Susan Belau, Barricades and Sky (detail)
August 5 — 9
I
Experimental Color
Etching II
Susan Belau III
CONCEPT
Explore the range of marks
available in the etching process and the
flexibility of intaglio printing to create variable
editions. Focusing on color printing, students
discover the delicate lines, painterly gestures
and bold tonal shapes possible with intaglio
processes. Strategies for expanding beyond
conventional printing techniques are introduced
and students create multiple copper plates that
can be printed in combination or individually.
Selective inking, the shaped plate, drawing
directly on the print, the paper surface built up
through collage, overprinting and mismatched
plates explore the print as both image and
object.
Lari Gibbons, Process
August 12 — 16
II
Mysterious Marks:
monoprinting in oil-
& water-based ink
Lari Gibbons Karen Lederer
Basic Photoshop skills required.
www.susanbelau.com
CONCEPT
MEDIA & TECHNIQUES MEDIA & TECHNIQUES
FACULTY
Susan Belau uses representation
and abstraction to connect the processes of
drawing and printmaking to landscape, memory
and place. She is an Associate Professor at San
Francisco State University. Susan received her
MFA in Printmaking from University of Nebraska,
Lincoln and trained as a printer at Paulson Press
in Berkeley, CA.
ACTIVITIES
Students use
oil-based inks, tube watercolor paints, Stabilo
Woody crayons, Caran D’Ache crayons, pencils,
stencils, craft foam and paper to create unique
prints. The workshop focuses on incorporating
both graphic and painterly elements into
each print.
ACTIVITIES
Students investigate various
techniques through demonstrations, explore
both graphic and gestural mark-making,
engage avenues of nontraditional methods
of printmaking, conduct individual and group
discussions, have directed warm-up exercises
and enjoy plenty of studio time.
FACULTY
Lari Gibbons is an artist who
explores new and traditional approaches
to
printmaking
through
collaborative,
interdisciplinary projects. She is professor at
the University of North Texas and also directs
P.R.I.N.T, a nonprofit fine art press. Lari received
an MFA from the University of Nebraska, Lincoln. Karen Lederer received her MFA
from the Rhode Island School of Design. She
was an artist-in-residence at Robert Blackburn
Printmaking Workshop Program, Lower East
Side Printshop and the Sharpe-Walentas Studio
Program. Her work has recently been exhibited
at: Anya Tish Gallery, Houston; Grant Wahlquist
Gallery, Portland, ME; Field Projects, New York;
Danese/Corey, New York; and Cuevas Tilleard,
New York.
www.larigibbons.com www.karenlederer.com
FACULTY
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 $100 REGISTRATION FEE $45 | STUDIO FEE $100 REGISTRATION FEE $45 | STUDIO FEE $100
CODE R1010-19 ENROLLMENT LIMIT 10 CODE R1111-19 ENROLLMENT LIMIT 10 CODE R1212-19 ENROLLMENT LIMIT 10
50
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andersonranch.org
II
Examine how laser-cut stencils
and woodblocks can expand the possibilities of
a multilayered, painterly and playful approach
to making hand-pulled prints. Using Anderson
Ranch Art Center’s Digital Fabrication Lab
(“FabLab”) and the Patton Print Shop, students
produce unique, one-of-a-kind impressions
called monoprints. After working with laser-cut
paper stencils, we create shaped plates and
incorporate engraved woodblocks. Digital and
analog processes are integrated, creating a
dynamic studio practice.
CONCEPT
This workshop features hands-
on demonstrations in the FabLab and print shop
followed by ample studio time. We combinine
informal discussion and group feedback
with personalized instruction and ongoing
technical assistance.
Students begin by using
drawings to develop into multiple copper
plates. We experiment with color and materials.
Each day includes demonstrations followed by
studio time and reflections on work in progress
through individual and group critiques.
I
This exciting monoprinting
workshop explores the rich intersection
between painting and printmaking. It begins
with
an
investigation
into
watercolor
monoprinting in which students print from
watercolor paintings, water-soluble crayon
drawings and plastic and paper stencils.
Students then incorporate oil-based inks to
create one-of-a-kind prints that are bold and
luminescent. The workshop covers a wide range
of techniques, from stencil printing to trace
monotype. Both oil-based and water-based
materials are used in the same print maximizing
on the benefits of each.
ACTIVITIES
We learn the
fundamentals of etching processes and color
printing. Demonstrations include printing and
registration techniques, chine collé, printing
with stencils, variations in inking, and hand-
coloring methods. Students work with a variety
of papers with an emphasis on Japanese paper
for printing, offset and collage.
August 19 — 23
Monoprint for Makers:
III
using laser-cut blocks,
jigsaws & stencils Students use
the FabLab to engrave woodblocks and cut
paper stencils that can be combined with
hand-drawn matrices and marks in the print
shop. Students who have a laptop with Adobe
Photoshop and Illustrator should bring it, along
with a flash drive. Those without one may use
available equipment. Although the instructor
demonstrates how to prepare images for
digital applications, basic Photoshop skills are
necessary.
MEDIA & TECHNIQUES
Karen Lederer, Lawn Party (detail)
TUITION $985
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970/923-3181 [email protected]
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