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Women's
Studio
Workshop

PO BOX 489
ROSENDALE, N.Y.
12472
914 658 9133
wsw@mhv.net


SUMMER ARTS INSTITUTE

PRINTMAKING

LARGE SCALE COLOR WOODCUT
July 7 - 11
This workshop will present aspects of printing with woodblock using contemporary woodcut techniques. Various methods will be investigated; possibilities may include multiple color prints using one plate, the "jigsaw puzzle" technique, reduction methods, and embossing. Using both oil and water based inks and an etching press, we will be creating large scale color woodcuts with relative ease. The course will also focus on developing personal imagery and a color palette.

Phillia Changhi Yi, MFA/Printmaking, Tyler School of Art, Philadelphia; BFA/Printmaking, State University of New York, the College at New Paltz. Her prints have been exhibited extensively throughout the US and abroad. Phillia is currently Associate Professor at Hobart & William Smith Colleges in Geneva, New York.


STENOCUT INTENSIVE
July 21 - 25
Stenocut, devised and developed by the instructor over the past six years, is a series of printmaking techniques producing relief prints, with possible intaglio variations. The commercial product used to make the plates is sandblast stencil, a soft, thin, white rubber. It is inexpensive and easy to cut. Since the techniques are simplified and the steps are brief each student will make several new plates each day. Participants will be encouraged to come to the workshop with a strong narrative theme to be expanded daily. Demonstrations will include; embedding (a method that produces a soft haloed edge), embossing, tool mark making, transfer of xerox and newspaper images (in a non-toxic way), white line carving, selective inking, and jigsaw prints, all using water based inks.

Sue Anne Bottomley is a graduate of the University of New Hampshire. She has written two articles for the international print journal, "Printmaking Today" about her discoveries with Stenocut. Her prints have been exhibited nationally and in England, Japan, and at U.S. Embassies. Sue Anne has conducted numerous artist workshops, and is presently doing a two-year series of workshops for the Virginia Museum of Fine Arts. She currently works and resides in Maryland, where she is on the Executive Board of the Southern Graphics Council.


THE SILK COLLAGRAPH
August 4 - 8
This workshop will examine varied approaches to the silk collagraph - a nylon mesh that has been laminated to a plastic board, creating a rich printing surface similar to that of a deep aquatint. We will cover the proper preparation of a silk collagraph surface and the methods for creating a matrix by painting directly on the silk, adding carborundum grit and found media. Participants will have the opportunity to develop imagery as well as discover the broad range of inking possibilities, from a la poupee to the mixing of colors, through second pulls combined with chine colle and multi-plate concepts.

Lisa Mackie holds an MFA from the University of Wisconsin; Visiting Professor at NYU, Cooper Union, RIT, and Rutgers University. Ms. Mackie is proprietor of Lisa H. Mackie Studios, NYC, where she works with national and international artists and specializes in monotypes and experimental multiples. Lisa is a master printer for many studios and artists and has work in numerous collections, including the Baltimore Museum of Art and the Museum of Fine Arts in Boston. She is represented by June Kelly Gallery, New York.


WATER BASED MONOPRINT WORKSHOP August 11 - 15 This workshop will focus on basic monoprint techniques, including; splint bank rolling, stencils, ghost prints, kiss prints, and multiple edition printing. All of these methods will be done without the use of oil based inks, solvents or other hazardous materials. Each student will work on a specific project idea with the guidance and assistance of the instructor. Students will experience the ease of cleaning plates, rollers and brushes with simple soap and water. Printmaking is an area where many seem to neglect the need for safety. This workshop places the emphasis on healthful printmaking, as well as on innovative and high-quality results. Appropriate for both beginners and advanced printmakers.

Suzan Woodruff


PHOTO SILKSCREEN
August 11 - 15
This workshop is an introduction to all the techniques necessary to make photo silkscreen prints. Techniques covered will include; building screens, stretching mesh, exposing images, mixing ink and printing. Some time will be spent in the darkroom learning about making film positives, but photo silkscreens will also be made from photocopies, drawings or collages. WSW stocks water based inks for paper and textiles, so participants will have the opportunity to experiment with both paper and fabric. Most of the class time will be spend in hands-on printing. Demonstrations of other screen printing techniques to augment the photo silkscreen process will be presented throughout the week. No previous silkscreen printing experience is necessary to take part in this class.

Ann Kalmbach, Executive Director and Co-founder of WSW; MFA, Rochester Institute of Technology; Artist-In-Residence at Visual Studies Workshop in 1984; collaborator with Tana Kellner as KaKe Art, publishing artists' books, most recently Pistol/Pistil: Botanical Ballistics, during an Artists-in-Residency at the University of Southern Maine. Her books are in many museum collections, including the Museum of Modern Art and the Metropolitan Museum of Art. As manager of WSW‚s silkscreen and offset facilities, Ann has worked with many artists on hand printed books and other special projects.


SILICONE INTAGLIO: Photo Etching Alternative August 18 - 22 Silicone Intaglio is a remarkably versatile and easy new printmaking technique. An excellent alternative to traditional photo etching, it is a fast, virtually non-toxic process that precisely reproduces photo and hand-drawn images at very high resolution (up to 300 dots per inch). It makes use of a photo-sensitive, silicone-coated aluminum plate inked by roller, then printed on an etching press. These plates also lend themselves to direct hand working, which yields a printed line like that of a drypoint, and are inexpensive, easy to cut, and are durable for large editioning as well. This class is designed for beginners as well as experienced printmakers and will cover the processing of film positives and alternative approaches to handmade positives, exposing of the image onto the plate, printing techniques, editioning, and multiple plate applications.

Nathan Kanofsky and Heather Arak-Kanofsky are co-proprietors of Arak Kanofsky Studios, New Jersey, specializing in intaglio platemaking and printing. Nathan has taught at the Printmaking Workshop, Manhattan Graphics Center and New York State Summer School for the Arts. Heather has taught at Pelham Art Center, New York State Summer School for the Arts and the Lowe Art Museum. Both Heather and Nathan exhibit their work internationally.


SILKSCREEN MONOPRINTS
August 18 - 22
This workshop will focus on extending traditional methods in both painting and silkscreen through non-toxic water-based materials such as watercolor, gouache, inks, water-soluble crayons, and pencils. Artists who appreciate the directness and spontaneity of watercolor painting will be especially pleased with the ability to create a limited number of multiples using this process. Stencil techniques and texture transfers will be explored in combination with more painterly approaches that result in monoprints that are exceptionally fluid and surfaces that appear saturated with luminous color.

J. Catherine Bebout holds an MFA from Rochester Institute of Technology; is a multi-media artist working in printmaking, book arts, and sculpture. Her work has been exhibited in numerous shows in the U.S. and in Canada, and is represented in collections at the National Museum of Women in the Arts, Minot State College, and the University of Houston. Catherine currently teaches Printmaking at Montclair State University in New Jersey.


MONOPRINTS ON HANDMADE PAPER August 25 - 29 This class is designed as a follow-up to PAPERMAKING FOR PRINTMAKERS, (see Papermaking, August 18 - 22). During this workshop participants will explore various monoprinting techniques, using the papers that they made in the previous class to create prints rich in texture. We will explore techniques such as chine colle, xerox transfer, silk collagraph and carborundum printmaking, emphasizing experimentation and a playful approach to the various print media. Each day time will be spent in one-to-one discussion with the instructor, to help each artist use handmade paper as a means for richer expression in her/his work. Previous printmaking experience is recommended.

Laura Moriarty is an artist whose work is derived from a combination of hand papermaking and printmaking. She has conducted many papermaking workshops, to people of all ages and levels of experience, and works in collaboration with and as consultant to artists on special paper projects. Her work is exhibited widely and is included in many public and private collections. Laura took part in an Artist-In-Residency at the Ucross Foundation in Clearmont, Wyoming during the spring of 1996. Her most recent solo exhibition, Manual Labor, was on view at the Time & Space Limited WareHouse in Hudson, NY.


HANGA: Exploring Japanese Woodblock Printing
August 25 - 29
Carve away! Because Hanga is based on simple materials and hand printing rather than sophisticated equipment, it is a very accessible and direct method for expression. This course will present all aspects of designing and printing Japanese woodblocks. Students will learn about the proper handling of tools, planning and transferring designs to blocks, special kento registration, types of pigments and water soluble colorants, brush conditioning, Bokashi inking (color gradation) and the use of the baren for hand printing. Students will finish an edition of prints and trade with the other students to leave with a portfolio of hanga prints.

Kathleen Caraccio, BFA, Herbert H. Lehman College; instructor in Japanese woodblock printing at NYU, Summit Art Center, Lower East Side Print Shop; Independent consultant and demonstrator of color printing and hanga; Master Platemaker and Printer; Proprietor of Caraccio Printmaking Studio, New York City. Kathy has exhibited widely and has work in various collections.


LETTERPRESS PRINTING October 18 & 19 Letterpress printing has a distinct look that cannot be attained through any other printing method. In this workshop you will hand set your chosen words letter by letter in metal type and print it on a jobbing platen press. Hand-set type provides a wide variety of options because each letter and space is carefully chosen. You will learn fundamentals of typesetting, press lock-up, make-ready, registration, and consistent printing. This process of setting and printing type can be very meditative and is a wonderful way to incorporate text into artists‚ books or just to make an elegant letterhead. This class is appropriate for both the beginner and the slightly experienced individual who is looking to brush up or refine existing skills.

Ruth Lingen holds an MFA from the University of Wisconsin, Madison; proprietor of Poote Press, which publishes letterpress artists‚ books and sketchbooks. Ruth also works as a printmaker at Pace Editions, a limited edition print publisher in NYC. Her work is in many public and private collections, including the Art Institute of Chicago.


MONOPRINTING AND TRANSFER TECHNIQUES
October 25 & 26
Explore new techniques, off-press and on, for creating, layering and transferring imagery. A terrific supplement to traditional intaglio and photo-silkscreen printmaking methods; these techniques also work well in combination with other media, such as drawing and painting. Processes covered will include monoprinting, embossing and chine colle, using oil-based intaglio inks and the etching press. These will be explored in combination with photo-copy transfer techniques, using aromatic solvent releasing agents. A related polymer-medium transfer-lift process and rubbing-style transfers with pre-coated carbon papers will also be introduced.

Anne Allen holds an MFA in Metals from the State University of New York at New Paltz; BFA in Studio Arts from the University of Texas at Austin; Artist-In-Residence, Oregon School of Arts and Crafts, 1996. Anne creates unique prints and monotypes that make use of highly recognizable Western imagery, re-interpreted through several traditional and alternative printmaking techniques.


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