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HISTORY
PROGRAMS
ARTIST BOOK
DISTRIBUTION
SUMMER ARTS
INSTITUTE Printmaking Papermaking Book
Arts Other Media Registration
INTERNSHIPS
ARTS-IN- EDUCATION
EXHIBITIONS
ARTS JOURNAL
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 WSWâs 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 artistsâ 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 artistsâ 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.
Printmaking Papermaking Book Arts Other Media Registration PAGE
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