Master classes by, Carol Robertson and Robert Adam
They were both classically trained in Scotland and then at the Slade where they met in the 1980s. From that strong base they have used their knowledge and inventiveness to develop systems of printmaking which relate closely to classical theory and practice, allow artists to realize their concepts, and make the widest range of marks and effects in the safest and easiest ways possible. The systems make use of modern and classical materials and working methods.
They developed, tested and validated these new systems by collaborating with a wide range of artists. These include Paolozzi, Barns-Graham, Ogilvie, Callander, Rae, Clark, Crowe, Miles, Schmidt, Diethelm and Downie.
In order to make these ways of working available to as many artists as possible worldwide they worked with Evans Vanodine, Lascaux and other professionals to develop modern products and systems. The eighteen innovative printmaking products that they have created in collaboration with Lascaux, Zurich are available from Graphic Chemical (USA), Polymetaal (Holland) , A. P. Fitzpatrick, London, or Intaglio Printmakers, London.
Black Geo Collagraph print Sheila Ogilvie
Carol Robertson and Robert Adam share their research and knowledge through the two books they wrote and illustrated which are published by Thames & Hudson, available through www.amazon.co.uk.
One is about screenprinting with water-based artists materials and how to work creatively in a safe way. The other book is about intaglio printmaking techniques such as engraving, mezzotint, drypoint, air abrading, etching, collagraphy and combined techniques, again with an emphasis on non toxic printmaking practice.
Both books also explain how to make photographic, digital, photocopy and autographic positives which can be used in conjunction with light-sensitive processes in screenprinting, etching, air abrading, and collagraphy. The two books, also cover the history, monotyping, collating etc.
Carol has just completed writing a PhD which explains the concepts and research behind the books, again with the aim to share this information with other artists.
C O U R S E
In each of the workshops the theory and practice relating to the new systems will be explained and demonstrated. The sessions will also provide an opportunity to ask questions about the theories, materials, methods, and ways of starting to work in these ways, realizing concepts and reasons for change.
The four sessions are designed to work together. The idea is that after each session artists can explore the subject in their own time before the next session and the following session will provide an opportunity to discuss results and experiences. For example positives can be made after the session on the 14th and these can be used in combination with the information provided in the following sessions. The sessions will be filmed and extracts used as education material.
Making autographic positives.
Saturday 14th November, 10 – 4.
Make autographic and combination positives for screenprinting, etching, or collagraphy. Use the new materials which were inspired by Corot and Millet’s cliché verres, soft ground collage effects, the sugar lift’s of Picasso, Chagall, and Rouault etchings (made using autographic positives), the etched relief lines of William Blake, monotyping marks, and the reticulated washes of stone and zinc lithography, etc. Combine digital, photographic and photocopy positives and learn how to make and use image ‘maps’.
NOTE There will be a Master class on 'photo etching' (2 sessions) in February 2010 (next year). These will be lead by Paul Musgrove, who has been recommended by Alfons Bytautas, senior etching technician at Edinburgh Print workshop.
Screen Printing.
Saturday November 28th, 10 – 4.
Screenprinting with gouaches, acrylics, watercolours, process colours, organic pigment pastes, pigments and a range of artists materials such as varnishes, thickener, retarders and screenprinting paste. Using stencils to the maximum, washes with filler and using screen painting fluid, different types of paper stencil, light sensitive stencils and reversals. Preparing and degreasing screens, applying stencils, cross-linking theory, registration and printing on different substrates, cleaning meshes will also be covered.
Collagraphy
Saturday December 5th, 10 – 4.
Making collagraphs, photo collagraphs and combined media plates using acrylic media and light sensitive media. Exploring how to make printed effects that are more normally associated with aquatint, open bite, hard ground, painting and soft ground etching. Preparing and degreasing plates, applying media, editing and working into the added media, removing media using a household cleaner, and printing and cleaning plates will also be covered.
Acrylic-resist Etching
Saturday December 12th, 10 – 4.
Using acrylic resists to explore classical etching methods such as linear and the tonal effects of texturing and pitting, traditional methods such as spirit and powder aquatint, stopping-out and light sensitive resists and contemporary methods such as spray aquatint, puncture and additive techniques. Preparing and degreasing plates for resists, applying resists, etching plates using corrosive salts, removing resists using a household cleaner, and printing and cleaning plates will also be covered.
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