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Book Arts for Printmakers

Baldwin

Session 1:

July 6-11

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Learn skills in bookbinding and transform your prints. Discover the narrative and sequential possibilities inherent in the translation of prints to artist books. Participants will gain technical skills in cutting, folding, measuring, gluing and sewing. The first part of the workshop will be focused on creating blank binding models. Participants are encouraged to bring printers proofs, make ready and old prints to experiment with structure. We will then shift our focus to create a collaborative artist book. Working within a theme, participants will create imagery using the technique of pressure printing. Prints will be exchanged with members of the class, and each student will bind the work together in their own artist book. Printmakers will explore ways in which the book arts become a tool for conceptual exploration.

Katie Baldwin is a printmaker and book artist living in Huntsville, AL. She has traveled internationally as an artist in residence. She was one of seven international artists selected in 2004 to learn traditional Japanese woodblock printing (mokuhanga) from master carvers and printers at the Nagasawa Residency on Awaji Island, Japan. Under Queen Anne’s Revenge Press, Baldwin produces artist’s books and woodblock prints. She has exhibited extensively, most recently at Gedai University in Tokyo, Japan, The Ice Box in Philadelphia and the San Francisco Center for the Book. Her work can be found in collections including the Library of Congress in Washington DC. She has received grant funding through several organizations, including the Pennsylvania Council on the Arts and the Independence Foundation Fellowship in the Arts. Baldwin received her MFA from the University of the Arts in Philadelphia. She served as the Victor Hammer Fellow at Wells College from 2011-2013 and is the 2019-2020 Artist-in-Resident at Common Press, University of Pennsylvania, Philadelphia, PA. She is currently an Associate Professor at the University of Alabama Huntsville.

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Mezzotint

Bosley

Session 1:

July 6-11

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Mezzotint engraving is an intaglio method whereby a prepared plate is reductively worked to produce a rich tonal image.  A serrated blade is first worked over a copper plate to create a dense and even field of burrs that yield a deep dark when inked and printed.  Once this ground is established drawing the plate is drawn by scrapping and burnishing to establish light areas. The beauty of mezzotint lies in its ability to produce highly sensitive tonal gradations.

This intensive workshop will focus on all aspects of creating detailed tonal intaglio work using the mezzotint process. Students will learn how to build up a mezzotint ground that they’ll then use to develop and print a tonal image.  Topics will cover plate preparation, drawing tools and materials, paper, inks and inking.  By the end of the class you will know how to make fine intaglio work without harsh acids or chemicals.

Douglas Bosley resides in Ypsilanti, Michigan with his lovely wife, two cats, two axolotls, and one turtle.  When he isn’t thinking about cake and/or ice cream he makes art and teaches art part time at College for Creative Studies in Detroit.  He likes bad movies (and some good ones), insects, and coming up with complicated solutions to simple problems.

Douglas graduated from Western Washington University in 2009 with a BFA in printmaking and an MFA from the University of Wisconsin–Madison in 2012.  From 2013 to 2015 he was an Honorary Fellow at the Forest Laboratory in the Department of Bacteriology at UW-Madison.

His artwork has been included in numerous juried shows nationally and internationally in Belarus, Finland, Ireland, China and Japan.  He received an Illustrators of the Future award in 2009 and first place in the National Society of Arts and Letters National Competition in Printmaking in 2013.  In addition, his work is held by several collections including the Southern Graphics Council Print Collection, the China Printmaking Museum, and the International Cryptozoology Museum..

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Monotype / Monoprint

Goldman

Session 1:

July 6-11

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The monoprint/monotype is the most spontaneous and fluid of the printmaking disciplines.  These mediums share a direct relationship with the technical and aesthetic information learned in other 2-D disciplines.  Painting and drawing can be readily applied to this form of printmaking.  The monoprint/monotype can be approached as an end in itself, or as a basis for another medium, or as a series of valuable explorations using a wide variety of print matrices including intaglio, smart plates, lithography, and relief.  These printmaking processes create interesting results when they are pressed together with various pigments and marks into direct contact with all kinds of paper surfaces. The workshop will present approaches to a variety of printing techniques that can be implemented into any art curriculum.  Participants will have the opportunity to work with a variety of oil and water base materials. Participants are encouraged to bring existing matrices like woodcut blocks, intaglio plates, sintra plates, etc., which can be incorporated into image making.

Susan J. Goldman, artist, master printmaker, curator and filmmaker, is Founding Director of Printmaking Legacy Project ®, (PLP®) a non-profit dedicated to the documentation, preservation and conservation of printmaking practice and history. She is curator for Forward Press: 21stAmerican Printmaking, PLP®’s premier 2019 major national print exhibition for the greater Washington DC community, at the American University Museum, Katzen Center for the Arts. Goldman is also Founding Director of Lily Press®, which began as a private studio in 2000.  In 2006 she realized her first collaborative projects, co-publishing with Elizabeth Catlett, and most recently for Sam Gilliam, Sylvia Snowden, Keiko Hara, and Renee’ Stout. Goldman received her BFA from Indiana University-Bloomington in 1981, and her MFA from Arizona State University-Tempe, in 1984. After moving to Washington in 1990, Goldman taught printmaking at the Corcoran College of Art and Design, MICA, Georgetown University, and was Master Printer and Program Director at Pyramid Atlantic. From 2000-2012 she was Adjunct Professor and Master Printer for Navigation Press at George Mason University-Fairfax. Goldman received a National Endowment for the Arts Grant 2011-12, as producer and director of Midwest Matrix ®, an hour-long groundbreaking documentary videotape DVD on the fine art printmaking tradition of the American Midwest. Goldman sustains a full-time vibrant studio practice producing and exhibiting her own work nationally and internationally. Her work is in private and public collections worldwide.

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Photopolymer Plus

Jones

Session 1:

July 6-11

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Photopolymer plates are known for their ability to produce the finest detail, a full range of continuous tone, and the rich, velvety blacks associated with copperplate aquatints. These light-sensitive plates can be created from everything from pencil drawings on vellum to digital imagery output on film. The medium is well-suited for photographers. Because the plates develop with water, photopolymer is safer than traditional intaglio.

Participants will create imagery with a wide variety of media focusing on producing nuanced texture and tone. Demonstrations will include combining traditional and digital images and producing optimal inkjet films with some rudimentary Photoshop. Students will have the opportunity to work with color by combining photopolymer plates with chine collé and inkAID transfer film impressions. All levels of experience are welcome.

Originally from Pennsylvania, Mary Jones built her career in Chicago primarily as a painter and illustrator. She returned to printmaking after relocating to Des Moines in 2000.  She taught printmaking and book arts at Grand View University for 15 years.

She has a BFA in Art History from The University of Illinois Urbana-Champaign, and an MFA in Printmaking from Indiana University at Bloomington. She has exhibited nationally and internationally with work in permanent collections of PAFA’s Collection of Art by Women, and The Illinois State Museum. She is a 2018-19 Iowa Arts Council Fellow and has had residencies at the Ragdale Foundation and Anchor Graphics in Chicago. Her work has been published in New American Paintings Midwest Edition #143, and can be found at Tory Folliard Gallery in Milwaukee, WI; Moberg Gallery in Des Moines, IA; And Teresa Hofheimer in Chicago, IL.

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Plate Lithography

Rubin

Session 1:

July 6-11

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This course will focus on printing two-run images. Registration techniques, ink mixing and roller handling, flats, blends, drawing tips, stencils, and even monoprinting and unique approaches to creating a limited-edition fine art lithograph from plates will be shown. Participants aluminum ball-grain plates to create colorful masterworks. Most mornings will include hands on, participatory demonstrations, leaving plenty of production time in the afternoon and evenings. This is an all skill level class. Be prepared to make beautiful, colorful, two-run, multi-color prints.

From 1987 until 2015 Andy Rubin worked as a professional printer. First at Gemini G.E.L. in Los Angeles, CA and then for a long tenure (1989-2015) as Master Printer at the University of Wisconsin-Madison’s prestigious Tandem Press. He currently teaches in the UW-Madison Printmaking Department, including Relief and Lithography. Professionally, Rubin has collaborated with more than 75 artists like Jim Dine, Alison Saar, Robert Cottingham, Ruth Weisberg, and Judy Pfaff. He has also worked with over 150 student assistants. Rubin received a BFA from the Center for Creative Studies-School of Art and Design, Detroit, MI and earned his MFA at Arizona State University in Tempe, AZ.

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Mokuhanga

Schulenberg

Session 1:

July 6-11

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This workshop will focus on the traditional Japanese method of woodblock printing known as mokuhanga.  This beautiful water-based printing process requires no press and is a safe and easy way to print almost anywhere.  Over the week we will cover traditional carving methods, kento registration, various printing techniques, and how to utilize blocks for maximum effect.  Discussions about materials and paper will help students determine the best way to incorporate mokuhanga into their regular studio practice.

Melissa Schulenberg is an artist/printmaker who currently resides in Canton, New York where she is an Associate Professor of art at St. Lawrence University.  Growing up in Michigan and South Dakota, she was always interested in drawing and painting but never knew about printmaking.  It wasn’t until college, taking numerous printmaking courses and working at the Bowdoin Art Museum, that she discovered the wonderful world of prints.  Schulenberg received her BA in Studio Art from Bowdoin College in Maine, an MA in Printmaking from Purdue University in Indiana, and her MFA in Printmaking from the University of Colorado at Boulder.  She teaches various printmaking, drawing, and book art courses in her current position.  Schulenberg’s work has been exhibited nationally and internationally, most notably in Australia, Ireland, Japan, and New Zealand.

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Letterpress with Reduction Linocut

Baisden

Session 2:

July 13-18

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In this workshop, participants will learn how to make multi-color prints with incorporated type.  The basics of letterpress printing, including setting wood and metal type, along with the reduction linocut process, and printing on cylinder presses will be covered. Using letterpress equipment, participants may get really tight registration for their detailed work and reduction printing allows for multiple colors with limited materials. Each background color is carved and printed from the same block, layering one color over the other until only the key block is what remains on the block and is printed last.  Using linoleum mounted to ¾” MDF, participants will create two to three-color prints with incorporated type.

Laura Baisden grew up in Buckhannon, WV.  She attended Cleveland Institute of Art and West Virginia Wesleyan College and received a BFA with a concentration in printmaking.  In 2006, she moved to Nashville, TN to start an apprenticeship with Bryce McCloud at Isle of Printing that lasted three years.  From 2010-2015, she worked as a designer and Intern Coordinator at Hatch Show Print.  In 2015, she bought a Vandercook 4 proofing press, started “Camp Nevernice” and moved the operation to Knoxville, TN to temporarily share studio space and equipment with Julie Belcher of Pioneer House (formerly Yee-Haw Industries).  As of fall 2018, she works out of a newly renovated letterpress studio of her own back in East Nashville where she prints custom posters and illustrations using type and linocut imagery.

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Color Intaglio

Bowman

Session 2:

July 13-18

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This workshop will explore line etching, drypoint, soft ground and aquatint used in layered methods to take advantage of the tactile qualities inherent in the intaglio print. Various approaches to color printing including color mixing, ink modification, stenciled surface rolls, and multiple plate registration will be covered. Copper plates etched with ferric chloride will be used. Students may produce editions or monoprint variations. Appropriate for both beginners and advanced intaglio artists.

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Kevin Bowman is an Associate Professor of art at Montgomery College in Takoma Park/Silver Spring, Maryland, where he teaches printmaking, two-dimensional design and drawing. Born and raised in Hartford City, Indiana, he earned his BFA in printmaking from Ball State University in 1994 followed by his MFA from the University of South Dakota in 2002. He served as an assistant at Frogman’s from 1999 through 2006. Following completion of his graduate work, he taught at the College of the Sequoias in Visalia, California, while also serving as the director and curator of Arts Visalia, a non-profit community art center in Visalia. His work has been included in over eighty exhibitions and print portfolios.

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Water-based Screenprint

Coleman

Session 2:

July 13-18

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This class has something for everyone. It will cover the basics for those new to screenprint as well as the versatility of the medium through the exploration of transparent ink layering, collage methods, and various “non-traditional” approaches such as the use of watercolors, gold leaf adhesive, and resist materials that can be used in tandem with lithography and intaglio. Rather than focusing on making an edition, students in the class will be encouraged to “play” in an effort to discover the many applications of screenprint.

In addition to being an Assistant Professor of Art at the University of Arizona, Aaron Coleman is also a husband, dog lover, and a workaholic. He received his MFA from Northern Illinois University in 2013 and his BFA from Herron School of Art and Design in 2009. Coleman has exhibited internationally and received numerous awards, scholarships and fellowships for his work in printmaking. His work can be found in the collections of The University of Colorado, Wichita State University, the Ino-cho Paper Museum in Kochi, Japan, The Yekaterinburg Museum of Art in Yekaterinburg, Russia, the University of Tennessee Knoxville’s Ewing Gallery Collection, and The Artist Printmaker and Photographer Research Archive among many other public and private collections.

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Metal Engraving

Gillespie

Session 2:

July 13-18

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Learn the original non-toxic method for linear intaglio plate-making.  No acids, no grounds, just a line with the elegant character of swells and flourishes.  A direct and dynamic method of making marks on a plate, engraving can be easier to use than its reputation gives credit.  With a little instruction in sharpening and holding the tool (along with some practice and guidance from the instructor) students in this course will be able to make a burin sit, lie down, and roll over like the best trained pet in the house.  Demonstrations and practice for counter-proofing engraved plates to aquatinted plates for registration and printing of color editions will be included.

Oscar Gillespie’s award-winning work has appeared in over 250 regional, national and international exhibitions, including shows at the Tate Center Gallery, University of Georgia; the Kennedy Museum of American Art, Ohio University; Moderna Galerija, Zagreb, Croatia; Gallerija Bozidar Jakac, Novo Mesto, Slovenia; the School of the Museum of Fine Arts, Boston, MA; Mississippi State University; and Clemson University.  His work may be found in numerous public collections including the Fogg Museum at Harvard, the Kemper Group Collection in Chicago, the Nelson-Atkins Museum, the Queensland Museum in Australia, the Plains Museum in Fargo, ND, the Lauren Rogers Museum in Mississippi, and the New York Public Library.  Since 1986, he has taught printmaking and drawing at Bradley University where he is a Professor of Art and the founding Coordinator / Printer of Cradle Oak Press.

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Gut Bucket Woodcut

Hancock

Session 2:

July 13-18

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A no holds barred gut bucket woodcut printmaking pig circus of a workshop. We’ll cut, cut, cut and print till our fingers bleed. You’ll learn cutting, reduction 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.

John S. Hancock is an artist/printmaker hailing from the great state of Texas.  Hancock earned a BFA in printmaking from Baylor University and an MFA in printmaking from Texas Tech University. Along with his brother Charles 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.

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Wrastlin’ and Rockin’ (on Stone Lithography)

O’Connor

Session 2:

July 13-18

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Working on limestone is like nothing else in the world.  Its porous nature offers many opportunities: from drawing, to scratching, to photo-transfers, to impressing different greasy materials onto the surface.  Designed for all skill levels, this course will cover how to etch and process a delicate crayon drawing, ink consistency, registration, and printing.  Safe health practices will be emphasized and greener methods of rub-up/ wash out will be shared.  Special demonstrations will include working with colored pencils and china markers as cost-effective drawing material alternatives; as well as, experimenting with other greasy materials on stones.  Other discussions may include image transfer, additive and reductive work, and combining lithography with other printmaking processes.  To conclude the workshop, O’Connor will host an epic arm-wrestling match that be etched and printed!

Meghan O’Connor earned a BFA at East Tennessee State University and an MFA at Clemson University. In addition to teaching at Wayne State College, she is also active within Southern Graphics Council International, the Mid America Print Council, and FATE (Foundations in Art: Theory and Education).

O’Connor’s work has been exhibited nationally and internationally. In addition to solo exhibitions, she has had work included in the Parkside National Small Print Exhibition, Southern Graphics Council International Members Exhibition, and A Curious Bestiary: Chimeras and Cryptozoology from American Printmakers at Davidson Galleries in Seattle, WA. Her work can be found in permanent collections, such as Columbia College in Chicago; Gippsland Centre for Art and Design in Australia; Limerick School of Art and Design in Ireland; Proyecto ‘ace Print Collection in Argentina, and many other collections around the world.