Workshops

Intaglio

A variety of specialized techniques will be demonstrated, including aquatint, spit bite, chine collé, etching, and drypoint. Participants are able to interact one-on-one with Mr. Kumar while selecting their own projects and direction for a personalized intaglio exploration. All levels.

Vijay Kumar has worked extensively in various printmaking techniques and has been teaching printmaking for many years. He has had numerous solo exhibitions of his drawings, prints, and paintings in the United States and abroad. Mr. Kumar’s prints are included in the collections of the New York Public Library, the Museum of Modern Art, and the Brooklyn Museum.

Participants will learn a variety of low toxic photo-etching techniques that are easily approached by someone familiar with monotype. Photo-etched plates will be created from acetate that has been painted onto with black ink, allowing the fluid marks of monotype to be etched into a plate. Participants will also learn registration and how to create an edition of prints from multiple plates. The introduction of water-based inks will create an even less toxic environment. Previous experience with traditional intaglio printmaking is helpful but not required. All levels.

Anthony Kirk, formerly head of the etching department at Tyler Graphics for 12 years, is the Artistic Director and Master Printer at CCP. He has collaborated with numerous major American artists and has taught at Manhattan Graphics, Parsons School of Design, Pratt Graphics, and other regional printmaking centers.

The freedom of collagraph relief printmaking gives many creative possibilities. If it can be inked, it can be printed. Found objects from nature, like dried fruit, flattened street trash or computer circuit panels can combine with painterly marks from glues and gesso to create a collage plate. These plates are versatile and can be printed as a gauffrage (uninked embossing), hand-colored as a wood block, or printed as a viscosity. Bring materials that are interesting to the first class. No previous printmaking experience is necessary. All levels.

Robin Dintiman works in sculpture, printmaking, drawing, and collage. Her work has been exhibited in venues throughout the country, and is included in the permanent collections of the Philadelphia Art Museum, the National Museum for Women in the Arts, the Little Rock Art Museum, Arkansas, and the Chrysler Museum.  Visit Robin @ www.robindintiman.com

Developed by the old masters, line-etching remains widely used today because of its ability to capture marks with the fluidity and ease of drawing. In this process a copper plate is coated with an acid resistant ground, the ground is drawn into with a stylus and then dipped into acid to etch the image into the plate. Once etched, the ground is stripped off and the plate is inked up and printed on dampened paper.  Participants will work with both hard and soft grounds, learn about the acids and etching process, and will be able to create a small edition of prints. All levels.

Aquatint
Jennifer Melby
3-day workshop
Thursday-Saturday
March 3- March 5, 2011
10am-4pm
$350 plus $20 studio fee; limited to 8


Learn how to create varying areas of tone on your copper plate! Aquatint involves settling a dust of powdered rosin directly on your plate and then baking it on a hot plate. When etched the baked resin creates a series of peaks and valleys on the surface of the plate which prints as a variety of tones from light to dark. Previous etching experience is helpful but not required. All levels.

Jennifer Melby is proprietor of Jennifer Melby Editions, a collaborative studio specializing in intaglio printmaking. The studio opened in the early 1980’s on the Bowery and it is now in downtown Brooklyn, near the Brooklyn Bridge. She has worked on etching projects with notable publishers such as Baron/Boisante, Peter Blum Editions, Brooke Alexander Editions publishing editions by artists Kamrooz Aram, Donald Baechler, Michael Byron, Eric Fischl, Janet Fish, Jane Freilicher, Joanne Greenbaum, Isca Greenfield-Sanders, Red Grooms, and many more. Jennifer Melby has taught at Pratt Institute, Yale University, and the Lower East Side Printshop, and has led workshops at Brandeis, Cooper Union, Lehman College, and Rhode Island School of Design.  Visit Jennifer @ www.jennifermelby.com

Come and explore the endless possibilities of low-toxic collagraph printmaking. The additive and subtractive creation of the matrix using collage materials, carborundum, contact paper and a wealth of materials allows each participant a rich vocabulary from which to find their voice. Many techniques for printing will be covered including monoprints, viscosity, blind embossing, and ghost printing. Learn how to bring life and physical depth to a printed image. Previous intaglio experience helpful but not required. All levels.

Christopher Shore received his MFA in printmaking from the Pratt Institute in Brooklyn, NY. He has studied printmaking techniques in Venice and Florence, Italy and has shown his work internationally. His work explores many types of traditional and non-traditional printmaking techniques. Chris is the Associate Printer and Workshop Manager at CCP.

Chine- Collé is the process in which delicate papers such as Japanese gampi or mulberry paper is bonded to a heavier European paper such as Rives or Arches cover, creating a fusion of two surfaces in one print. In this two-session Chine-Collé workshop, students will learn traditional techniques of paste making, paper-pasting, and collé within the context of intaglio plate printing. The course will also cover the basics of pasting intaglio prints to the wall or other surfaces in order to create installations, wheat paste murals or collage works. No previous intaglio experience is required for this workshop. Beginner to Advanced.

Patrick Egger received his MFA in Printmaking from the Rhode Island School of Design in June of 2010. He received his BFA in Printmaking from the University of Kansas in 2007. It was in Lawrence, KS where he began painting murals with Glen Mies, incorporating various print methods including stencils and wheat pasted paper. At RISD, he focused on figurative drawing and applying traditional intaglio and chine-collé techniques to large wall installations and murals. Commissioned murals include the Gaslight Tavern Stencil Mural, Lawrence, KS July 2006, Bleeding Kansas Music Festival Mural, Lawrence KS, August 2006, Static Hair Salon Mural, Lawrence KS, February 2007, and The Picador Bar Mural, Iowa City IA, August 2007.

Lisa Mackie is a master printer who heads a print workshop under her name. She has been visiting professor at NYU, Cooper Union, RIT, and Rutgers University. Her work is in numerous collections, including the Baltimore Museum of Art, the Museum of Fine Arts, Boston, Yale University Art Gallery, and the Hunterdon Museum of Art, New Jersey. Visit Lisa at www.lisamackie.com