Lothar Osterburg, Return to the Tower (detail)
Matthew Letzelter, Corrugate 13 (detail)
Katie Baldwin, Untended Garden (detail)
July 15 — 19 II July 22 — 26 Copperplate
Photogravure III New Approaches to
Lithography The Color Woodblock:
simple to complex
Lothar Osterburg IV Matthew Letzelter Katie Baldwin
Basic Photoshop skills required.
CONCEPT
Photogravure is a continuous
tone photographic intaglio (etching) process.
A photographic image is etched at various
depths into an aquatinted copper plate. This
workshop offers a hands-on history lesson in
this beautiful, fully archival process. Invented
by Fox Talbot in the mid-19th century and used
by art photographers until the mid-1930s, it
has had a renaissance among photographers,
artists and collectors for the past 30 years. The
workshop allows ambitious students to make
several good photogravure plates, providing a
solid foundation for this complex process.
MEDIA & TECHNIQUES
The workshop
covers all steps to make a copperplate
photogravure using contemporary materials
and methods with focus on continuous tone
digital files and positives. Comprehensive
demos and handouts set students up to make
their own plates with close supervision. *Some
plates provided.
ACTIVITIES
Days
are
filled
with
demonstrations, presentations, studio practice,
one-on-one instruction and group discussions.
The first two days are spent with the entire class
working through the complex process. Each
student spends the remaining workshop time
on repeating the process, troubleshooting
and the production of plates with increasing
independence.
FACULTY Lothar Osterburg operates his own
photogravure workshop in New York, where
he has collaborated with artists such as David
Lynch, Lee Friedlander and Adam Fuss. His work
has been shown nationally and internationally.
Lothar is a 2010 Guggenheim Fellow and has
received two New York Foundation for the Arts
awards.
O
Adobe software skills highly recommended.
CONCEPT
This exciting workshop explores
the photo lithography process combined with
image-making techniques using equipment
in the Digital Fabrication Lab (“FabLab”) at
Anderson Ranch Arts Center. Analog and
digital applications of photolithography are
presented. Devices such as laser cutters, digital
plotters and inkjet printers are used for image
development. Experimentation and a variety of
approaches are encouraged. Students discover
new and inventive ways of making images for
the lithography process not easily achieved by
hand. Those who are more digitally-focused
have the opportunity to explore a more
traditional and tactile printmaking process.
MEDIA & TECHNIQUES
Students learn
photo lithography print processes as well as
image-making techniques using a variety of
fabrication machines. Laptops with Adobe
Software along with drives to transfer data in
the FabLab are highly recommended (but not
required). Computer access is available.
ACTIVITIES
Each day consists of various
demonstrations and time for individual
exploration in both the printmaking studio and
FabLab. Students receive individual instruction
along with group discussions and technical
support throughout the week.
FACULTY
Matthew Letzelter is an artist who
explores works on paper and print with a focus
on abstracted landscapes. He is a Professor at
Pacific Northwest College of Art in Portland,
OR where he’s Chair of the MFA in Print Media
Program, and Director of the Watershed Center
for Fine Art Publishing & Research.
July 29 — August 2
O
CONCEPT
Learn how to achieve complex
colors in a woodblock image with perfect
registration through reduction and multiple
block printing. This workshop invites artists
and printmakers to explore Western and
Eastern approaches to carving woodblocks. At
its most basic, relief printing is inking the high
areas of a matrix and pressing firmly against
paper, creating an image. However, through
the investigation of color opacity, transparency,
layering, texture and form, this seemingly
simple technique can be made complex.
MEDIA & TECHNIQUES Participants learn
traditional and experimental carving sequences
and kento registration methods to create
multiple and reductive layers. Students use
woodblocks as the matrices for this course and
print with oil-based inks.
ACTIVITIES Technical information is provided
through hands-on demonstrations, followed by
time for students to work in the studio. Informal
group feedback is facilitated and individual
instruction is provided. The beginning of the
week focuses on developing skills through
specific projects, shifting later in the week to
personal projects.
FACULTY
Katie Baldwin produces artist
books and prints under Queen Anne’s
Revenge Press. In 2004, she was one of seven
artists selected to learn traditional Japanese
woodblock printing (mokuhanga) at the
Nagasawa residency on Awaji Island, Japan.
Katie is an Assistant Professor at the University
of Alabama, Huntsville.
www.katieameliabaldwin.com
www.pnca.edu/academics/special/watershed
www.lotharosterburgphotogravure.com
TUITION $985 TUITION $985 TUITION + STUDIO SUPPORT DONATION $1,185 TUITION + STUDIO SUPPORT DONATION $1,185 TUITION + STUDIO SUPPORT DONATION $1,185
REGISTRATION FEE $45 | STUDIO FEE $150 REGISTRATION FEE $45 | STUDIO FEE $100 REGISTRATION FEE $45 | STUDIO FEE $100
CODE R0707-19 ENROLLMENT LIMIT 10 CODE R0808-19 ENROLLMENT LIMIT 10 CODE R0909-19 ENROLLMENT LIMIT 10
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TUITION $985
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printmaking
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