Frogman'sPrint    Workshops

Intaglio Immersion: Slick Tricks & Master Methods

Arthur

Session 1:

July 2-7

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This six-day intaglio immersion will present exclusive study of the language and practice of etching. Participants will begin with the foundation of copper plate construction including line etch and aquatint.  Spit bite; sugar lift; soft ground; and multiple plate color etching will be covered, along with hand wiping techniques such as à la poupeé.  Participants will work with wheat paste; chine collé; archival papers; the ethics of signing prints, and more.  This course is for all that are excited about the possibilities of intaglio.

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Emily W. Arthur is an Assistant Professor at the University of Wisconsin-Madison. Arthur received an MFA from the Pennsylvania Academy of the Fine Arts in Philadelphia and has served as a Fellow at the Barnes Foundation for Advanced Theoretical and Critical Research, Pennsylvania. Additional education includes the Rhode Island School of Design and the Tamarind Institute of Lithography at the University of New Mexico.  Arthur is the recipient of multiple grants including a Florida Artist Enhancement Grant provided by the State of Florida and the National Endowment for the Arts, and is awarded to the Notable Women in the Arts, National Museum of Women in the Arts. Her work is included national and international permanent collections including the Museum of Contemporary Native Arts, Santa Fe, NM; Tweed Museum, Duluth, MN; Minnesota Museum of American Art, St. Paul, MN; Weisman Art Museum, Minneapolis, MN; Denver Art Museum, Denver CO, and the Autry National Center of the American West, Los Angeles, CA.

Bookbinding Boot Camp

Ecke

Session 1:

July 2-7

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This class 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 participant will make at least 4 historic models and one box structure to house them in. Participants are encouraged to make prints on Kitakata or similar 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. Formerly the Assistant Professor of Book Arts and Printmaking at the University of Georgia, she is currently the creative director of Smokey Road Press and Bindery, with offices in Winterville and Athens, Georgia.

Metal Engraving

Gillespie

Session 1:

July 2-7

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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.

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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.

Monotype / Monoprint

Martin

Session 1:

July 2-7

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This workshop will explore the endless possibilities of combining various monoprinting techniques and relief methods to create multi-layered prints. The workshop covers a wide range of monoprint techniques such as trace, brushwork, texture and additive/subtractive methods. By combining these with collage, stencils, chine collé, embossing and traditional relief printing, participants will embark on an intersection between traditional printmaking and experimental monoprinting that will make way for works rich in imagery, texture, and color. Through lecture, demonstration, studio practice, and critiques, participants will develop the skills and concepts necessary for building a solid working basis in printmaking.

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Delita Martin is an artist currently based in Huffman, Texas.  She received a BFA in drawing from Texas Southern University and a MFA in printmaking from Purdue University. Formally a member of the fine arts faculty at the University of Arkansas at Little Rock, Martin currently works as a full-time artist in her studio, Black Box Press. Martin’s work has been exhibited both nationally and internationally and is included in numerous portfolios and collections.  Most recently, Martin’s work was included in the State of the Arts: Discovering American Art Now, an exhibition that included 101 artists from around the United States.

Plate Lithography

Wallace

Session 1:

July 2-7

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Participants enrolled in this course will learn to utilize aluminum photo-litho plates in the creation of color lithographic prints. Multi-color compositions will be created with an emphasis placed on chiaroscuro prints and the drawing concept of creating black and white lines on mid-tone paper. Additional topics covered include creating positives with a variety of techniques and media, the proper processing and chemical handling of plates and developers, registration techniques, as well as ink mixing and printing.  Participants are encouraged to prepare planned compositions. The class will be structured to accommodate participants of all technical levels.

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Christopher Wallace, a native of California’s San Joaquin Valley, now resides and is a studio artist based out of Cambridge, MA. He received his MFA in Printmaking from the University of North Texas and his BFA from the Kansas City Art Institute. He was previously a studio art instructor at the Museum of Fine Arts, Houston’s Glassell School of Art and at the University of Houston, as well as a studio tech at Burning Bones Press. His work has been shown nationally and internationally.

Moku Hanga

Brodbeck

Session 2:

July 9-14

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At the onset of this mokuhanga workshop, participants will make a two-color print from prepared blocks using; water-based pigments, kento registration, and pressing with a baren – all hallmarks of this Japanese woodblock printmaking process dating back to the 17^th century. We will then move into designing, carving and printing our own designs with thorough demonstrations of each step along the way including bakashi (color gradation). Examples of color layering and other printing techniques unique to the process will also be shown. At the workshops’ closing, we will have the option of exchanging prints with one another.

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Mary Brodbeck has studied, employed, and taught the traditional methods of Japanese woodblock printmaking since learning these techniques in Tokyo in 1998 via a Japanese government sponsored fellowship. She subsequently received her MFA in printmaking from Western Michigan University in 1999. The calm aesthetic of Mary’s landscape prints have received widespread acclaim and can be found in many public and private collections nationwide. Mary has taught workshops extensively throughout the United States and in Japan. Her passion for the Japanese woodblock print medium is exemplified further in her 2014 award-winning documentary film , Becoming Made.

Stone Lithography

Ferreira

Session 2:

July 9-14

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If you love the smell of limestone in the morning and the freedom to work in a medium that can tailor to every artists work method, then Stone Lithography is for you.  This course will cover processes using drawing and painting methods as well as traditional and experimental approaches on lithographic stones. Participants will learn graining, preparation, and processing of a stone. Black and color overprinting methods will be presented, along with registration and Sharpie graphic process and transfer methods.  Participants will work on the stone using additive and reductive processes to create a developed print.  All skill levels are welcome.

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Tyler Ferreira serves as faculty at Loyola Marymount University and Long Beach City College.  Ferreira received his MFA in Printmaking from California State University at Long Beach and his BFA in Printmaking from the University of South Dakota. Although primarily a stone lithographer, Ferreira also works in Intaglio, serigraphy, relief and mixed media processes.  His work has been shown both nationally and internationally including at the Museum of Lithography in Tidaholm, Sweden; Moon Fragment Gallery, in Seoul, South Korea; the Sharjah Art Gallery at American University in Cairo, Egypt; Seventh International Print Art Triennial in Sofia, Bulgaria; American Printmakers in Veliko Tarnovo, Bulgaria; and at the Monsummano Terme International Biennal d’ Incisione in Italy.

Screenprint Demo City!

Hitchcock

Session 2:

July 9-14

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This course will focus on the basics of water-based screenprinting in combination with alternative printmaking procedures. Participants will express their individual insights through safe and easy printmaking techniques. We will explore a variety of procedures including painted stencils, rubylith hand-cut stencils, direct photo emulsion, multiple printing of layers, CMYK files used for four-color screenprinting, and hand dyeing to create experimental unique prints on paper, wood, and fabric!  No previous experience is required.

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John Hitchcock is an Artist, Professor of Art, Director of Printmaking and Associate Dean of Arts at the University of Wisconsin-Madison. Professor Hitchcock has served as Faculty Director of The Studio Learning Community and Art Department Graduate Chair. He is an award-winning artist who uses the print medium to explore relationships of community, land, and culture. He has taught printmaking at UW-Madison since 2001. Prior to that he was at the University of Minnesota, Morris. He holds a Master of Fine Arts degree from Texas Tech University.

Hitchcock has been the recipient of The Robert Rauschenberg Foundation Artistic Innovation and Collaboration grant, New York; Jerome Foundation Grant, Minnesota; the Creative Arts Award and Emily Mead Baldwin Award in the Creative Arts at the University of Wisconsin. Hitchcock’s artwork has been exhibited at numerous venues including the International Print Center New York, New York; Museum of Contemporary Native Arts, Santa Fe, New Mexico; Museum of Wisconsin Arts, West Bend, Wisconsin; The Rauschenberg Project Space, New York, New York; “Air, Land, Seed” on the occasion of the Venice Biennale 54th International Art at the University of Ca’ Foscari, Venice, Italy; “Envisioning The Plains” Solo exhibition at the American Culture Center in Shanghai, Shanghai, China.  He has also served as artist in residence at the American Culture Center, Shanghai, China; Frans Masereel Centrum for Graphix in Kasterlee, Belgium; the Proyecto’ace International Center for Visual Arts in Buenos Aires, Argentina; and the Venice Printmaking Studio, Venice, Italy.

Tonal Intaglio / Mezzotint

Lingscheit

Session 2:

July 9-14

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From bold, hard-edged graphics to whisper-subtle tonal gradations – no matter your aesthetic or style, intaglio can deliver!  This course will introduce multiple methods of creating tone, texture and linework using both etching (ferric chloride on copper) and various non-acid techniques and tool usage.  Instructional demos will include mezzotint, hard and soft ground, stage-bite aquatint, spit bite, toner wash, texture transfer, blind embossment, and various drypoint methods.  In addition to image development and constructing mezzotint rocker jigs, this course will also address inking and printing methods such as à la poupée and multiple-plate registration. Participants can expect to view and discuss many diverse examples of intaglio print work, receive group and individual feedback, and work to complete one or more prints during the workshop.

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Carrie Lingscheit’s intaglio prints exploit the subtleties of etching and mezzotint technique to explore themes of human behavior, interaction and the malleable nature of remembrance, presenting equivocal narratives that are often characterized by omission, distortion, and hyperbole. Her work has been included in numerous national and international exhibitions and in dozens of invitational exchange portfolios. Recent exhibitions include the 3rd International Mezzotint Festival in Ekaterinburg, Russia; and the 2017 Washington Printmakers National Small Works Juried Exhibition in Washington DC. Lingscheit holds a BFA from The University of South Dakota and a MFA from Ohio University.  She currently lives in Chicago, IL.

Photopolymer Intaglio

Martin

Session 2:

July 9-14

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Are you interested in achieving the tonal range of photogravure, but are worried about the time required and toxicity? Photopolymer plates (Solar Plate and Toyobo KM) are a non-toxic way to achieve the tonal range similar to that of photogravure, without the use of harsh chemicals or acids. This process affords artists the flexibility to work with a wide variety of imagery, from traditionally photographic to line art and hand-drawn images.

Participants in this workshop will learn all aspects of the photopolymer process, including basic Photoshop skills, methods of making transparencies (both hand drawn and printed), plate exposures, and printing. Registration methods for multi-plate color printing, and experimental printing methods (a la poupée and chine-collé) will be addressed.

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Michelle Martin is an Associate Professor of Printmaking at The University of Tulsa and Gallery Director of the Sherman Smith Family Gallery, located at the Henry Zarrow Center for Art and Education in Tulsa, OK. She received her BFA in 1993 from Texas Tech University in Lubbock, Texas, and earned her MFA in Printmaking at The Ohio State University in 1996. An active artist working in all print media and drawing, her work has been shown in over 160 national and international exhibitions since 1995, including venues in New Zealand, Venezuela, Iceland, Italy, Bulgaria, Turkey and England. She has won numerous awards and purchase prizes, including an Oklahoma Artist of Excellence Award in 2003, the 2007 Print Prize in the Bradley Print and Drawing Exhibition, and the Oklahoma Visual Arts Fellowship (Oklahoma Visual Arts Coalition) in 2008, and the Brackett-Krennerich Purchase Award (Delta National Small Prints Exhibition) in 2013 and 2014. Her work is in several private, public and university collections, including the Zuckerman Museum of Art (Kennesaw, GA), Kohler Library (Madison, Wisconsin), Muscarelle Museum of Art (The College of William and Mary), The Anchor Graphics print archives, The College of Notre Dame of Maryland permanent collection, Rutgers Center for the Innovative Paper, the Southwest Collection (Texas Tech University), and the Paul and Lulu Hilliard University Art Museum (University of Louisiana).