Line and Color: Drypoint on Plexiglass with Monotype
with Lynn Peterfreund
Saturday/Sunday, April 26/27 ,10-4
$200+ $40 materials

Gestural, expressive printmaking! This workshop will explore improvised marks, color and texture combining drypoint and monotype.
You'll learn to use of drypoint tools, sandpapers and other drawing implements to create marks and texture on inexpensive sheets of plastic which are printed like etchings. Veils of color will be added using simple monotype techniques. You'll leave with a small series of related, yet unique monoprints.

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.

Engraving
with Barry Moser
May 3/4, 10-5
$300 includes materials

Barry Moser will conduct his second 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 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. 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.

Photoshop Basics for Artists
with Linda Price
Tuesday Evenings, May 6, 13, 20, 27, 6-9
$175 includes materials

This workshop will focus on three basic skills that artists need to learn in Adobe Photoshop: 1) How to prepare images for the web, for print and for sharing: getting images from camera, scanner or slides to the computer, dpi and images sizes and basic color management.   2) How to make a promotional postcard: inserting pictures and text, and conforming to standard printer's and postal requirements.   3) How to make a promotional tri-fold pamphlet: images and text and the pros and cons of printing at home vs. a commercial printer. Workshop participants will need to bring a laptop computer with Photoshop installed to the workshop.   No previous Photoshop experience necessary.

Linda Suzanne Price received her BFA in 2004 from Tyler School of Art, concentrating her studies in traditional and digital photography techniques. She expanded her digital imaging skills working as an Editorial Assistant for the Photo Review, a Philadelphia-based fine art journal. Since then she has done freelance photo retouching and designed promotional materials for artists, non-profit organizations, and small businesses. Her photography, created using both traditional cameras and direct scans, explores the interplay between personal and familial history, and the role of objects in contextualizing memory and experience.  She is currently working with her husband, the printmaker Justin Staller, to establish Tiny Media Empire, an artist collective and printing press based in Orange, MA.

Single Block Color Relief Printmaking
with Susan Jaworski-Stranc
Saturday - Monday, June 21-23, 10-5
$350 includes materials

In this workshop, participants will learn to print a small edition of a multi-color image from a single piece of linoleum. This method of working is known as the “reductive” method. The color print is developed through successive cutting and printing of the linoleum block. Each participant’s focus will be on image design and color planning, as well as investigation of linoleum cutting techniques and learning proper methods of registration. Printmakers of all levels are welcome.

Susan Jaworski-Stranc is a trained printmaker who specializes in reduction linoleum prints. She’s a member of the Boston Printmakers and the Center for Contemporary Printmaking. She maintains a printmaking studio at the Western Avenue Studios, Lowell, Massachusetts where she teaches and works on expanding her portfolio of color prints. www.appleciderpress.net

STAY AN EXTRA DAY OPTION AVAILABLE

Monoprinting On and Off the Press
with Joyce Silverstone
Tuesday - Thursday, July 15-17, 10-5
$350 includes materials

Beginning with an introduction to fundamental color theory, we will explore the monoprinting techniques that do not require a press; transfer drawing, offset rolling, easy methods for registering multiple plates. I am interested in the quality of the printed line that you will able to create in your home studio without a press. And we have a beautiful studio that will allow for working on the press too; with stencils, subtractive techniques, and layering color with waterbased printing inks. These three days will be guided by plenty of demonstrations and lots of free time to develop and move your images into beautiful related series of prints. This could serve as an introduction to printmaking, or as a way to discover ways to print away from the press, or as a vacation from thought to connect with the spontaneous nature of monoprinting.   STAY AN EXTRA DAY OPTION AVAILABLE

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.

Photopolymer Intaglio
with Liz Chalfin
Monday - Thursday, July 21-24, 10-5
$450 includes materials

This Workshop is Full - please call to put your name on the wait list

New developments in photo printmaking have made it possible to create fine intaglio printing plates easily from digital photographs or drawings on frosted mylar.   This workshop will introduce participants to Toyobo Printight Photopolymer plates.   Zea Mays has tested many different kinds of photopolymers and find this particular plate superior for fidelity of image.   Participants will begin with either a digital photo or make a drawing on mylar, which will then be transferred to the plate.   You'll learn about how to prepare digital positives as well as the more direct drawing methods.   The plates are developed in water.   The plate making is fast and easy and once done can be inked and printed in a myriad of ways.   We'll explore all kinds of printing options, plate alterations, etc.   No previous photopolymer or printmaking experience necessary. STAY AN EXTRA DAY OPTION AVAILABLE

Liz Chalfin is founder and director of Zea Mays Printmaking and the studio's resident artist. Liz has been involved in printmaking for the past 25 years. Liz teaches workshops at Zea Mays Printmaking and takes the message of safer printmaking on the road to venues across the region. She received a B.A. (1980) and M.F.A. (1985) in printmaking. Liz taught printmaking at Whittier College, California for nine years and converted the traditional studio there into a safer facility. In addition to college teaching, Liz worked as a teaching artist and educator at several national museums. Her prints and artist's books are exhibited nationally and are in private collections in the U.S. and Europe, including the Smith College Museum of Art, The DeCordova Museum and Sculpture Park, The Boston Public Library, The Portland Museum of Art. Liz is a member of the Boston Printmakers, The Monotype Guild of New England and the Southern Graphics Council.

The "Extreme Tones" Print
with Mark Zunino
Monday - Thursday, July 28-31, 10-5
$450 includes materials

This workshop will feature the multi plate method of building a full range of values up to an EXTREME black. Participants will begin with a series of soft ground etches to start developing an image.   The image will then be transferred to a second plate and both plates will be treated with aquatint.   After reworking each plate with burnishing and scraping the first 'linear' plate will continue to be developed with line and soft ground, while the second 'tonal' plate will receive more aquatint.   Both plates will be printed in black and add up to a rich full black and a full range of grays. STAY AN EXTRA DAY OPTION AVAILABLE

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.

Papermaking East and West: Japanese and European Papermaking
with Sheryl Jaffe
Monday - Wednesday, August 4-6, 10-5
$350 includes materials

Discover the mysteries of Japanese papermaking. Prepare the kozo (mulberry) fiber, hand beaten fine or coarse, then pull, couch, press and dry sheets varying in size and shape. Explore this along with Hollander beaten flax, linen and cotton rag. Experiments will help you to formulate the pulp to your own specifications, qualities of paper that is transparent, opaque, thick or thin. You will create many handmade sheets of paper for drawing, printmaking, books, etc.  Discussions will include the history of hand papermaking, and its tools with a focus on Japanese methods. Bring a waterproof apron and shoes, an open mind and expect to get wet.

Sheryl Jaffe has been exploring fibers for hand papermaking for sculpture, installations and handmade books for over 10 years.   She holds a Master's Degree from UMass and has studied fibers in Japan, Guatemala, New York, and New England.   She has taught paper and book arts in New England and Haiti, she exhibits her unique books, sculpture and installations throughout the Northeast.   She makes handmade paper clothing, folios, wallets, and books.    

Chine Collé
with Louise Kohrman
Friday, August 8, 10-5
$125 includes materials

Chine collé is a process whereby a thinner sheet of paper is adhered to a backing sheet during the printing process. Gain insight into this process through demonstrations and individual work with the instructor. We will learn how to cook and prepare the wheat paste adhesive, various application methods, pre-application methods, proper dampening and misting techniques, plate and press preparation, and corrections after printing. We will also discuss and experiment with the different types and shapes of papers that can be used in the process.   Some intaglio experience is recommended for participants, who are all asked to bring at least one etched plate to class.

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.

Scratching the Surface: non-etch intaglio (drypoint, mezzotint, carborundum and more)
with Anita Hunt
August 11-13, 10-5
$350 includes materials

There are a number of ways to create intaglio plates without the use of acid by scribing or scratching directly into the metal surface with sharp tools and abrasive materials. In this workshop, we will explore drawing on copper plates using several additive and subtractive methods to produce line and tone, including drypoint, engraving, mezzotint, and carborundum. We will begin by making small sample plates to become familiar with a variety of tools and also learn how to apply grounds to copper using carborundum grits, roulettes, mezzotint rockers, and sandpaper, which are scraped and burnished to achieve a range of tones. We will then practice inking and wiping techniques before moving on to larger plates with individual guidance from the instructor. Students will take their plates through several states, pulling proofs along the way to create a record of the progression and perhaps have time to print a small edition. A selection of traditional and improvised mark making tools will be available for use in the studio, including steel and diamond point needles, roulettes, mezzotint rockers, burins, scrapers, burnishers, sandpaper, dental tools, and steel wool. All levels of experience are welcome. STAY AN EXTRA DAY OPTION AVAILABLE

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.

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.