Workshops
We offer a wide range of workshops for all levels, taught by experts in the field. Click on a title or scroll down for full descriptions.
- Transfer Drawing
- The Layered Black and White Etching: multiple techniques on multiple plates
- Multiple Plate Color Intaglio
- Engraving
- Japanese Method Woodblock Printing (Moku Hanga)
- Monotype and Spontaneous Printmaking
- Making the Digital Positive for Polymer Plates
- Photopolymer Intaglio and Beyon
- Nature Prints
- Water, Water Everywhere…. summer landscape inspired monoprints with drypoint
Transfer Drawing
with Joyce Silverstone
June 27, 10 - 5
$135 includes materials
This one day workshop will focus on the drawing and mark making aspect of monotype. We will cover different approaches to create controlled and expressive lines. There will be time to discuss and experiment with different papers and the quantity and quality of inks. This workshop is open to beginners and to students interested in more in depth exploration of the process and image making.
Joyce Silverstone studied painting and printmaking at the School of the Museum of Fine Arts Boston. She was a traveling Scholar and showed her work in NYC and Boston, collected by MIT and the De Cordova Museum. Joyce has been exploring ways of blending printing and painting for 30 years. She has taught image development and printing at Guild Studio School and Snowfarm in Williamsburg, MA. Joyce is a certified Rosen Method Bodywork Practitioner and teaches creative process to students of meditation and self awareness.
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The Layered Black and White Etching: multiple techniques on multiple plates
with Mark Zunino
July 6-8, 10 - 5
$375 
This workshop will give participants the opportunity to experience many non-toxic intaglio techniques as well as transferring and registering several plates. We will begin by generating a drawing using several applications of soft-ground to gradually build towards a black key image. Subsequently, we will explore the use of hard-ground line etching to bring further definition to the soft-ground drawing. Scraping and burnishing will be demonstrated to continue the image’s development. The image will then be transferred to a second plate and this plate will be treated with aquatint and reductive techniques. The two plates will then be printed together to produce a tonally rich etching full of deep blacks and subtle grays. The workshops will benefit all levels, from beginners who wish to become familiar with an array of intaglio techniques, to the experienced printmaker who can bring a new approach to established methods.
Mark Zunino is a Printmaker/Painter who teachs drawing, painting and printmaking at the Loomis Caffe School in Windsor, CT. Mark was the Technical Assistant for the Smith College Studio Art Department for five years. He received his BFA from the University of Hartford's Hartford Art School, where he served on the adjunct faculty teaching Printmaking and drawing for two years, and his MFA in Printmaking from the University of Massachusetts. Mark has exhibited his prints and paintings in many national exhibitions and is currently represented by Sherry French Gallery in New York City and Wm. Baczek Fine Arts Gallery in Northampton MA. Mark is an innovator in his field and has presented printmaking demonstrations at the Southern Graphics Council, Tamarind Institute of Lithography, and Hartford Art School.
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Multiple Plate Color Intaglio
with Louise Kohrman
July 11-14, 10 - 5
$500
Intaglio (etching) is a technique whereby a print is made by inking the incised lines and recessed textures of a printing plate, which is then wiped, and printed through an etching press with a sheet of damp paper. This etching workshop will introduce non-toxic techniques using copper plates. Various approaches to the techniques of hard ground, drypoint, aquatint and spit bite will equip participants with the tools for a wide spectrum of mark making using tone, texture and line. Participants will develop a key plate and successive color plates; learn plate preparation; proper press use; proper acid use; wiping techniques (including hand wiping); registration and offsetting; how to properly dampen paper (including the use of damp packs); and how to work with color and ink modifiers. We will discuss various ways to dry prints, and how to curate and fix mistakes after printing. Participants will master the process of multiple plate printing and develop an image and print proofs and final states. For all levels.
Louise Kohrman is an artist and printmaker. She was born in Copenhagen, Denmark and currently lives in Shelburne Falls, MA. She received her MFA in Printmaking from The Rhode Island School of Design, her BA in studio art at Smith College and has completed a printmaking and book arts program in Italy through the University of Georgia. Louise interned at Zea Mays Printmaking as a studio assistant and worked as a printer at Wingate Studio in New Hampshire. She has taught various printmaking classes and workshops at RISD, The Center for Contemporary Printmaking (CT), The Printed Page (RI), and Zea Mays Printmaking (MA). Her work has been exhibited nationally, including group exhibitions at the New Bedford Art Museum (MA), The Lancaster Art Museum (PA), The RISD Art Museum (RI), The International Print Center New York, and Copley Society of Art in Boston, MA.
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Engraving
with Barry Moser
July 18-20, 10 - 5
$375
There is one space left in this workshop.
Barry Moser will conduct his third workshop on wood and relief engraving at Zea Mays. A medium that ranks with mezzotint and fresco in its degree of difficulty, will be presented in as clear and simple terms as possible. We will begin with a slide presentation to give an overview of what we will be doing and explore a bit of history and the work of some master engravers. We will then discuss, explore, and learn the rudiments of how to draw for the engraving process, how to prepare a block, how to transfer images, how to hold and sharpen the tools, how to engrave an image, and finally how to pull a proof by hand. You’ll also have the opportunity to see Mr. Moser’s original prints and blocks. Wood is very scarce (and terribly expensive) so we will be using an inexpensive substitute called Resingrave, a material that Moser has used exclusively since 1995.
Barry Moser is represented in numerous collections, museums, and libraries in the United States and abroad, including The National Gallery of Art, Washington, The Metropolitan Museum, The British Museum, The Victoria & Albert Museum, The Library of Congress, The National Library of Australia, The London College of Printing, The Pierpont Morgan Library, The Vatican Library, Harvard University, Yale University, Dartmouth College, Cambridge University, The Israel Museum, and Princeton University to name a few. Mr. Moser has exhibited internationally in both one-man and group exhibits. He is a member of the Society of Printers, Boston; an Associate of the National Academy of Design elected in 1982 and made full Academician in 1994; and has been awarded the Doctor of Fine Arts degree by Westfield State College, Westfield, Massachusetts (1999) and Massachusetts College of Art (Boston), and the Doctor of Humanities degree by Anna Maria College, Paxton, Massachusetts (2001). In addition to being an illustrator, he is also a printer, painter, printmaker, designer, author, essayist, and teacher. He is currently Professor in Residence at Smith College where he also serves as Printer to the College. The books Moser has illustrated and/or designed forms a list of over 300 titles including the Arion Press Moby-Dick and the University of California Press The Divine Comedy of Dante. We encourage you to look at his work online at www.moser-pennyroyal.com.
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Japanese Method Woodblock Printing (Moku Hanga)
with Annie Bissett
July 23-26, 10 - 5
$500 
Moku hanga is the Japanese term for woodblock print (moku means wood and hanga means print). The Japanese technique is distinguished from western techniques in its use of multiple blocks for multiple colors, water-based instead of oil-based pigments, and hand printing with a baren rather than printing on a press. Moku hanga is the method that was used by the great Japanese ukiyo-e artists of the 17th and 18th centuries, artists like Hokusai and Yoshitoshi.
The materials for moku hanga are simple, portable, completely nontoxic and readily available, making it an ideal process for a home-based studio. In this workshop participants will experience all aspects of creating a woodblock print -- developing a design, transferring the design to blocks of wood, carving the blocks, preparing the paper, and using various techniques to print the blocks.
Annie Bissett is a professional freelance illustrator since 1985, Bissett learned the techniques of moku hanga in 2005 and has devoted herself to printmaking since then. Her recent prints are map-based works that emerge from her own feelings and reactions to news of world events. Mostly self-taught in printmaking, Annie has become an evangelist for the moku hanga method with her printmaking blog "Woodblock Dreams." Her prints have been shown nationally and in Japan and she is having a solo show at a Japanese print gallery in Seattle this fall Check out her woodblock printing blog at http://woodblockdreams.blogspot.com
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Monotype and Spontaneous Printmaking
with Joyce Silverstone
July 29-August 1, 10 - 5
$500
During four full days we will explore transfer drawing, viscosity rolls, using stencils and many ways of making marks using water based inks. This very loose and spontaneous approach to printing generates many related series of images. We will be working on and off the press, enabling you to take these techniques home to your studio. Become fluent with monotype, layering and mixing color through demonstrations and individual work with the instructor. Spend time during this class following your own thread and continuing to deepen the process of personal expression with support from the instructor.
Joyce Silverstone studied painting and printmaking at the School of the Museum of Fine Arts Boston. She was a traveling Scholar and showed her work in NYC and Boston, collected by MIT and the De Cordova Museum. Joyce has been exploring ways of blending printing and painting for 30 years. She has taught image development and printing at Guild Studio School and Snowfarm in Williamsburg, MA. Joyce is a certified Rosen Method Bodywork Practitioner and teaches creative process to students of meditation and self awareness.
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Making the Digital Positive for Polymer Plates
with Stan Sherer
August 4, 10 - 5
$125
In this one-day workshop you will learn how to achieve maximum detail and tonal range in digital inkjet transparencies for making photo polymer plates. Starting with a digital image (from a camera or a scan) we will employ several methods in Photoshop to create conversions to grayscale, make the necessary tonal adjustments, and apply custom-made curves for the final output of the digital positive. A basic familiarity with the computer and Photoshop is helpful but not a requirement. A great prelude to the Photopolymer workshop.
Stan Sherer is an independent fine art/documentary photographer based in Northampton. He was the news photographer for the University of Massachusetts from 1985 – 2003 and has also been associated with Time Magazine, the Associated Press, and United Press International. In 1994, Sherer was a Fulbright Scholar in Albania, and has received fellowships and grants from the Massachusetts Foundation for the Humanities, the Massachusetts Cultural Council, and the National Endowment for the Humanities. Through a grant from the Massachusetts Foundation for the Humanities, he has updated and restored his exhibition “Founding Farms” for a statewide tour as part of the Foundation’s 30th anniversary series of programs. Sherer is also the author of four books of photographs, including “Long Life to Your Children! A Portrait of High Albania.”
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Photopolymer Intaglio and Beyond
with Nancy Diessner
August 5-8, 10 - 5
$500
Artists are becoming increasing familiar with the beautiful results of this photographic printmaking process, but not all are aware of the richly creative potential of Toyobo photopolymer plates. In this exciting 4-day workshop we’ll begin with the basics of exposing and developing a photopolymer plate from a photographic image and/or from a drawing. Then we’ll spend the rest of the workshop refining our printing skills, experimenting with combining these plates with other printmaking processes, exploring methods of adding color to our prints, and—finally—learning how to alter the plates themselves. Whether you’re new to this process or familiar with it, there’s something inspiring in this workshop for all levels. We will begin at the beginning, and just keep on going!
Nancy Diessner is an associate professor and chair of Interdisciplinary Studies at Chester College of New England, where she developed a low-toxicity printmaking studio focusing on intaglio processes. She received her BA in painting, printmaking, and drawing from Bennington College and her MFA in painting and sculpture from Hunter College in New York City. Her artist’s books and photopolymer intaglio prints are in several collections, including Yale University, Wellesley College, Reed College, and various private collections.
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Nature Prints
with Anita Hunt
August 11, 10-5
$135
In this one day workshop, we will work with the summer abundance of plant materials to create lush and colorful monotypes. We will print directly from the plants themselves - leaves, flowers, grasses and twigs - building up layers of color in multiple passes through the press onto beautiful Japanese paper. Additional layering work with stencils, lace papers, string and other found objects will be incorporated into the process. The results are rich, embossed surfaces with an amazing variety of form and texture. Participants will create a series of prints and also produce some beautiful pieces of decorative paper for use in other projects such as collage and book arts. Color mixing and composition will be discussed. No prior printmaking experience is necessary.
Anita S. Hunt has been making prints for more than 20 years. She studied printmaking and painting at Antioch College in Ohio and at the School of the Museum of Fine Arts, Boston. Her work has been exhibited extensively throughout New England and in many national juried exhibits. Recent exhibits include: the Bradley International Print and Drawing Exhibition, the 2003 and 2005 Boston Printmaker’s North American Print Biennials, the International Miniature Print Biennial hosted by the Center for Contemporary Printmaking, the Silvermine National Print Biennial, the Minnesota National Print Biennial, SAGA’s National Print Exhibition and the Delta National Small Print Exhibition. Her award winning work is held in many private collections and in the permanent collections of the Smith College Museum of Art and Arkansas State University. Anita is a member of the Boston Printmakers and the Past President and Exhibitions Chairperson of the Monotype Guild of New England.
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Water, Water Everywhere…. summer landscape inspired monoprints with drypoint
with Lynn Peterfreund
August 13-15, 10 - 5
$375
Create a series of images that evoke the summer landscape—the heat, the water, the green, the slower pace of late summer. We will be combining layers of monotype color and marks with drypoint on plastic plates. Learn how to handle and modify (oil based) inks and explore the use of drypoint tools, carborundum, and sandpapers. Ideas about how to develop images and create a series will be discussed. Lots of time for exploration and individual work with the instructor. This class is perfect for all levels of printmakers and non-printmakers as well.
Lynn Peterfreund has been working as a painter, printmaker and art educator since receiving her MFA in 1980 from Pratt Institute. Her work reflects her interests in both representational and abstract art. Her most recent bodies of work are monotypes and monoprints that employ a vocabulary of forms based on years of working from observation of nature, still life and the figure. The prints emphasize color, composition and personal interpretations of forms and the landscape. Lynn has taught at a variety of institutions over the past thirty years. Her work is included in hundreds of private and corporate collections. Her mural work can be seen in hospitals, schools, bookstores, museums, and homes in western Massachusetts and beyond.
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CANCELLATION POLICY
If a workshop is cancelled because of low enrollment, your registration will be fully refunded.
If you cancel your registration at least two weeks prior to the workshop, you will receive a refund for the total fee minus 10%.
Cancellations within two weeks of the workshop will result in a refund only if someone is found to fill your space.