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We offer a wide range of workshops for all levels, taught by experts in the field. Unless otherwise noted, workshops are for all levels. All workshop fees include materials. The workshops are taught in our wonderful new teaching studio that is on the ground floor of our building.
We have scholarship money available to help with the cost of workshops for artists in need. The Ruth Chalfin Memorial Scholarship Fund provides up to 50% of the workshop fee. Download a scholarship application here and email it to: email@example.com.
This four week, Tuesday morning workshop is geared for artists who need to use Photoshop for making digital files from their images, and using them on the web and in print. Learn basic Photoshop skills in a class that combines demonstration, documentation, and hands-on exercises. This introductory level course will cover file type, file size, resizing images, batch processing, photostitching, and layers. We will practice formatting images for submission to shows and interpreting file requirements. Most of the lessons in this course can be completed with Photoshop Elements, but a few of the time-saving techniques that will be demonstrated are only available in Photoshop CS or above. Students will bring their own laptop (with Photoshop) and practice at home between classes.
Chine collé is the process of concurrently printing and mounting a thinner sheet of printing paper onto a thicker backing sheet, to achieve a more desirable printing surface or for mounting purposes. In this introductory workshop artists will gain insight into the chine collé process by working with delicate papers through demonstrations and individual work with the instructor. How to handle damp and dry delicate papers, and tricks of the trade will be taught, as well as how to cook and prepare the wheat paste adhesive, various application methods (the direct method and the pre-pasted method), proper dampening and misting techniques, plate and press preparation. All levels
This intaglio printmaking workshop will introduce recent innovations in lift grounds. We will learn Coffee Lift (a non-toxic sugar lift solution) in which one paints positively on a white background; and White Ground (or Soap Ground) which equips the artist with tonal gradations, but prints white against a dark background. Both techniques will offer a different visual language to the etchers toolbox. As an added bonus, we’ll be doing all of this using the methods employed at Zea Mays Printmaking, including BIG ground, airbrush aquatint, using household ingredients, and etching on copper in ferric chloride, making the whole process safer for the artists and less toxic for the environment. You will be introduced to wiping skills and printing techniques as you develop and print your image and experiment with the wide breadth of mark making that lift grounds offer. This workshop is designed for artists with some basic intaglio experience.
This workshop is designed for teachers to relax and explore their own creative process.
Monotype basics will be demonstrated each day to inspire play with Akua Intaglio Inks. Time will be given to find your own rhythm, and follow the flow of your personal imagery. This could be your first exposure to monotype or could be used as time to delve into a particular aspect of monotype that you would like rediscover. There will be two mornings of studio time with individual instruction after each demo, and a third full day, with a morning demonstration and extra afternoon time to finish and work back into your prints.
This self-directed 4-evening series offers participants the opportunity to develop intaglio projects and technical skills in an open studio format. Feedback and critique from fellow participants, alongside instructor support will provide a supportive format. Students will be encouraged to develop individual print projects or focus on technical development. In-depth handouts and demonstrations using the methods employed at Zea Mays Printmaking (including BIG hardground and softground, drypoint, airbrush aquatint, lift grounds and etching on copper in ferric chloride), as well as printing and editioning techniques will be provided on an as needed basis. Students will have full-access to the etching facility and printing presses with the instructor available to troubleshoot, assist with plate development and printing, and provide personalized, individual assistance. This workshop is for every level of etcher who wants to explore the possibilities of working independently on copper. No prior etching experience required. Students who enroll in this workshop also receive 6 hours of open studio time outside of class in the Zea Mays Members' studio.
Using Akua Intaglio Inks, we will explore the basics of color mixing, and color layering in simple monotypes. Together we will look at how artists from Vuillard to Frankenthaler have used color theory to make their choices about color in their prints and paintings. The painterly print is a perfect medium for making quick and surprising discoveries about color. While creating subtractive plates, and adding simple stencil shapes, our focus will be on what color to use and how to arrive at beautiful color experiences. The color principles covered in this workshop can later be applied to any type of printmaking and is open to experienced and beginning printmakers or painters.
Amplify your monotype moves and print 18" x24" images on full sheets of paper. You'll have lots of help using big rollers, big mark making tools, and big gestures to make layered one of a kind prints.With a focus on color and composition, we'll explore the breadth of ink manipulation and mark making possibilities that water-based Akua inks encourage. Beginning printmakers are welcome in this workshop as well as more experiencedartists, anyone who wants to kick it up a notch and print big! Individualized instruction as well as group demonstrations make thisa rich, creative weekend of work.
Relief prints made from linoleum or wood tend to be bold and graphic, but the Japanese method with its waterbased pigments, brushes and hand printing allows for softer and more painterly relief prints. This workshop will touch on all aspects of the process: transferring images to woodblocks, carving with Japanese tools, using the kento registration system, and printing with brushes and a baren. Having three days will allow time to focus on a few of the printing techniques particular to the Japanese method. You will learn to create a bokashi (gradation), control textures using varying amounts of water or rice paste, overprint two colors to create a third color, and soften carved edges. The workshop is open to beginners as well as students who want to expand their relief printing practice.
This 5-week workshop series will be an in-depth exploration of monotype techniques primarily using water-based Akua inks. Students will be encouraged to develop individual print projects, and will receive individual assistance and demonstrations of a particular aspect of making a monotype on an as needed basis. With four hours of workshop time each week, the course will delve into subtractive techniques, mixing colors, transfer drawing, and how to introduce a relief plate into the mix. This series of classes could serve as an introduction to using Akua Inks and monotype techniques, or as a weekly morning meeting to explore your own process with new inspiration and support.
Students who enroll in this series will also receive 8 hours of open studio time outside of class in the Zea Mays Printmaking members' studio.
This workshop is an introduction to working with Toyobo Printight plates, a photopolymer plate that is sensitive to photo-based imagery as well as direct drawing. In fact, the process is so versatile that it can accommodate nearly any type of imagery or visual approach you’re interested in bringing to it. The plates can yield prints with rich, luscious blacks, delicate tones, or lines that sensitively translate the texture of the drawing tool. Through the use of colored inks, multi-plate printing, and chine colle, the plates can also yield beautiful color prints.
The workshop is open to beginners with no printmaking experience as well as experienced printmakers. It can also be used as an introduction or a re-fresher course for those familiar with the process.
Viscosity monotype with water-based inks involves a loose, painterly, and often, thrilling exploration playing the edge between accident and control. Create subtle, spontaneous, one-of-a kind prints on delicate papers, using modified inks. Thick and thin inks resist each other in ways that allow for beautiful color interactions in delightfully unpredictable ways. Learn some of the tricks to making this fun way of exploring color work for you, as you add to your printing vocabulary.
This is a two-day guided exploration of combining and creating relief and monotype plates. We will carve and incise a plastic substrate, first working small and spontaneous with mix and match sizes that can be rolled for relief printing and altered with monotype inking techniques. This is a playful method of introducing carved and incised lines and forms into the painterly print, creating a rich vocabulary of mark making.
With a carved plate and a monotype plate layered together with stencils, the possibilities are endless. Students will bring home several small test plates and one or two larger plates to continue the exploration of inking and combining plates after the workshop.
This workshop is open to both the beginning and the experienced printmaker.
It’s like Jazz, but with sharp tools, wood, paper and ink! This most ancient of printmaking techniques honors the hand, the mark, and the constructive destruction of wood transformed by carving, scratching and abrading. Each block is a layer of information that can be combined with stencils and masks to yield unique, contemporary results. Students will make a set of plates that can be used alone or in conjunction with one another. We use Shina plywood, a wonderful material that is easy to cut and keeps fine detail. Tool maintenance and sharpening, ink modification, transfer techniques, and printing techniques will be addressed. This is a unique way to work with woodblock that can have the immediacy of collage, yet with the possibility of multiples and work within a series. For people who have been frightened of carving, or who have had bad past experiences with splintering wood and dull clunky tools, this workshop will add much to your printmaking repertoire! No experience necessary.
This is a unique workshop that will combine outdoor photography with indoor printmaking. You will spend an afternoon outside in nature and in town taking photographs that will translate well to photo-etching. Time will be spent initially discussing what qualities of light and tone might work best for this particular printmaking process, and how best to achieve those qualities by learning what to look for in nature and how to set your camera to capture them. You’ll then set out to explore the world around you and return to the studio with a range of photographs to build your prints from.
This workshop will teach you the steps for transforming and enhancing your photographs in Photoshop, and then how to take those transformed photos and create photopolymer plates that yield prints with delicate tones and rich blacks. You’ll appreciate the power of transforming a photograph into a unique and visually compelling print.
The workshop is open to beginners as well as experienced printmakers and photographers. The only requirement is that you have a digital camera, and an interest in photographing in nature.
This workshop will introduce an innovative technique, using watercolor paints instead of printing inks to create unique monotypes. We’ll paint with fluid watercolors onto non-porous plexiglass plates. As the paint dries, it will form washes of color and unexpected forms. The resulting prints have a luminous, watery quality, unlike anything you could paint directly on paper or produce using printing inks. Weather permitting, we will paint our plates outside in a garden each morning, then return to the studio in the afternoon to print them. This will be an exciting monotype class for printmakers and watercolor artists alike.