Frogman'sPrint    Workshops

Multiple Color Shaped-Plate Intaglio

Stephanie Berrie

Session 1:

July 5 – 10

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This course will cover shaping a copper plate, etching with hard ground and aquatint, and printing with multi-color. Using jeweler’s saws, participants will cut their plates into organic shapes, which will then be polished and etched using ferric chloride. Image transfer using graphite, different drawing techniques with hard ground, and cover step-biting through aquatint will be covered. Once the plates are processed participants will learn how to print in multiple colors through the means of à la poupée, chine-collé, and color flats. Participants will be encouraged to experiment with creating variations within their editions. Upon completion of this workshop, each participant should have a varied edition of prints with a range of different multi-color techniques.

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Stephanie Berrie is an artist from Dayton, Ohio. She completed her BFA at the Columbus College of Art and Design in 2015 and her MFA at Texas Tech University in 2019. Berrie owns and runs her own printmaking studio in Northern Kentucky, Wild Berries Press and co-runs studio collective, Spit Bite Studios, where she teaches printmaking workshops and hosts community events. She has also been an artist in residence at the St. Michael’s Printshop in St. John’s, Newfoundland in 2026, and was Tiger Lily’s Annual Working Artist in Cincinnati, Ohio from 2020-2021. She has exhibited her printmaking work all across the nation, primarily in the Southwestern, Midwestern, and Eastern states and is an active member of the Mid America Print Council.

Mokuhanga

Mary Brodbeck

Session 1:

July 5 – 10

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Mokuhanga is a Japanese woodblock printmaking process dating back to the 17th century. In this workshop, participants will make prints that incorporate two or more colors from prepared blocks. Focused demonstrations will feature wood carving, kento color registration, printing with water-based colors, and pressing with a handheld baren. Examples of mokuhanga will be shown, including historic process prints and contemporary Japanese pieces, alongside Japanese design, aesthetics, and process books. Participants will design, carve and print their own designs with thorough demonstrations of each step along the way including bokashi (color gradation). Examples of color layering and other printing techniques unique to the process will also be shown. At the workshops’ closing, participants will have the option of exchanging prints with one another.

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Mary Brodbeck is an artist, educator, and nature enthusiast who has specialized in mokuhanga for nearly 30 years. Her ethereal, nature-inspired woodblock prints mainly depict scenes from the Great Lakes region. Initially trained in industrial design (BFA, Michigan State University), she began her career in the West Michigan furniture industry. She made her first woodcut in 1990, marking a pivot in her life’s work. She subsequently studied woodblock printmaking in Tokyo on a Japanese government Bunka-Cho Fellowship and earned her MFA in Printmaking from Western Michigan University. Her works are now part of numerous public, corporate, and private collections, including the Hunterdon Art Museum, Clinton, NJ; the Detroit Institute of Arts, MI; and the Muskegon Museum of Art, MI. Brodbeck has taught mokuhanga workshops across the US, and in Canada and Japan.

Bookbinding Boot Camp

Margot Ecke

Session 1:

July 5 –  10

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This course will teach the basics of conservation level bookbinding techniques and is suitable for beginner and intermediate binders. The course will cover basic bookbinding structures (like the accordion and pamphlet stitch) but we will spend most of our time on more complicated historical structures like the Coptic and the historic longstitch bindings. We will also be learning the fundamentals of box-making. Each student will make at least 4 historic models and one box structure to house them in. Students are encouraged to make prints on Kitakata paper prior to attending class so that these custom papers may be used to cover their books.

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Margot Ecke received her MFA from the Rhode Island School of Design and her BFA from Cornell University. She received the Professional Printing Certificate from the Tamarind Institute at the University of New Mexico and completed her training by earning her Certificate in Bookbinding at the North Bennett Street School in Boston, the only full-time bench bookbinding program in North America. Margot held a residency at the Carolina Rediviva Library in Uppsala, Sweden, where she studied medieval bookbinding structures and was the Victor Hammer Fellow in the Book Arts at Wells College in Aurora, New York from 2004-2006. She was Assistant Professor of Book Arts and Printmaking at the University of Georgia from 2006-2009. Margot has been Professor of Foundations at SCAD Atlanta since 2018 and is the creative director of Smokey Road Press and Bindery in Athens, Georgia.

Gut Bucket Woodcut

John S. Hancock

Session 1:

July 5 – 10

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A no-holds-barred gut bucket woodcut workshop. We’ll cut, cut, cut and print till we can’t stand it. You’ll learn basic cutting and multi-block color printing techniques. Above all let’s plan to make a bunch of prints. No prior experience necessary, some side effects may occur, void where prohibited by law.

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John S. Hancock is an artist/printmaker hailing from the (not so) great state of Texas. Hancock earned degrees in printmaking and has been a life-long artist and long-time art educator. Along with his brother Uncle Chuk, he is one half of the AMAZING HANCOCK BROTHERS, mounting exhibitions domestic and abroad featuring prints, poetry, thoughtful mayhem, and minstrel buffoonery. They are the enfant terrible of hybrid printmaking. He is also a member of the Outlaw Printmakers.

Out of Darkness: Mezzotint

Chad Nelson

Session 1:

July 5 – 10

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Join the crew of the brooding Northman and set sail into the dark field of mezzotint, a process in which light is not added to the plate but revealed from within it. This workshop is designed for both beginners and experienced printmakers. No previous mezzotint experience is required, and participants will be guided through the process step by step. Experienced printmakers will have the opportunity to build on their existing skills and explore the distinctive possibilities of the mezzotint process.

The workshop will explore mezzotint from the preparation and rocking of a copper plate through drawing, scraping, burnishing, inking, and printing. Participants will learn to transform a deeply rocked copper plate into a rich, luminous image using the unique tonal range and surface of the mezzotint ground. Demonstrations, individual instruction, and hands-on practice will guide students through the entire process, with an emphasis on developing both technical control and expressive possibilities
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Chad Nelson was born and raised in South Dakota. Operating under the studio moniker Vinland Prints, his practice focuses on the expressive possibilities of drawing through print media, with a specialized emphasis on mezzotint, relief engraving, and woodcut. Drawing upon his Nordic heritage and ancestral folklore, his atmospheric imagery explores the intersections of memory, mortality, and the natural world, moving fluidly between deeply intimate psychological spaces and cosmic vastness. Nelson exhibits his work nationally—including selections in the Boston Printmakers North American Print Biennial—and is a prolific contributor to national and international portfolio exchanges.

Nelson holds a MA in Education and is well into his third decade of teaching fine art. He serves as the printmaking instructor at Augustana University and teaches art at Brandon Valley High School. Having spent years refining his own technical expertise at Frogman’s Workshops under modern masters like Art Werger, Tom Huck, and Oscar Gillespie, Nelson focuses his teaching on clear, hands-on instruction. His approach emphasizes true craftsmanship, practical problem-solving, and a deep understanding of the block and plate, ensuring that his students gain the technical control they need to confidently bring their own drawings and ideas to life.

Photolithography

Ryan O’Malley

Session 1:

July 5 – 10

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This course introduces the versatility and creative possibilities of photolithography. Participants will learn image development, plate exposure and processing, paper preparation, registration, ink mixing, and black and white and reductive color printing. Suitable for beginners and experienced printmakers alike, this workshop emphasizes hybridization of traditional and contemporary approaches to planographic image production including hand-drawn, photographic, and digital image-making techniques. Participants are highly encouraged to bring source imagery, developed sketches, or planned compositions to immediately begin exploration.

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Ryan O’Malley is a Professor of Art and MFA Program Coordinator at Texas A&M University–Corpus Christi. He earned his BFA from the University of South Dakota in 2002 and an MFA from Louisiana State University in 2005. With nearly 30 years as a printmaker and 20 as an educator, his work has been featured in numerous exhibitions, publications, and collections worldwide, including shows across the Americas, Europe, Asia, and the Middle East. He is a frequent visiting artist at national and international institutions and is featured in Printmaking: A Complete Guide to Materials and Process (2nd ed.) by Fick and Grabowski.

Tonal Intaglio

Vanessa Jo Bahr

Session 2:

July 12 – 17

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Participants will explore multiple methods for creating tonality through the versatile medium of copper etching. We will begin with the fundamentals of plate preparation and hard ground line etching, then thoroughly investigate the aquatint process together. We will journey into alternative techniques through demonstrations, including: spit bite, sugar lift, white ground (soap ground), creep etch (water bite), manipulated rosin, hand-dusting, crackle ground, and more. Throughout the duration of the course, participants may choose which processes they want to engage with. Participants will be instructed on inking and wiping procedures, including à la poupée, viscosity rolls and double drop. Experimentation is highly encouraged and plenty of hands-on assistance will be provided. By expanding one’s understanding of these diverse and nuanced approaches, participants will learn to produce more complex prints and leave with an entirely new appreciation for the rich depth of textures and tonal ranges possible through etching.

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Vanessa Bahr is a printmaker and educator currently residing in Ashland, Oregon. She is the Printmaking Professor and Studio Technician at Southern Oregon University. In 2022, she founded Scavenger Studios: a traditional printmaking studio that facilitates community workshops, memberships and hosts an artist residency program. Originally from Chicago, Illinois, Vanessa received a BFA from Regis University in Denver, Colorado, along with a Minor in Education and K-12 Teaching License. She earned her MFA and Arts Administration Certificate from Ohio University’s printmaking program in 2022. She presently serves on the board of the Rocky Mountain Print Alliance as the Membership Coordinator.
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Mighty Layers in Monoprint

Laura Crehuet Berman

Session 2:

July 10 – 17

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This workshop focuses on the strength and flexibility within layered monoprint techniques. Participants will explore line, texture, and form through accessible printing techniques and substrates. Layered color is a focus of this workshop, with a variety of techniques taught, including additive, subtractive, and stencil-based monoprint processes. In addition, we will explore collage through both on- and off-the-press methods. Each participant will create a new body of work that allows for a unique merging of techniques and ideas.
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Laura Crehuet Berman is Spanish-American artist known for her colorful, abstract prints and works on paper. She has exhibited in over 150 exhibitions at galleries and museums internationally and her prints are widely collected. Her work has been featured in the books Color Theory: A Critical Introduction, The Book of Probes, Printmaking at the Edge, Contemporary American Printmakers, A Survey of Contemporary Printmaking, and An Artist and A Mother.

Laura is a Professor at the Kansas City Art Institute, where she has taught printmaking, book arts and color theory since 2002. She received her BFA from Alfred University and her MFA from Tulane University. Berman has published Reflections on Color and Printmaking since 2020; a series of interviews with contemporary artists working with printmaking and color. In 2024 she was a Fulbright U.S. Senior Scholar at the Centre for Creative and Cultural Research at the University of Canberra in Australia.

Stone Lithography

Sasha Bitzer

Session 2:

July 12 – 17

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This workshop offers an introduction to the stone lithography process with an emphasis on color reduction. Throughout the week, participants will draw, process, and print a multicolor image from a single stone matrix. Demonstrations will explore the unique possibilities of stone lithography through a variety of drawing materials and approaches to overprinting with color. Both abstract and representational approaches are welcome. Students will learn the fundamentals of processing and printing while exploring contemporary methods of color application on stone. This course is open to all skill levels, from first-time participants to experienced lithographers.

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Sasha Bitzer is an artist and printmaker whose practice is rooted in material investigation, the care in labor, and a close relationship with the land. She grew up on a farm in rural Northern Minnesota near the Canadian border, where her early experiences working with machinery fostered her curiosity about how things work and the reciprocity that emerges through acts of care and stewardship. Bitzer earned her BFA with emphases in printmaking and ceramics from Minnesota State University Moorhead and her MFA with an emphasis in printmaking from Northern Illinois University. She is currently an Assistant Professor of Printmaking and Painting at the University of Alaska Fairbanks.

Working primarily through printmaking, her recent work considers the objects and systems that shape access in our lives, particularly within Alaska’s formidable landscape. These objects make movement, exploration, and survival possible, while revealing how deeply individual freedom depends upon other people, resources, and systems. Through this work, Bitzer examines conditions often understood as opposites, such as freedom and safety, and considers how they remain intertwined and continually reshape one another.

Metal Engraving

Joshua Jay Johnson

Session 2:

July 12 – 17

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The engraved line has a unique visual language typified by its elegant curves, calligraphic tapers, and brilliantly crisp impression. In this workshop participants will learn to handle the burin, the primary tool in the engraver’s arsenal. Freehand and jig-based sharpening of the burin and supplementary intaglio tools such as the scraper and burnisher will be demonstrated. Alongside the process of engraving a plate, expect discussions on burin geometry, crosshatching, and printing.

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Joshua Jay Johnson is an Illinois-based visual artist and educator. An Iowa native, he holds a BFA from the University of Iowa and an MFA from Northern Illinois University. Joshua is currently Assistant Professor of Printmaking and Foundations at Elmhurst University.

Joshua’s research explores the traditional intaglio techniques of line etching and engraving. His imagined spaces merge historical mark making with contemporary despair. Johnson’s political landscapes have been exhibited extensively both nationally and internationally, including exhibitions in Australia, Iran, Portugal, the United Kingdom, Spain, and France.

Reduction Woodcut

Jun Lee

Session 2:

July 12 – 17

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In reduction woodcut, a single block is used to create a multi-layered color print. Because the block is progressively carved away after each color layer is printed, you must commit to the entire process until the final layer has been carved and printed. This course will introduce the reduction woodcut process through hands-on demonstrations covering block preparation, carving techniques, layer planning, tool maintenance, ink mixing, registration systems, and printing techniques. Participants can expect to complete a small edition of a reduction woodcut by the end of the course. Prior experience with relief printmaking is helpful but not required.

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Jun Lee (Washington, DC) is a printmaker specializing in large format woodcuts that use animals as metaphors to explore competition in life. Lee has received the Arts and Humanities Fellowship and a DC Art Bank grant from the DC Commission on the Arts and Humanities. Lee’s work is held in the collections of the Library of Congress (DC), DC Art Bank (DC), and the Montgomery County Public Art Trust (MD). Lee has completed numerous artist residencies and fellowships. Her work has been exhibited nationally and internationally, including: IA&A at Hillyer (DC), West Virginia University (WV), Paradigm Gallery (PA), American University Museum (DC), Highpoint Center for Printmaking (MN), Insa Art Center (Seoul, Korea). Lee received her MFA in Print Media from Cranbrook Academy of Art and her BFA in Illustration and a Post Baccalaureate in Printmaking from Minneapolis College of Art & Design.

Water-based Screenprint

Brett Taylor

Session 2:

July 10-17

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This workshop introduces water-based screenprinting through a mix of analog, digital, and experimental processes. We’ll begin with the basics of image and screen preparation, ink mixing, registration, and printing on paper. Participants will learn to use photo emulsion to turn hand-drawn, photographic, and digital images into printable stencils, combining expressive mark-making, halftones, spot color, and CMYK printing to create layered imagery. We’ll also explore scanography, using a flatbed scanner as both a camera and drawing tool to create imagery that can be manipulated, layered, and translated into screenprints. As the workshop progresses, we’ll move beyond paper to print on alternative nonporous surfaces such as Dura-Lar, acetate, and metallic substrates, investigating how transparency, reflection, and layering can shift the printed image. Open to all levels, the workshop provides a strong foundation in water-based screenprinting while leaving plenty of room to experiment, play, and situate screenprinting within your own artistic practice.

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Brett Taylor is a print-media artist and educator from South Florida, currently based in Central Virginia. He earned a BFA in Drawing from the University of Florida and an MFA in Printmaking from The Ohio State University. Through prints, collages, assemblages, and installations, Taylor’s practice explores the tensions between the medical model of disability, which locates disability within an individual’s body, and the social model, which considers how environments and social structures create barriers. His broader research centers disability justice, accessible arts education, and arts in health. Taylor challenges ableism while celebrating the resilience and creativity of disabled individuals and communities. His work has been exhibited internationally, including at Highpoint Center for Printmaking, the Haugesund Museum of Art, and Shands Hospitals. Taylor is Assistant Professor and Head of Printmaking and Expanded Media at James Madison University and served as President for the Mid America Print Council (2024-26).