|
|
|
|
 |
2009
Printmaking Workshops |
 |
|
|
 |
| Cross
Pollination: Trace Monoprints,
Paper Lithography and Encaustic |
 Tatana
Kellner  Cynthia
Winika |
 |
WSW
will work in collaboration with
R&F Handmade Paints in this
5 day workshop to experiment with
two exciting contemporary mediums.
The first three 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. Time
at WSW will be spent learning the
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 discussed. Students will also
learn lithography at WSW, 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 in
Kingston. This segment presents 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 the printed elements. We will construct images to
be further developed with hot wax. Participants will learn to use heat to manipulate
the material. They will discover 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 techniques, will also be explored. |
| July
6 - 10 |
 |
$700
members ($750 non-members) Lab fee $30
This Class is full, but cancellations do occur- Please contact the Workshop to put your name on the waiting list.
|
|
 |
|
 |


top: Untitled,
encaustic by Cynthia Winika, above: Untitlted,
transfer drawing, encaustic, by Tatana
Kellner |
|
 |
 |
|
|
 |
 |
|
Photogravure
|
| Lothar Osterburg |
 |
|
The
first two days, Saturday and
Sunday, will be held at the Center
for Photography in Woodstock where
students will use their new digital
lab to make the films necessary
for gravure printing. While photogravure
is a continuous tone photographic
etching process, it can also
be used to translate drawings better
than any other printmaking technique.
It beautifully keeps a range
of values and the photographic
qualities and tonality range in
this process exceed those of a
regular silver print. Photogravure
prints can have an almost three
dimensional, sculptural quality,
with blacks that are richer than
silver prints, non-reflective,
and even velvety. Copper
plates will be etched in a series
of salt based ferric chloride
baths, to create a range of tonalities
from the deepest blacks to the
brightest highlights. The finished
plate will be printed on the etching
press with heavy rag paper. Students
will leave this workshop with
the tools to be able keep working
on photogravures on their own
|
| July
11 – 15 (Saturday – Wednesday) |
 |
|
$700
members ($750 non-members)
Lab fee $35
This Class is full, but cancellations do occur- Please contact the Workshop to put your name on the waiting list.
Download a PDF registration form and register by mail
|
|
 |
|
 |

Bridge
over Brooklyn, 2007, Photogravure,by
Lothar Osterburg |
|
 |
 |
|
Protest, Propaganda, and
Public Art:
Silkscreen as a Truly Social
Medium
|
| Libby
Clarke |
 |
|
Learn the fundamentals of silkscreen,
guerilla art, and graphic design
while developing your own paper-based
fine art/activist piece. Lead by
artist and designer Libby Clarke,
this class will explore the revolutionary
side of silkscreen: from the WPA
government propaganda posters of
the 30s, to the French student
posters of May '68, all the way
to today's sticker artists
and conceptual adbusters. We will
look at how this intrinsically
graphic medium has proven to be
a fast, affordable, and effective
means of broadcasting your message.
You will come away from this class
with handouts and knowledge to
help you continue printing as well
as a finished multicolor edition
of your own message-based piece.
Participants will learn the basic
skills of silkscreening: how to
stretch a screen, photo emulsion
stenciling, hand-drawn stenciling,
designing for silkscreen, registration
of multi-color prints, and wheatpasting
posters.
Bring examples of your work, a burning
desire to broadcast a message to
the general public, and ideas for
the posters or prints you want to
create in support of an idea you
care for deeply. |
| July
13 - 17 |
 |
|
$700
members ($750 non-members) Lab fee $35
Download a PDF registration form and register by mail
|
|
 |
|
 |


above: BEST
WISHES FOR YOU ,
by Libby Clarke |
|
 |
 |
|
|
 |
 |
|
|
 |
 |
|
|
 |
 |
|
Cross Pollination: Monoprint
and Encaustic
|
 Carol Struve  Cynthia
Winika |
 |
|
Join WSW in collaboration with
R&F Handmade Paints as we work
with two of the most sensual two-dimensional
art mediums. The first three 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
during the last two days.
At R&F Handmade Paints, students
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. |
|
August 3-7
|
 |
$700
members ($750 non-members)
Lab fee $30
This Class is full, but cancellations do occur- Please contact the Workshop to put your name on the waiting list.
|
|
 |
|
 |


top: Eclipse,
encaustic by Cynthia Winika, above: Stipo
II ,
monoprint, by Carol Struve |
|
 |
 |
|
Advanced Intaglio
|
 Shelley Thorstensen |
 |
|
This intensive workshop is designed
for printmakers who primarily work
in etching as a print medium. 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 to
look at the student’s current
and past work (that may include
recent prints and drawings, ideas,
sketchbooks, digital images, slides
or whatever is comfortable for
you) and discuss 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
10-14 |
 |
$700
members ($750 non-members)
Lab fee $35
or Download a PDF registration form and register by mail
|
|
 |
|
 |


Above:Transit,
intaglio, lithograph, chine colle and digital
tools by Shelley Thorstensen |
|
 |
 |
|
|
 |
 |
|
|
 |

A
Land Made of Fire I, Moku hanga woodblock print by Katie Baldwin |
|
 |
|
|