Workshops Archive

Certificate in Green Printmaking: Intaglio

Liz ChalfinLouise KohrmanNancy DiessnerJoyce Silverstone and Peter Pettengill
July 6-30, 2016, 10-5 daily with open studio time until 10 PM
Before May 1st: $2500 non-members, $2250 members
After May 1st: $2750 non-members, $2500 members

$1000 deposit to reserve space.
registration fee includes all materials (plates, paper, ink, etc.) and binder of handouts.

This workshop is full.  Call or email to put your name on the waiting list.

After sixteen years of research and practice in safer intaglio, Zea Mays Printmaking is offering an intensive summer Certificate Program to train printmakers in the latest, best practices in safer intaglio. The Green Printmaking Certificate: Intaglio consolidates our knowledge about etching and photopolymer intaglio into an intensive 25 day training program.

What is it?
An intensive 150+ hour training in safer intaglio practices, including:

  • Etching on copper in ferric chloride with BIG ground including: hard ground, soft ground, lift grounds, alternative aquatints.
  • Etching on copper in ferric chloride with airbrush sprayed acrylic aquatints, including tray, vertical tank and spit bite etching.
  • Etching on aluminum in copper sulfate with BIG ground and spray and direct aquatints.
  • Photo transfer methods onto metals including iron-on film.
  • Photopolymer Intaglio methods using Toyobo Printight plates developed in water.
  • Professional printing methods (press setting, paper and ink preparation and troubleshooting printing problems).
  • Ink tutorials: modification and use of oil and water-based printing inks.
  • Technical critiques: learning from one another’s experiences.
  • How to set up a green printmaking studio including what supplies to purchase and where, safety issues, budgets and how to maintain and manage a studio.

Who is it for?

  • Printmakers who have been trained in conventional, solvent- and acid-based intaglio printmaking techniques who want to transform their practice using less toxic materials and methods.
  • Printmakers who are currently working in safer practices and want to gain more experience and deepen their skills.
  • Those not yet trained in intaglio who would like to start a printmaking practice using safe methods.

What will the Certificate Prepare you for?

  • Printmakers participating in the Green Printmaking Certificate program will be trained using the vast amount of technical research that Zea Mays has conducted, documented and practiced since the studio’s founding in 2000. An individual who passes through this program successfully would be in a good position to implement less-toxic intaglio methods in a college or university as a technical assistant or a faculty member, start a printmaking program using safer practices at a college, university, or secondary school, set up a public printmaking studio using less toxic processes, or work toward becoming a master printmaker.


  • Liz Chalfin, studio director and ZMP core faculty with specialty in intaglio and studio set-up and management.
  • Louise Kohrman, ZMP core faculty with specialty in intaglio and chine colle.
  • Nancy Diessner, ZMP core faculty with specialty in photopolymer intaglio printmaking.
  • Joyce Silverstone, ZMP core faculty with specialty in monotype, Akua Ink Demonstration Artist.
  • Peter Pettengill, Master Printer, Wingate Studio, Hinsdale, NH.

Daily Schedule:  
The 25-day intensive will consist of demonstrations and plenty of time for participants to make plates, proof and experiment, with faculty support.  Participants will receive a binder of Zea Mays technical handouts and resources. Class hours are from 10-5. The studio will remain open until 10 PM so participants can continue working on their own. We also may go bowling or out together an evening or two!  There are three days off built into the program for time to relax or explore the area which includes world class museums and wonderful outdoor experiences.

July 6 –   introductions, plate preparation, hardground etching with BIG
July 7 –   softground etching with BIG ground and soy/wax ground
July 8 –   work day and artist presentations
July 9 –   aquatints – airbrush and sandpaper
July 10 – day off
July 11 – lift grounds
July 12 – spit bite on copper
July 13 – work day and artist presentations
July 14 – photo etching
July 15 – work day and artist presentations
July 16 – ink lab – oil based inks
July 17 – day off
July 18 – etching aluminum in copper sulfate – grounds
July 19 – etching aluminum in copper sulfate – photo
July 20 – etching aluminum in copper sulfate – spit bite
July 21 – ink lab – Akua inks
July 22 – work day
July 23 – photopolymer intaglio for drawings
July 24 – day off
July 25 – photopolymer intaglio for drawings
July 26 – photopolymer intaglio experimental approaches
July 27 – printing strategies and color
July 28 – work day
July 29 – work day/clean up
July 30 – how to build a green studio/graduation

Limited to 8 participants

$1000 deposit will hold your space.  Balance due June 1, 2016
Payment plans are available to spread the cost over sevceral months – contact for details.



Several members of Zea Mays Printmaking have offered rooms in their homes or “in-law” apartments for rent to workshop participants.  Email for a list.  Visit the accommodations page on our website for other options.

from last year’s participants in the Certificate in Green Printmaking: Intaglio program:

“I am so glad I came to your life-changing (and giving) program!  All of the instructors were so open, gracious and thoughtful and kind in their approaches. All of the demonstrations were beneficial.  I learned special techniques or tips/tricks in each, even in processes I was already familiar with.”

“Really fantastic! Everything was so professional and well thought out.  I loved every moment”

“I have a much better understanding of green printmaking practices.  I feel very empowered to continue these practices both teaching and in my own work.”

“I loved every moment with you all!  Thank you for sharing all of your knowledge and passion.  I think I learned more here in a month that I did in 6 years of art school.”

“My overall experience was very positive.  It was very valuable to have the concentrated time for exploration of all the techniques with a great group of people.”

“Incredibly transformative.  Not only did I learn a wealth of technical information and resources, but it provided me with the confidence and supportive community to pursue a green practice back at home.”

“I think the studio is a fantastic place – it’s warm and inviting.  We were given lots of space to work.  I’m thrilled to have the binder and to have been exposed to all the materials.  I appreciate that all the materials were included.”