Past Workshops

Vector Cut Stencil Monotype | Craig Mains (Session 2) FILLED

 Vector Cut Stencil Monotype | Craig Mains

Saturday, 2/9        10am - 4pm
Saturday,   2/16    10am - 4pm

$180 non-associates / $153 associates ($35 for materials)

Create stenciled monotypes using Photoshop, Illustrator and Silhouette software to make smooth and detailed cut shapes as a base matrix for making some exciting prints.  This workshop will cover preparing vector graphics, cutting frosted mylar stencils on a Silhoette vinyl cutter and painting stenciled mylar plates with water-based inks to create subtle and intricate monotype prints. This process allows you to paint quickly onto the mylar plates, then transfer the ink to dampened paper using an etching press. You will learn about ghost images, which can achieve wonderful effects. This technique is completely non-toxic, and can be used in a classroom settings.

 

 CLASS FILLED

 

Vector Cut Stencil Monotype | Craig Mains

Vector Cut Stencil Monotype | Craig Mains

Saturday, 1/5    10am - 4pm
Sunday,   1/6    10am - 4pm

$180 non-associates / $153 associates ($35 for materials)

Create stenciled monotypes using Photoshop, Illustrator and Silhouette software to make smooth and detailed cut shapes as a base matrix for making some exciting prints.  This workshop will cover preparing vector graphics, cutting frosted mylar stencils on a Silhoette vinyl cutter and painting stenciled mylar plates with water-based inks to create subtle and intricate monotype prints. This process allows you to paint quickly onto the mylar plates, then transfer the ink to dampened paper using an etching press. You will learn about ghost images, which can achieve wonderful effects. This technique is completely non-toxic, and can be used in a classroom settings.

 


Course Fee

 

Decorative Papers | Christa Wolf

Decorative Papers | Christa Wolf

Wednesday, 12/12   4pm - 7pm

$45 non-associates / $38.25 associates ($35 for materials)

We will try different techniques to create decorative paper that can be used for covering portfolios, books, presents or other paper projects. We will use simple stamping with vegetables and fruits, printing from linocut, and other material like strings, foams, etc. We will dab, spray, dye and learn how to make paste paper. Use the papers you make in this class to cover your own books in the Basic Book Structures Workshop.


Course Fee

 

Drypoint | Christa Wolf

Drypoint | Christa Wolf

Friday, 11/30 4pm-6pm
Saturday 12/1 2pm - 4pm
Saturday 12/8 2pm - 4pm

$90 non-associates / $76.5 associates ($$35 for materials)
 

 

Intaglio has been considered one of the finest and oldest printmaking technique with masters like Duerer, Rembrandt, Whistler and many more. In intaglio engraved lines are being inked and printed. In Drypoint the lines are directly scratched  with different tools, often a needle into copper plates. The image can be worked over several times, printed in different stages, and producing richer images each times. The burr of the needle leave partly fussy borders that produce lively lines. 
We will try our hands on two small images working through the process of drawing and then printing the plates in at least three different stages. Bring sketches of line drawings. 


Course Fee

 

Intro to Copper Plate Etching | Hunter Buck

Intro to Copper Plate Etching | Hunter Buck

Tue, 11/27 3pm-7pm
Tue, 12/4 3pm-7pm
Tue, 12/11 3pm-7pm

$180 non-associates / $153 associates ($75.00 for materials)

Copper plate etching is a process where a polished piece of copper is processed with either engraving or an acid bath with the intention of creating grooves and lines to hold ink. Ink is applied to the whole plate, then carefully wiped down leaving the ink the grooves and lines. The plate is then ran through the press with a sheet of damp paper for the final print. In this course we will cover the basic methods and techniques of etching, as well as explore some "experimental" mark making approaches. The course is three days, which will allow for enough time to get everyone to the printing stage of the process. In addition to the processes and techniques, I will promote an exploration of imagery, composition and themes because printmakers are artists too!

 


Course Fee

 

Intro to Reduction woodcuts | Jenny Pope

Intro to Relief | Jenny Pope

Wednesday, 11/7 5:30pm - 8:30pm
Wednesday, 11/14 5:30pm - 8:30pm
Wednesday, 11/28 5:30pm - 8:30pm

$135 non-associates / $114.75 associates ($30 for materials)

Learn the basic techniques of making colorful relief prints using MDF (medium density fiberboard). Reduction woodcuts are a way to get mutiple colors using one block instead of carving a block for each color. We will focus on registration, mixing inks, and editioning a final print. No prior experience necessary. Feel free to bring drawings and ideas to class. The block size will be around 10" x 11"

Course Fee


 

Mezzotint | Judy Barringer

Mezzotint | Judy Barringer

Saturday, 11/3     10am - 4pm
Sunday, 11/4       10am - 4pm
Saturday, 11/10   10am - 4pm
 
$270 non-associates / $229.5 associates ($35 for materials)
 

Mezzotint is a printmaking process of the intaglio family, technically a drypoint method. Mezzotintachieves tonality by roughening the plate with thousands of little pits made by a metal tool with small teeth, called a "rocker." The whole surface of the plate, usually copper,  is roughened evenly, manually with the rocker, or mechanically. In printing, the tiny pits in the plate hold the ink when the face of the plate is wiped clean. Areas smoothed completely flat will not hold ink at all: such areas will print "white," that is, without ink. By varying the degree of smoothing, mid-tones between black and white can be created, hence the name mezzo-tinto which is Italian for "half-tone" or "half-painted". This is called working from "dark to light", or the "subtractive" method. A high level of quality and richness in the print can be achieved.


Course Fee

 

Screen Printing | Paul Van Atta

Screen Printing  | Paul Van Atta

Saturday, June 30 10am - 6pm

$120 non-associates / $102 associates ($40.00 for materials)

Screen printing is arguably the most versatile of all printing processes. Silk screen printing is a fun, non-toxic printing process that involves both photo and handmade stencils. Bring photo copies of photographs and/or hand drawings made from pencil or ink and I will show you how to prepare them for the screen. Silk screen printing is a great way to make multiples. Contemporary artists such as Banksy, Shepherd Fairy and Swoon have used this process for street art. Other artists who use this process are Beatrize Milhaze, Richard Hamilton and Kiki Smith.

In the morning we will go through the process of using a UV exposure unit. In this workshop, we’ll be applying an image directly to acetate using a variety of tools and materials, including paint pens, stencils and acrylic. In the late morning, everyone will have a chance to prep a screen with emulsion.

In the afternoon we will continue with the UV exposure unit but will include the halftone process. Halftone screen printing refers to the pattern of dots of varying sizes applied to an image of varying tones, or same sized dots applied to a tint of color. In this workshop, we’ll go over the process involved in using Photoshop to produce our halftoned images. 

  


Course Fee

 

Screen Printing | Paul Van Atta

Silk Screen | Paul Van Atta

Mon. 4/16 10AM- 3PM                                                                                                                              Mon. 4/23 10AM- 3PM

$190 non-associates/ $168 associates

Screen printing is arguably the most versatile of all printing processes. Silk screen printing is a fun, non-toxic printing process that involves both photo and handmade stencils. Bring photo copies of photographs and/or hand drawings made from pencil or ink and I will show you how to prepare them for the screen. Silk screen printing is a great way to make multiples. Contemporary artists such as Banksy, Shepherd Fairy and Swoon have used this process for street art. Other artists who use this process are Beatrize Milhaze, Richard Hamilton and Kiki Smith.

First day of the workshop (4/16) will go through the process of using a UV exposure unit. In this workshop, we’ll be applying an image directly to acetate using a variety of tools and materials, including paint pens, stencils and acrylic.

Second day of the workshop (4/23) will continue with the UV exposure unit but will include the halftone process. Halftone screen printing refers to the pattern of dots of varying sizes applied to an image of varying tones, or same sized dots applied to a tint of color. In this workshop, we’ll go over the process involved in using Photoshop to produce our halftoned images. 
  


Course Fee




Mezzotint | Judy Barringer

Mezzotint | Judy Barringer

 12/11/2017: 10AM- 4PM                                                                                                                       12/13/2017: 10AM- 4PM                                                                                                                     

 $150 non-associates / $127.50 associates ($35 for materials)  

CLASS IS FILLED. If you are interested please let us know                                                                                                            

Mezzotint, from Italian, mezzo-tinto for “half-tone” or “half-painted”, is technically a drypoint method in the intaglio family. Unlike etching, where acid is used to etch lines in the surface of the plate, thereby achieving the desired level of tonality, tonality is achieved by “distressing” the surface of a copper plate with thousands of little pits made by a tool with small teeth, called a “rocker”. The entire surface of the plate is evenly distressed with the rocker. Tonality in the image is achieved by using tools such as burnishers and scrapers to smooth desired portions of the plate. It is similar to making a charcoal drawing and bringing out the highlights with an eraser. As in intaglio printing, the tiny pits in the plate hold the ink when the face of the plate is wiped clean. Areas smoothed with the burnisher and/or scraper will not hold ink and will print “white”, that is, without ink. A richness in the print can be achieved by varying the degree of smoothing, creating varying tones between black and white.

In these two sessions the artists will be given a pre-rocked (distressed) plate onto which they will transfer their drawing. By burnishing and scraping the distressed surface of the plate, the artist will bring out the mid tones between the black and the white of the paper. Each artist will pull two prints from their plate.

 

CLASS IS FILLED. If you are interested please let us know

Affiliated with
hpeterkahn.org
Scout Dunbar Studio

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Community Arts Partnership