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Book and Box of Curiosities

Rhiannon Alpers

Session 1:

July 1-6

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This course explores the interpretation of our natural surroundings through artist books and boxes. Students from diverse printmaking and bookmaking backgrounds are welcome. The workshop strikes a balance between hands-on construction of book and box structures, independent work, and engaging discussions encompassing various media processes, materials, and how the natural world intertwines these ideas. Throughout the week, students will have the opportunity to create unusual folded paper book structures, paper boxes, false accordion/flutter book structures, single-section hardcovers, leading to simple multi-tray box structures. Demonstrations will also cover image and text generation methods to assist students in translating their ideas onto the page. Each student’s work will be uniquely tailored to their material storytelling interests, visual collections, and natural curiosities, should they wish to incorporate them.

Rhiannon Alpers is a papermaker, letterpress printer, and book artist. She has both a BA and MFA in Book and Paper Arts and currently works as the Director for InterOcean Studio in Colorado.

Alpers has taught adjunct academic courses at San Francisco Art Institute, California College of the Arts (San Francisco), University of San Francisco, and Columbia College Chicago. She has taught workshops for Penland School of Crafts, Focus on Book Arts, San Francisco Center for the Book, Guild of Bookworkers, Denver Botanic Gardens, Book Arts LA, San Diego Book Arts, and the Center for Book and Paper in Chicago.

She has exhibited nationally and internationally, with her most recent solo exhibition in 2023 entitled Mutualistic Musings in Denver, CO. Her limited edition and one-of-a-kind artist books are produced under the Gazelle and Goat Press imprint, and more information about her work can be found at rhiannonalpers.com.

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Metal Engraving

Oscar Gillespie

Session 1:

July 1-6

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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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Photopolymer Intaglio

Michelle Martin

Session 1:

July 1-6

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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 also be addressed.

Michelle Martin is a Professor of Printmaking at The University of Tulsa, where she teaches all printmaking media at both undergraduate and graduate levels.  She received her BFA in 1993 from Texas Tech University in Lubbock, Texas, and she went on to earn her M.F.A. 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 240 national and international exhibitions since 1995, including venues in Australia, Bulgaria, New Zealand, Venezuela, Iceland, Italy, Turkey and England. She has won numerous awards, including an Oklahoma Artist of Excellence Award in 2003, the 2007 Print Prize in the Bradley Print and Drawing Exhibition, an Oklahoma Visual Arts Fellowship (Oklahoma Visual Arts Coalition) in 2008, three purchase prizes for the Delta National Small Prints Exhibition (in 2013, 2014 and 2016) and a Materials Award for work in the 2017 Boston Printmakers North American Print Biennial. Her work is in several private, public and university collections, including the Ft. Wayne Museum of Art (FT. Wayne, IN), the Hawaii State Foundation on Culture and the Arts, the Akron Art Museum Art Library Program (Akron, OH), the Zuckerman Museum of Art (Kennesaw, GA), Bradbury Art Museum (Jonesboro, AR), 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, and the Southwest Collection and Colorprint Collection at Texas Tech University.

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Reduction Relief

Samantha Mendoza

Session 1:

July 1-6

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Reduction relief is a useful method of creating multilayered prints using a single block. Participants begin either by transferring images or drawing their designs directly onto the matrix. The reduction process is named as such because it requires strategic carving between each printed layer, incrementally reducing the surface area of the block. The key to keeping your layers organized is to design the image using a variety of colors that will create a color-coded guide to rely on. Mapping out your design in advance is crucial to the process, as you lack the opportunity to cover mistakes with additional blocks. Each individual will leave this workshop with an edition of prints that boast a variety of value and color.

Samantha Mendoza was born in the San Joaquin Valley in Central California. Her journey into printmaking began at College of the Sequoias in 2010, under friend and mentor Richard Peterson. She graduated with her BFA in Printmaking at the Kansas City Art Institute in 2015, followed by her MFA at Northern Illinois University in 2019. Mendoza’s work serves as introspective investigation – permeated with symbolism, and inspired by all modes of storytelling. With influences such as Dark Romanticism and Magic Realism, the content primarily fixates on themes of love, loss, mental health, and human fallibility.  She is a member of Grafik House in St. Louis, Missouri and teaches printmaking and drawing at Webster University.

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Stone Lithography

Emmett Merrill

Session 1:

July 1-6

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This workshop offers a survey of the stone lithography process with an emphasis on additive color. Participants will work together to draw, process and print their very own lithographic edition. We will explore the unique possibilities of lithography as a method of image-making, exposing students to a variety of drawing materials and applications. Both abstract and representational approaches to drawing are welcome! Students will learn the basics of processing and printing, as well as explore contemporary techniques of color application on the stone. This course is open to all skill levels, from first-timers to seasoned lithographers!

Emmett Merrill is an independent artist-printmaker hailing from Kansas City, MO. His work uses lithography to explore topics including ghost stories, the American Highway system, and art history. He is a collaborator with artist collective and fine art print shop, Grafik House, where he self-publishes his work. Merrill received his BFA in printmaking from the Kansas City Art Institute and his MFA from the University of Tennessee, Knoxville. His work is included in numerous public and private collections in the U.S. and internationally, most notably the Library of Congress and the China Printmaking Museum.

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Monotype / Monoprint

Sarah Smelser

Session 1:

July 1-6

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Monotype / Monoprint demonstrates varied monotype techniques, starting with trace monotype. Done most effectively on dry Asian paper, trace monotype can stand on its own or initiate collages, mixed media works, and printstallation. Trace monotype is portable and invites possibilities for plein air printmaking. Demonstrations also include stencil printing, counter- proofing, ghost printing, ink modification, and blend rolls.

Students will combine these user-friendly approaches to monotype with reductive mark-making  and selective inking techniques generated from a woodblock. Working from a glass slab, a sheet of plexiglas, and a woodblock – printing both by hand and on the press – students can work intuitively and spontaneously to develop a body of related works. Accessible and unique, Monotype/Monoprint is geared toward artists of varied experience, from beginning students to seasoned printmakers. Participants are welcome to bring existing wood blocks and are encouraged to bring source material to generate imagery.

Sarah Smelser received her BA from University of California Santa Cruz, and her MA and MFA from University of Iowa. She has been an artist in residence at Vermont Studio Center; Franz Masereel Center, Artica Bilbao, Kala Art Institute, Jentel Artist Residency, Skopelos Foundation for the Arts, Anchor Graphics, Ballinglen Arts Foundation, Tamarind Institute, Remarque Print Workshop and the Contemporary Print Research Center at University of California Santa Cruz. She has had solo exhibitions at Bridgewater/Lustberg & Blumenfeld in New York City, Kathryn Markel Fine Arts, Urban Institute for Contemporary Art, Carnegie Mellon University, Bradley University, University of Wyoming, Middle Tennessee State University, Montana State University, Quad City Arts Center, and the Evanston Art Center. Her work has been included in many invitational and juried shows, and shown at numerous art fairs including Art Frankfurt, Estampa Madrid, Affordable Art Fair New York, Art Miami, Red Dot Art Fair in New York and Miami, Art Santa Fe, Art Chicago, EDITION Chicago, EXPO Chicago, Boston Print Fair, Baltimore Contemporary Print Fair, Editions/Artists’ Book Fair, and Los Angeles Art Show.

Currently Harold Boyd Endowed Professor of the Wonsook Kim School of Art at Illinois State University, Sarah is also co-founder of Manneken Press with Master Printer Jonathan Higgins. Manneken Press is a fine art print publishing venture, thriving in Bloomington, IL.

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Relief Printing on Fabric

Stephanie Alaniz

Session 2:

July 8-13

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In this course, participants will learn block-carving, printing onto fabric, sewing, and the applique process.  We will assemble small textile pieces such as quilts, pillows, banners, etc.  Relief printing on fabric is a very special process; the work can be flat, but can also be dimensional and take up space depending on its final form. Multiple colors and textures may be utilized through ink and fabric selection as well as by playing with collage elements through applique.  All levels are welcome.  Participants that have previous experience are welcome to bring pre-carved blocks that may be printed onto fabric.

Stephanie Alaniz (they/them) was born and raised in South Texas. They received their BFA in 2016 from Texas A&M-Corpus Christi with an emphasis in Printmaking. They then went on to receive their MFA from West Virginia University in 2019. Stephanie’s current work focuses on normalizing insecurities, challenging anti-fat bias, discussing mental health issues, and the intersection of all of these topics. Through printmaking, textiles, drawing, and sculpture they are able to create work about these topics with the hope of inviting the viewer in to reflect on themself and how these topics influence the world around us. Stephanie currently lives in Emporia, Kansas where they are the Gallery and Outreach Director at Emporia State University and teaches courses at the Lawrence Arts Center in Lawrence, Kansas.

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Water-based Screenprint

Mary Claire Becker

Session 2:

July 8-13

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This workshop will provide an overview of water-based silkscreen using both hand-drawn and digital films with photographic emulsion. We will experiment with a variety of mark-making tools including China Marker, paint pen, India ink, acrylic paint, toner wash, and rubylith stencils. The workshop will cover monoprint processes, as well as textural effects that can be created by exposing physical objects such as plants and fabric. Lastly, we will learn how to prepare digital files for inkjet-printed films, including vector art and CMYK halftone. Students in this course will discover how to incorporate versatile and expressive mark-making into their silkscreen projects by combining multiple approaches when preparing films. No previous experience is required.

Mary Claire Becker uses printmaking to explore the persistent appeal of bucolic nature imagery amidst the 21st century shift from physical to digital media in industrialized society. She holds an MFA from the University of Iowa, a Certificate of Book Arts from the UI Center for the Book, and a BFA from UNC Asheville. She has shown internationally at venues including Changsha Normal University (Changsha, Hunan, China), Tippetts and Eccles Gallery at Utah State University, the Stanley Museum of Art’s First Friday series (Iowa City, IA), the New York Center for Book Arts, Blue Spiral 1 (Asheville, NC), and Manifest Gallery (Cincinnati, OH). Awards include Central Michigan University’s Barstow Fellowship, University of Wyoming’s Inky Paper Award and Sheridan College’s Theodore Waddell Award. Artist residencies she has attended include the Jentel Foundation in Wyoming and the Kimmel Harding Nelson Center in Nebraska. She is currently the Assistant Professor of Printmaking at Oklahoma State University.

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Mezzotint

Douglas Bosley

Session 2:

July 8-13

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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 called a ‘rocker’ 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 accomplished by scrapping and burnishing to establish tints and tones. The beauty of mezzotint lies in its ability to produce highly sensitive tonal gradations and a highly dynamic range of values.

This intensive workshop will focus on all aspects of creating 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 course you will know how to make fine intaglio work without harsh acids or chemicals.

Douglas Bosley lives and works in an undisclosed underground location, along with his lovely wife, two cats, two axolotls, and one turtle.  When he isn’t thinking about green tea or space, he is doing something else.  He likes bad movies (and some good ones), insects, cacti, 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 with an emphasis in graphics.  From 2013 to 2015 he was an Honorary Fellow at the Forest Laboratory in the Department of Bacteriology at UW-Madison.  From 2018 to 2023 he was faculty at College for Creative Studies.  From 2022 to 2023 he was an instructor at the Ann Arbor Art Center.

His artwork has been included in numerous shows nationally and internationally.  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 China Printmaking Museum, Shenzhen, Guangdong, China; the Southern Graphics Council Archives, Zuckerman Museum of Art, Kennesaw State University, and the International Cryptozoology Museum.

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Intaglio

Terry James Conrad

Session 2:

July 8-13

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This course will explore large format steel intaglio printmaking. Participants are encouraged to explore the imagery and content they are interested in, as well as use the processes that fit their needs and interests. Participants will have the opportunity to learn how to prepare images for the CNC Plasma cutter and use it to make shaped plates.  Many kinds of intaglio mark-making processes will be covered. This course will investigate lift grounds, soft ground, experimental and traditional aquatint techniques and hard ground etching with nitric acid. Participants may also explore marking through rotary power tools such as a Foredom tool and/or a Dremel tool. Black and white and color printing will be covered.

Terry James Conrad’s work often revolves around scientific collaborations, presently working as an Artist Collaborator in the National Science Foundation Biological Oceanography Program working with Dr. J.M. Bernhard of Woods Hole Oceanographic Institution (WHOI) and Catherine Davis of North Carolina State University. Terry’s work is rooted in printmaking but also investigates instrument building and sculpture.  Conrad received his BFA from Alfred University and his MFA from the Cranbrook Academy of Art.  He is currently an Assistant Professor and Co-Program Head of Printmaking at the University of Iowa and an Iowa Print Media Faculty Fellow.  Conrad also serves as the University of Iowa Liaison to Frogman’s Print Workshops. In 2017, he was a New York Foundation for the Arts Fellow in Drawing, Printmaking and Book Arts. Terry previously worked and trained at Izquierdo Studio as a costume and prop builder for theater and film.

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Relief Engraving

Johanna Mueller

Session 2:

July 8-13

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Love relief but can’t get enough detail? This workshop introduces High Impact Polystyrene (HIPS), a plastic material that takes the place of end-grain wood in the relief engraving process and offers endless possibilities in the studio.

Engraving basics, including tool sharpening, carving methods, image planning, use of line, pattern, value, and composition within the image will be covered.  Participants will explore what HIPS can offer, including shaped plates, carving on both sides, utilization of stencil techniques and more!  Registration and printing best practices will be presented, with experimentation and play encouraged. A course exchange portfolio will also be encouraged but not mandatory, as the editioning of HIPS engravings is incredibly fast and fun!

Johanna Mueller is a printmaker, artist and entrepreneur, born and raised in Denver, CO, now splitting her time between the foothills of Bellvue, CO and the plains of Greeley, CO where she co-owns and operates Wonderhand Studios, a printmaking studio and gallery. She has earned a BFA and an MFA in printmaking and fine art and has been the recipient of the Laila Twigg Smith Artist Residency Program at the Donkey Mill Arts Center, in Kona, HI, the Brush Creek Artist Residency in Saratoga, WY, Jentel Artist Residency in Banner, WY and was an Artist in Residence at Anderson Ranch Arts Center in Snowmass, CO.  Her work is widely collected and is represented by Keep Contemporary Gallery in Santa Fe, NM.  She participates in various printmaking specific exhibitions each year. Fore more information, please visit johannamuellerprints.com.

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Plate Lithography

Andy Rubin

Session 2:

July 8-13

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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 will use aluminum 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 during that time. 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.