Working the Etched Plate

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.

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Using Color With Confidence

Sunday, March 15, 2015, 10-5
Using Akua Intaglio Inks, we will explore the basics of color mixing, and color layering in simple monotypes.

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Funky Stuff Photopolymer – Advanced Approaches

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.

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Tuesday Morning Monotype Workshop

Tuesday Mornings, 10-2, April 7- May 5, 2015
In this weekly workshop, participants will be encouraged to develop personal print projects, and will receive individual assistance and demonstrations of a particular aspect of making a monotype on an as needed basis. Enjoy freedom with expert guidance.

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Acid-free Etching

Saturday & Sunday, April 18-19, 2015, 10-5
This workshop will explore the broad range of marks available on copper without the use of acid. Participants will be introduced to several non-acid techniques to create textures and tones, hard and soft lines. From drypoint, to engraving, to tonal roulette and burnishing techniques, we will play with both additive and subtractive mark making to create rich imagery.

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Japanese Woodcut (Moku Hanga)

Saturday-Sunday, May 2-3,2015, 10-5
Traditional Japanese woodblock printing is an elegant, green and low-tech process that works easily in a home studio without a press and mixes well with other printmaking methods.

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Introduction to Photopolymer Printmaking

Saturday & Sunday, May 16 & 17, 2015
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.

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Carve and Roll

Saturday & Sunday, May 30 - 31, 2015, 10-5
This is a two-day guided exploration of combining and creating relief and monotype plates. This is a playful method of introducing carved and incised lines and forms into the painterly print, creating a rich vocabulary of mark making.

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Prismatic Woodcut Techniques

Tuesday evenings, 6-9 PM, June 2-23, 2015
Leave behind the monochromatic in this comprehensive introduction to color woodcut. In this class, we create a 12” x 12” full color woodcut using traditional, multiple block printing methods.

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Linocut Printmaking with 2 Colors

Thursday mornings, May 7 - 28, 2015, 10-2
In this weekly workshop, we will explore the direct, graphic and fun aspects of relief printmaking using linoleum. Using a two-block method, one block will be printed on top of the other to create a two-color linocut print.

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White Line Woodcut

Saturday & Sunday, June 6-7, 2015, 10-5
White line woodcuts, also called "Provincetown prints," are an interesting hybrid between monoprints and Japanese style watercolor woodcuts. This two-day workshop will explore the possibilities inherent in this simple and fun method of relief printing.

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Lithographic Line and Monotype Mashup

Saturday & Sunday, June 13-14, 2015, 10-5
Pronto Plates are also known as Polyester Plate Lithography, and are one of the simplest, most direct methods of making prints from drawn line imagery. This workshop will offer ways to push the use of these plates into surprising directions toward collage, painterly monotype, and layering drawing with color.

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