Saturday & Sunday, September 27-28, 10-5
BIG ground inventor Andrew Baldwin returns to Zea Mays Printmaking to share some more fantastic things one can do with the BIG etching ground. In this case, painterly etching with Copper Sulfate on aluminum. This workshop will give participants the opportunity to explore an immediate, spontaneous and versatile technique with all the natural graduations of tone associated with spit bite without the hassle of having to use an aquatint. Aluminum is a relatively inexpensive metal. This workshop will familiarize participants with the ins and outs of working with this material for safe etching.
Saturday & Sunday, September 27-28, 10-5
Thursday mornings, 10-1, October 2-23, 2014
Bring your undone, your false starts, your problem prints to this workshop to learn ways to see, edit and complete your pieces. Clarifing your artistic intentions and evaluating how well choices of composition, color, marks, and content work is the foundation of better editing skills.
Saturday & Sunday, October 18 & 19, 2014, 10-5
The white line woodblock method was founded in the early 1900s in Provincetown, Massachusetts, by a group of artists who were interested in Japanese printmaking but grew tired of cutting a block of wood for every color as that method demanded. This two-day workshop will explore the possibilities inherent in this simple and fun method of relief printing.
Saturday & Sunday, October 25-26, 2014, 10-5
In this team-taught workshop, you’ll be approaching Polyester Plate (Pronto) printmaking with a monotype attitude, combining lithography with painting, drawing, and collage in creating your prints. Pronto Plates are thin lithographic plates that feel and look a bit like vellum, but are one of the simplest, most direct, and versatile methods of making lithographic prints.
Wednesday evenings, 6-9 PM, October 29-November 19, 2014
This self-directed evening series offers participants the opportunity to develop intaglio projects and technical skills in an informal open studio, community format. Students will be encouraged to develop individual print projects or focus on technical development with support from master etcher, Louise Kohrman.
Saturday & Sunday, November 1 -2, 2014, 10-5
This workshop is an introduction to working with Toyobo Printight plates, a photopolymer plate that is very sensitive to photo-based imagery as well as direct drawing. In fact, the process is so versatile that it can accommodate nearly any type of imagery or visual approach you’re interested in bringing to it. The plates can yield prints with rich, luscious blacks, delicate tones, or lines that sensitively translate the texture of the drawing tool.
Saturday & Sunday, November 15 - 16, 2014, 10-5
Play and improvise in this workshop as a means to generate ideas, expand visual vocabulary and put to use accumulated printed material. Collage is an art form all on its own, but it can be a vehicle to conduct experiments too. Collage can encourage visual surprise, allowing for chance moments to loosen up any art making practice.
Friday-Sunday, December 5-7, 2014, 10-5
Sumi-e is the term for the black ink used in Japanese brush painting. This workshop will apply painterly brush work to woodcut printmaking. Creating a painterly woodcut is an excellent way to infuse your working practice with spontaneous energy.
Saturday, January 10, 2015, 10-5
Add depth and dimension to your prints while learning best practices for embossing on an etching press. In this workshop you will learn how to safely use the press for embossing techniques to create textures and shapes on your prints or on unprinted papers.
Saturday & Sunday, January 31-February 1, 2015, 10-5
Having a website is one of the most effective promotional tools for the artist. WordPress is an online, website creation tool and has a wealth of plug-ins and ready-made themes available to build beautiful websites quickly. Castonguay will demystify the process and guiding you through all the steps for creating your own website. Basic computer knowledge required.
Saturday & Sunday, March 7-8, 2015, 10-5
Etching provides artists with wonderful opportunities to rework metal plates. This workshop will focus on pushing existing etching plates to more successful resolutions by adding and removing line, tone, texture and the use of different inking strategies.
Saturday & Sunday, March 21-22, 2015, 10-5
Learning the basic steps of exposing and developing a photopolymer plate can sometimes seem intense, but in this workshop we let exploration, risk, and adventure inspire us to intervene in all stages of image-making, plate-making, and printing to see what happens and what can be done with it creatively. We’ll mess with the film positives—not just scraping, scratching, and drawing, but washing away parts of the image—and we’ll also play with contact exposures and unorthodox exposure and plate development.