Bridget Henry, Baby Bird
Woodcut Printmaking Bridget Henry July 3–4
Course # AAMW ØØ
Two-day session Come and learn the simple and beautiful process of making woodblock prints. Woodblock prints are a great way of making your own cards, prayer flags, quilt design, and patches. Each student will walk away from this workshop with two editioned images of their own: one in black and white and one printed with two colors. The workshop will cover the various types of wood, tools, inks, and papers used to make a print. Carving, color mixing and printing techniques will be demonstrated and experienced first-hand. We will be using hand and dremel tools for carving, a press and wooden spoon for printing. We will be printing with oil-based inks and learning non-toxic clean up.
David Clark, Made with Fire
Encaustic Monoprinting David Clark July 20–21
Course # AAEM Ø2
Two-day session This workshop is an exciting introduction to the techniques involved in producing repeatable images while printing with wax. The purpose of this class is to expose participants to a wide variety of paints, papers, stencils and tools connected to the encaustic monoprint process and to give students access to varied printing techniques that will allow them to fine tune their prints. Students begin first by learning the basics and variables of the encaustic monotype: heat, paint, paper and pressure. They then progress to layering color and pattern using different types of stencils and masking in order to further refine their printed images. Students can expect to create numerous prints during this class encompassing a varied range of technical and intuitive process. Come discover how much fun monoprinting with wax can be. This class functions well for a wide variety of skill levels in printing, but some previous experience working with encaustic is helpful. Materials: A complete materials list will be sent upon registration. Tuition: $335 Lab Fee: $80 (Includes all paints, papers and
tools. Students will be given an allotment of a variety of papers to work with, and more paper will be available for purchase if you find that you are a very fast printer.) Enrollment limited to 10 students. David Clark’s encaustic print work has drawn critical acclaim for its graphic style and fineness of execution. He exhibits nationally, showing his work in numerous solo and group shows including the 33rd Bradley International Print and Drawing Exhibition and Aqua Art Miami. David’s printwork has been published and featured in Contemporary Paper and Encaustic: International Trends by Catherine Nash and Encaustic Works 2011 published by R & F Handmade Paints. David teaches encaustic printmaking around the country and was recently a presenter to a sold out crowd as part of the Monotype Marathon at the 5th International Encaustic Conference in Provincetown, Massachusetts. David is currently preparing for an upcoming solo show of his prints at the Process Museum in Tucson, Arizona. www.davidaclark.com
No previous art experience is necessary to participate, only a willingness to learn. If you have a design or photo in mind, please bring it to the workshop and we will learn ways of transferring the image to the block. The image size we will be working with will be 6”x 8”.
Beyond Monotype Ron Pokrasso July 16–20
Course # AABM Ø2
One–week session, Begins at 1 p.m. July 16 Ron Pokrasso covers a wide range of techniques possible in the monotype process and continues through the use of collage, drawing, and multiple plate projects. Students will be encouraged to pursue their artistic vision using monotype as a mark making tool in combination with whatever other techniques are efficient and available. The notion of the “artist as an inventor” will be stressed as mixed media techniques open the door to limitless opportunities. The approach is energetic and open, as each student’s individual style will dictate the direction of the workshop. The program is non-toxic working with AKUA waterbased intaglio inks. Modifying, layering, mixing inks, finding color, use and abuse of mark-making tools, exploring the limits of paper, collage, chine colle and built up surface will all be discussed. Working with drawing materials, the optional integration of Solarplate, ImageOn, traditional intaglio plates, other matrices, and finishing prints as resolved and complete expressions, including solving issues after printing, are aspects of the workshop. Though some monotype and/or other printmaking experience is helpful, all levels of students are welcome. Materials: A complete materials list will be
Materials: A complete materials list will be
sent upon registration. Tuition: $335 Lab Fee: $20 (Includes all materials.)
Enrollment limited to 12 students.
Ron Pokrasso, Two Heads Are Better
Ron Pokrasso
sent upon registration. Tuition: $695 Lab fee: $75
Enrollment limited to 12 students. Ron Pokrasso received his MFA degree from Pratt Institute in 1975 and has had over 40 solo exhibitions and more than 150 group shows. His work is in public, private, and corporate collections throughout the US and abroad as well as being featured in several books. He is originator of the printmaking event “Monothon” and has been an ardent supporter of arts programs for youth. His teaching experience includes universities, museums, public schools and private workshops, as well as Artist Residencies in the US, Scotland, Ireland and Italy. www.ronpokrasso.com
David Clark summe r @ id y llwild art s . o r g
Bridget Henry has been exploring the possibilities of woodcut printmaking since 1994, and continues to be enthralled with this alchemical process. She is a graduate of UC Santa Cruz and the recipient of the 2001 James Phelan award in printmaking. Bridget works in the printmaking studio of UC Santa Cruz and has taught color woodcut at the Cabrillo College Summer Arts program, Momi Lani Paper Arts, California Art Education Association, Art League of Santa Cruz, Idyllwild Arts and out of her home studio on the north coast of Santa Cruz, CA.
Bridget Henry, Hives
Bridget Henry, Woman with Flowers
PRINTMAKING
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