5 Points Arthouse. Recent projects include the design and construction of a 6’x9’ hand-made quilt from vintage Heavy Metal t-shirts. He is currently teaching classes in Printmaking at the San Francisco Art Institute and Root Division.
Photogravure
with Unai San Martin
January 18-22 Monday-Friday 10am-5pm
Tuition $525 Materials $75 Total Cost $600
Photogravure, an intaglio process developed between 1850 and 1880, was one of the first successful techniques for editioning photographic images. Its tonal and archival qualities are so superb that even after it had been supplanted by more commercially viable processes in the early 20th century, photographers such as Alfred Stieglitz, Edward Curtis, and Paul Strand selected it to edition some of their most important works. Fine art presses and book publishers still use the process today. This 5-day intensive workshop covers the process from original photograph to printed plate. Prior knowledge of printmaking and photography is very helpful. Enrollment is limited to 5 students.
Unai San Martin has won several prestigious awards for his evocative and subtle photogravures, including the Joan Miro and Sotheby's first prize, and the first prize in the National Printmaking Competition in Madrid. His work is in more than 20 museums and collections in Europe and the United States, such as the Santa Barbara Museum of Art and the di Rosa Collection. He has taught workshops on the photogravure process both locally and in Europe.
Independent Projects in Digital Printing
with Eric Sanchez
January 23-24 Saturday-Sunday 10am-5pm
Tuition $224 + materials
A wonderful opportunity to work independently on personal projects using Kala's various scanners, including the Imacon film scanner, and our wide format digital printers ranging from 24 to 54" wide, with supervision from a digital print master. Prerequisite is Large Scale Digital Printing or similar experience. Enrollment is limited to 5 students.
Eric Sanchez is a Bay Area artist working in photography, digital printing, sculpture, installation, and drawing. His work, mapping the intersection of science, technology, entertainment and celebrity, has been exhibited locally and nationally. He received his MFA from San Francisco State University and BFA from CSU Hayward. http://www.epsanchez.com
Letterpress History and Practice
with Nick Hurd
February 6-7, 13, 20, 27 Saturdays and one Sunday 10am-5pm
Tuition $525 Materials $110 Total Cost $635
This course is an in-depth introduction to the world of letterpress. Students will learn to use a Vandercook Proof Press in a variety of ways. We will explore three different methods of letterpress printing: typesetting, relief carving and printing digital images from photopolymer plates. Students will be able to see the evolution of this form of printing and the diversity of images and text that can be created by letterpress. The goal is to get students comfortable enough with using this equipment that they may be able to print on their own.
Enrollment is limited to 7 students.
Nick Hurd, a Berkeley native, received his BFA in printmaking from San Francisco Art Institute. He has worked as a professional letterpress printer at Hello Lucky in San Francisco, and is currently an artist-in-residence at Kala Art Institute.
Large Scale Digital Printing
with Eric Sanchez
February 20-21, 27 Saturday-Sunday-Saturdays 10am-5pm
$315 + materials
This course is designed for artists looking at all the options available through digital printing. Topics covered include, but are not limited to: scanning your original negatives, transparencies, original prints, and objects; analog/digital manipulation; color spaces and profiles; paper selection; display options; and mixed media applications. Workflow for importing, digital manipulation, and printing will be individualized according to the participants' needs. Basic knowledge of Macintosh and Photoshop is required. Materials fee to be paid at end of class, depending on amount printed. Enrollment is limited to 5 students.
Eric Sanchez is a Bay Area artist working in photography, digital printing, sculpture, installation, and drawing. His work, mapping the intersection of science, technology, entertainment and celebrity, has been exhibited locally and nationally. He received his MFA from San Francisco State University and BFA from CSU Hayward. http://epsanchez.com/
Introduction to Linoleum Cut
with Emmanuel Montoya
February 21, 28, March 7 Sundays 10am-4pm
$299 (includes materials)
Master printer Emmanuel Montoya will lead this two day workshop. Linoleum relief printing (linocut) follows the same basic principles as woodcut, but in a more accessible and easily carved medium. Because linoleum lacks the grain characteristic of wood, subtler effects and more precise lines can be attained. Linocut is often used as an introduction to relief printing methods. Artists such as Picasso and Matisse, however, were among the first to show that linoleum is a versatile and evocative medium in its own right. Students will work on two linoleum blocks to create their images in traditional relief style. Enrollment is limited to 8 students
Emmanuel Montoya, a master printer with the wood and linoleum block, has been teaching for over 25 years. He has been practicing his craft in the Bay Area as an artist for over 35 years. The tradition of contemporary Latin American and Mexican printmakers are his inspiration and one of his influences.
..........................................................................................................................................
2862 NW Market Street
Seattle, WA 98107
t 206-782-2415
- Linoleum Block Printing
- Beginner's Bootcamp
- Monotype
- Continuing Moku Hanga: Traditional Japanese Waterbased Woodcuts
- Silkscreen Printing
- Special Topics in Printmaking: Reinterpreting the Print
Linoleum Block Printing
Instructor: Theresa Neinas
$220 + $10 supply fee - both fees due with registration
($245 + $10 supply fee after Tuesday January 12th, 5pm)
Dates: Tuesdays, January 19 and 26, February 2 and 9
Times: 6pm – 10pm
Learn to safely use linoleum cutting tools and barrens (traditional hand printing tools) to get the results you want. This class will emphasize low toxicity methods, introducing multiple colors to a block working with registration and how to adapt this process at home, printing by hand.
A wonderful beginner’s class or great for returning students to focus on technique development and troubleshooting.
Beginner's Bootcamp: A Survey of Printmaking
Instructor: Kelda Martensen
$275+ $10 supply fee - both fees due with registration
($295 + $10 after Wednesday, January 13th, 5pm)
Dates: Wednesdays, January 20 and 27, February 3, 10, and 17
Times: 6pm-10pm
This class is an introduction to multiple print processes including Intaglio (drypoint, etching, collagraph), Monotype, and Relief (linoleum carving). It will cover both the basics of printmaking (paper and plate preparation, registration, press handling), and the basics of each technique. The goal of this course is to introduce students to the discipline of printmaking and to the rich set of vocabulary and skills needed to create within the medium.
This is a great survey course for artists to discover which printmaking technique(s) suit them best.
Beginning to intermediate students. No experience necessary.
Monotype
Instructor: Kappy Trigg
$165 + $10 supply fee - both fees due with registration
($190 + $10 after Friday January 15, 5pm)
Date: Sundays, January 24 and 31, and February 7
Times: 11am – 3pm
Starting with black & white and simple additive / subtractive techniques, this class will focus on color mixing, stenciling, trace monotype, collage and layering techniques. Use of acrylic plates, inks some tools and brushes included.
Beginner and intermediate students welcome.
Starting in February 2010:
Continuing Moku Hanga: Traditional Japanese Waterbased Woodcuts
Instructor: Francesca Lohmann
$220 + $10 supply fee - both fees due with registration
($245 + $10 after Monday, February 8, 5pm)
Dates: Mondays, February 15 and 22, March 1 and 8
Times: 6pm - 10pm
This class will focus on creating a single edition of 16” x 20” prints using the Japanese style of woodblock printing called Moku Hanga. We will discuss each student’s preliminary design, continue by making color studies, carving, and printing the image. Along with focusing on printing a consistent edition of at least 10 prints there will also be a demonstration on how to make a 16 x 20 portfolio box for storing the finished editions.
This class is intended for those who have some previous familiarity with the medium, but is also open to dedicated beginners.
Silkscreen Printing
Instructor: Michael McGovern
$220 + $15 supply fee - both fees due with registration
($245 + $15 supply fee after Friday, February 12, 5pm)
$30 optional screen rental ($20 refund upon return of screen in same condition as received)
Dates: Saturdays, February 20 and 27, March 6 and 13
Times: 10am – 2pm
With the process of screen-printing we will be able to create images through transparencies and stencils using both hand drawn and photographic images. This class will cover creating images, coating and burning screens, and basic registration as well as the printing of imagery. In this class we will also explore using multiple color techniques and the application of screen-printing in creating mono-prints and working with alternative surfaces.
No experience needed, great for returning students to focus on technique development and troubleshooting.
Special Topics in Printmaking: Reinterpreting the Print
Instructor: Kelda Martensen
$220 + $10 supply fee - both fees due with registration
($245 + $10 supply fee after Wednesday, Feb. 17th, 5pm)
Dates: Wednesdays, February 24, March 3, 10 and 17
Times: 6pm – 10pm
This course investigates the contemporary practice of using the print as a sculptural, ephemeral and malleable form. The goal of this course is that you will gain exposure to a number of exciting 20th and 21st century artists, and take away a new level of understanding and technical skill in working with the print. There will be demonstrations on woodblock, monotype, Xerox transfers and chine colle methods in addition to demos on ways to re-configure the print through cut paper, color and collage. This course will encourage risk taking and responding to contemporary and local issues while working on your own collages and prints.
No experience necessary, we only ask that you are self-motivated, curious and willing to learn new ways of working and thinking about the creative process.
REGISTRATION
Register by phone ( 206-782-2415 206-782-2415) with a VISA or M/C card, or by mailing a check and
registration form to:Sev Shoon Arts Center, 2862 NW Market Street, Seattle, WA 98107.
Discounts: (*ONE only please) $25 discount! Register for multiple classes: each additional class is discounted! $25 discount! Have a friend register with you (at full price). PLEASE INCLUDE YOUR SUPPLIES FEES IN PAYMENT!
Registration Date: Registration after dates mentioned above will incur an additional $25 fee (as noted above). To benefit from the discounted rate, we must receive your registration a week prior to class start. If the class is on a weekend, the cut-off date is the Friday a week before your class.
Cancellation Policy: Due to limited class size and our desire to optimize your time with your instructor: No portion of class fee will be refunded or applied to another class if cancellation occurs less than two weeks before class starts. If a cancellation occurs two weeks or more before class starts, a $30 registration fee will be charged.
Friday evenings, Free studio access: Students enrolled in classes during the current quarter get additional studio access on Fridays,
6-10pm, starting Friday January 29 through Friday March 20. Friday evening studio access does not apply to one and two day workshops. All of the students personal materials must be removed no later than Friday 10pm March 20. Sev Shoon Arts Center is not responsible for materials left on the premises.
__________________
Sev Shoon Arts Center
The Center for Aspiring and Experienced Artists
2862 NW Market St
Seattle, WA 98107
206.782.2415 206.782.2415
www.sevshoon.com
..........................................................................................................................................
Akua Waterbased Inks
Contact: Don Messec
phone: 505-820-7875
email: makingartsafely@mac.com
Visit: www.makingartsafely.com
..........................................................................................................................................
Henrik Boegh International Workshops - Non-Toxic Intaglio
CAPILEIRA, Spain
Instructor: Henrik Boegh
2010 Workshop Dates:
3rd July - 11th July
31st July - 8th August
Each workshop lasts 7 days, 9 am to 5pm.
The printmaking course is held in the lovely Andalucían mountain town of Capileira, in the Sierra Nevada mountains, 1600 metres above sea level. The ancient Moorish town with its white houses, flat roofs and cairn-like chimneys is a true architectural gem and the Sierra Nevada mountains themselves are designated as an area of outstanding natural beauty. Just below Capileira, the cold, clear melt water from the mountains forms the rushing streams of the Río Poqueira. In these surroundings, the printmaker Henrik Boegh and the painter Aase Hoejer have created studios in a 500-year-old Moorish house with adjoining orchard. For the past 20 years, the studios and workshops have provided the setting for summer courses in painting, photography – and more recently, printmaking. The setting provides a breathtaking abundance of artistic subjects. Free access to wireless network is available.
THE CONTENTS OF THE WORKSHOP
Each seven-day course teaches all the techniques used in the non-toxic acrylic etching system as well as all techniques with photopolymer film - combinations with monotype, carborumdum etc. The non-toxic acrylic etching system includes: Liquid Hard Ground, Roll-on Hard Ground, Roll-on Soft Ground, Spray-on Aquatint, Lift Ground and Direct Washings. The photopolymer techniques include: washing techniques, different uses of photocopies for etchings, digitally generated stencils, photopolymer gravure with one or two layers of photopolymer film, and genuine photogravure (etched with photopolymer film used as resist). Finally you learn to generate "the perfect positive" digitally in Photoshop for etched- and non-etched copper plates. In addition, students will be able to work with other and more advanced techniques such as combinations of photopolymer gravure and acrylic etching grounds (aquatint, hard ground, etc.), waterbased monotypes etc.
During the workshop the participants will become completely familiarised with the different techniques and hence be able to make in-depth experiments with personal favourites.
For more information visit: http://www.grafiskeksperimentarium.dk/en/Workshops.html
..........................................................................................................................................
SCREWBALL ACADEMY
Since 1991, Steve Walters (under the moniker Screwball Press) has been printing posters, CD packaging, and a variety of other collectible items for Chicago's indie rock community. Over the years, he has had the opportunity to train and/or work with some of his favorite local artists including Bob Hartzell, Kristen Thiele, Jay Ryan, Mike Benedetto, Keith Herzik, and Jason Frederick. Around 2000, Steve looked back on ten years of work and realized that working with these people was the single most satisfying aspect of Screwball Press. So he began to implement the Screwball Academy based on the extension of the Minutemen's "band in every garage" credo. Steve wanted to see a printer in every band.
At present, Steve has taught 36 people over the past 18 months, most of whom still use the facilities to print personal projects as well as a few who run their own printing businesses.
THE DEAL
Screenprinting is a physical, hands-on process and so is the course. Students come in with a piece (or 2) of black and white line art and leave with up to 50 3-color, 11"x17" prints that they produced themselves. This can be done in a single 6-8 hour session or can be broken up into two shorter sessions. After that, you are free to come back whenever you want to use the facilities.
To schedule a class, email Steve at steve@screwballpress.com
..........................................................................................................................................
Workshop: Photopolymer Gravure and Precision Digital Positives
With Paul Taylor of Renaissance Press and Mark Nelson of Precision Digital Negatives
March 13, 14, 15 2010
Traditional copper plate photogravure has long been recognized as a printmaking medium that produces beautiful, rich prints prized for their unique tonalities, textures, and depth. In recent years some printmakers have been working with photopolymer plates that are directly exposed with UV light, developed in water, and inked and printed much like copper plates to achieve similar results in the intaglio printing of photographs and drawings. This will be a first of its kind workshop presented by two masters of printmaking, Paul Taylor and Mark Nelson, each offering students their specialized expertise in various aspects of this process.
Paul Taylor is a Master Photogravure Plate Maker, Printer and Director of Renaissance Press. Paul's work with early photographic process spans over 30 years of intensive work and study. He is the founder of The Rhode Island School of Design Press and has been teaching photogravure at RISD since 1993. Renaissance Press Prints are collected by museums internationally. Artists published or produced at Renaissance include: Duane Michals, Robert Mapplethorpe, Joel Peter Witkin, Linda Connor, Robert Adams, Aaron Siskind, Roy DeCarava, Tom Baril, and many others.
Mark Nelson is the author of Precision Digital Negatives for Silver and Other Alternative Photographic Processes. He is a photographer and Master Printer with the beautiful Platinum & Palladium Process. He has writing articles for books and magazines and has taught his method of printing with digital negatives to hundreds of photographers, including Dick Arentz, Sam Wang, Christina Anderson, David Michael Kennedy, Josephine Sacabo, Beth Moon, and Brigitte Carnochan. Mark has now adapted his unique Precision Digital Negatives System to craft positives for both traditional copper plate photogravure and for the photopolymer plate gravure method.
Mark will cover the plate making process using the double exposure method, first exposing the plate to an aquatint screen and then exposing the plate with a film positive generated from and inkjet printer. This unique approach to the double exposure method for creating photopolymer plates has been developed by Mark Nelson using his Precision Digital Negatives System. Students will learn this simple three-step method of plate exposure and calibration that produces exact exposure times for aquatint and positive, the proper density for the inkjet positive and a Photoshop adjustment curve that properly adjusts the tonal scale of the final print image. This approach produces plates with incredibly long tonal range, sharp detail, and very smooth prints. This method produces highly predictable results—no need to continue to struggle with how to properly expose photopolymer plates! Just wait until you see what these plates can really do!
Paul will cover the printmaking process. This will include inks, ink preparation and conditioning, applying ink to the plate and wiping the plate. Paul will also cover printmaking papers, preparing the paper for printing and how to finish prints. Students will learn about adjusting presses and blankets and a variety of unique printing methods including, chine colle, oil rolls, tissue printing, and print varnishing.
Prospective students must have a reasonable understanding of Photoshop to participate. Platemaking or printmaking experience is not required. Images do not have to be of photographic origin. Students will be asked to bring Photoshop files of images or drawings and a laptop. A thumb drive for transferring images is also recommended.
Workshop Location: Renaissance Press, 2 Ashuelot Main Street. Ashuelot, New Hampshire. Housed in a remodeled 19th century barn on the bank of the Ashuelot River, Renaissance Press provides a beautiful setting for students to learn this exciting process.
Workshop Fee: $700 (20% discount for university students)
Lab Fee: $75
Advance Deposit: $200 (non-refundable—can be made by PayPal to assure your spot in the workshop)
Lodging: Lodging is conveniently located in the beautiful setting of nearby Brattleboro, Vermont. For a listing of available lodging, see: http://www.brattleborochamber.org/visit/lodge.php
