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2008
Printmaking Workshops |
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| Cross
Pollination: Monoprint and Encaustic |
 Laura
Moriarty Cynthia
Winika |
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Join WSW in collaboration with
R&F Handmade Paints as we work
with two of the most sensual two-dimensional
art mediums. The first two days
of this class will be held at WSW,
where we will cover basic painterly
monoprinting, stencil, and transfer
methods, emphasizing a quick and
free pace of working, and experimentation
with a wide variety of printing
papers. We will consider these
printed elements as "potentials" – items
that we may combine, layer and
compose to create images using
hot wax at R&F Handmade Paints,
the last two days.
At R&F Handmade Paints we will
learn various ways to work with hot
wax beginning with the basics of
traditional encaustic painting, including
an introduction to equipment and
materials, and a thorough discussion
of health and safety issues. Then
we will move on to emphasize experimentation
with a focus on using our printed
elements. Participants will play
with heat, discovering how it affects
surface and texture through collage
and layering with wax, using its
inherent translucency to create works
with incredible richness and depth. |
| July
14 - 17 |
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$650
members ($680 non-members)
Lab fee $25 |
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Top: Fossils of Imagined Territories, (detail), encaustic by Laura Moriarty above:Crazy
Rose,
encaustic, by Cynthia Winika |
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| Variable
Relief Monoprinting and Beyond |
 Kathleen
Sherin |
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| This
class will explore the unique and
expressive nature of monoprint
in combination with layered relief
elements. We will use polystyrene
plates (a thick plastic), as our
base plate, which can easily be
drawn on and scratched into to
create drypoint lines and textural
elements. Thin pieces of polystyrene
will be cut into shapes as collage
elements or stencils,that can be
layered and/or become the basis
for related serial prints. We will
use brayers, brushes and plate
wiping techniques for painterly
elements. Multiple press runs allow
for layering combinations of base
plates and stencils to create complex
images. Included in this workshop
is an extensive exploration of
inks and direct ink manipulation
- use of translucent inks, ink
resists, inclusion of “ghost
layers” and others. |
| July
21 - 25 |
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Untitled, screened
monoprint by Kathleen Sherin |
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| Visible
Language: Letterpress Broadsides |
Kathy
Walkup |
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| Broadsides
can have an urgency, making them
a great vehicle for protest or
for quick publication. Since the
inception of printing, the broadside
form has allowed printers to side-step
conventional publishing norms,
moving the editorial control to
the presses and printers themselves.
In this class we will print broadsides
using the studio letterpresses.
For inspiration we will explore
work from the 20th century European
and Soviet avant garde, the 1970s,
and contemporary broadsides. We
will work with metal and wood type,
photopolymer plates, and linoleum,
and try various simple experimental
printing techniques. Each student
will design and print a broadside
using the Vandercook press, and
the class will produce a collaborative
work on the platen press. Techniques
for editions will be considered.The
class is suitable for all levels
of students; no previous letterpress
experience is necessary. Students
should prepare a poem or other
text, or come with ideas for the
content of their broadsides. |
| July
28 - August 1 |
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Installation, by Kathy
Walkup |
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| Advanced
Intaglio |
Shelley
Thorstensen |
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This intensive workshop is designed
for printmakers for whom etching
is their primary print medium or
for artists working in other print,
painting or drawing mediums. Using
your current work and ideas as
a catalyst, Shelley will help you
discover what aspects of your prints
are unique to you and how to explore
and expand your vision. Shelley
will begin the workshop with a
series of demonstrations and sessions
to spark ways of thinking about
making etchings. Students will
work one on one with Shelley, looking
at current and past work (that
may include recent prints and drawings,
ideas, sketchbooks, digital images,
slides – whatever is comfortable
for you) and discussing what you
would like to accomplish. Students
may re-examine ways of using color
and printing, such as stencils
a la poupe, chine colle, viscosity,
multiple plates, relief, collage,
digital media, paper lithography,
photocopy transfer and registration
techniques. Other considerations
could involve the re-thinking of
issues such as content, scale,
series, multiplicity, format, paper
choice, available matrices and
how to successfully convey your
vision.
The purpose of this class is to activate
and accelerate your individual artistic
development and generate momentum
in all of your art making practices. |
| August
4 - 8 |
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Top: Echo, Above:Transit,
both intaglio, lithograph, chine colle
and digital tools by Shelley Thorstensen |
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Everything you ever wanted
to know about screenprinting (or
at least what we can squeeze
into five days)
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Kyla
Leudtke |
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| This
course is far more than a mere
introduction to screenprinting.
In it, students will learn the
screenprinting process from start
to finish. Demonstrations include
screen stretching, screen coating
for photo techniques, stencil making,
screen drawing to create images
directly on the screen, multiple
color printing, registration techniques
monoprinting, textile printing,
and yes (sigh) screen cleaning.
Whether you are looking to start
your own screenprinting studio,
or just want to have some fun,
this course will above all be interest
oriented, with a focus on enabling
each participant to realize their
individual creative goals for the
course. |
| August
11 - 15 |
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Gun
Chick Echo, screenprint, by Kyla Luedtke |
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The Photographer's Artists'
Book
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Nicole
Dul Olivia
Antsis |
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| In
this workshop artists will learn
how to use their photographs and
other photo-based media to create
compelling visual narratives in
the form of the handbound, artist's
book. To integrate photo-based
imagery into an artist's book,
it is imperative to know different
methods of transferring photographs
onto suitable printmaking papers.
Participants will learn several
photo-transfer printmaking techniques,
such as solar plate etching, paper
lithography, Image-on and Xerox
transfer. In addition, participants
will learn the following book structures:
pamphlet folds, accordion, concertina,
and various sculptural bindings.
In learning these structures, students
will understand the fundamental
techniques necessary to create
their own artists' books. Additionally,
each participant is asked to bring
a portfolio of potential imagery
(either on CD or printed out) to
the first day of class. Images
should relate in some way and work
well on both an aesthetic and conceptual
level. Instructors will guide participants
through the creative process and
assist them in choosing the appropriate
methods for executing their vision.
Concept and content will be examined
through discussion and critique. |
| August
11 - 15 |
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top:Tracks, photo print by Nicole Dul, bottom: Kairos,
2005 cyanotype and vandyke printed artists' book by Olivia Antsis |
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Charcoal Fish, screened monoprint by Roni
Henning
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| Cross
Pollination: Trace Monoprints,
Paper Lithography and Encaustic |
 Tatana
Kellner  Laura
Moriarty |
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WSW is working in collaboration
with R&F Handmade Paints in
this workshop experimenting with
two contemporary mediums. The first
two days of this class will be
held at WSW, where we will create
printed elements using a combination
of trace monoprinting and photocopy
gum transfers. The first day will
be spent learning the very direct
trace monoprint process, which
offers the spontaneity of a drawn
line with the richness and unpredictability
of the printmaking process. This
is a very low tech process that
does not require a press. The various
inks and papers suitable for this
process will be will be discussed.
The second day will be devoted
to paper lithography, a non-toxic
transfer process from either photographic
or drawn imagery. Quick and free
pace of image development will
be emphasized. We will consider
these elements as "potentials" – images
that we may combine, layer and
compose to create narratives.
The last two days of the workshop
will be held at R&F Handmade
Paints. This segment presents the
basics of traditional encaustic
painting, including an introduction
to equiptment and materials, and
a thorough discussion of health
and safety issues. Then we will
move on to emphasize experimentation
with a focus on using the printed
elements. We will construct images
to be further developed with hot
wax. Participants will learn to
work with heat, discovering how
it affects surface and texture,
and learn how to collage and layer
with wax, using its inherent translucency
to create works with incredible
richness and depth. Minimal approaches
to wax, such as simple dipping,
will also be explored.
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| August
18-21 |
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$650
members ($680 non-members)
Lab fee $25 |
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Top:A Perfect World for
Manganese Blue, encaustic
by Laura Moriarty above:Compulsion,
trace monoprint by Tatana Kellner |
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