Experience printmaking’s latest moves, and discover how they relate closely to classical, traditional and contemporary techniques. Printmaking originated around A.D 105 and has been evolving ever since. The systems that Carol and Robert will demonstrate at the workshops are part of this evolution. If you are curious to know more, come along to the workshops and find out:
• How you can now draw with a pencil or crayon directly on an etching plate to generate an etched line
• How to realise your concepts through printmaking
• How classical theory is the foundation of acrylic resist etching
• What you can do when you screenprint with fantastic artists painting materials like gouache, watercolour, organic pigment pastes, acrylics, pigments, oroton, varnishes, retarders and thickeners
• How to make a painting or drawing that can be printed ??
• How using these new methods enables us to etch plates very deeply etched or even right through like the zinc plate illustrated below
• About photocollagraphs and combined intaglio methods
• Ways of working creatively and safely
• The reasons that these systems work well in combination with digital positives
• What exactly is exciting about change and what opportunities does it create
• How to make many different images and editions from one plate
(the print below is an example of this working method)
In the workshops and in the time, between the sessions, you can also try using the materials and systems to:
• Make collagraph prints that look like aquatints, open-bite and hard and soft ground etchings.
• Create autographic positives with the tusches that were inspired by the cliché verres of Corot and Millet, soft ground collage effects, the sugar lift’s of Picasso, Chagall, and Rouault etchings, the etchings of William Blake, monotyping marks, painted marks, and the reticulated washes of stone and zinc lithography.
Carol holding Kate Downie’s screen print The Quarry Path (below)
which was created by painting and drawing with tusches and printed with the Chinese ink, pastels and Indian inks that Kate draws and paints with.
• Making aquatints which are like spirit, powder or spray aquatints as in Downies etching Wych Elm below.
These are just some of the creative possibilities that you can explore in these workshops, there are many more and the sessions will include time to ask questions and discuss experiences and ideas.
Further refs
No comments:
Post a Comment