Burin on copper
by Jürgen Czaschka
This course, only for those who are practised in copper engraving techniques, is a unique chance to draw on the wealth of artistic experience that Czaschka has fine-tuned in more than thirty years of studying and experimenting with burin technique, of which he possesses unparalleled knowledge, from the classic to contemporary developments. A preliminary phase deals with preparation of the plate and methods of sharpening the tools. The central part of the course involves experimentation with different techniques of burin engraving on copper: morphology of the sign; the relationship between heavy and light signs; the rhythmicity of the hatching and the intersecting undulations of 16th century anatomy engravings; the synthetic linear sign. The course concludes with the final phase of inking, cleaning and printing the matrix.
Born in Vienna, Jürgen Czaschka is unanimously acknowledged as one of the most extraordinary living burin artists. He got his artistic training in Berlin at the end of the 70’s and has created works of extraordinary technical expertise and overwhelming expressive force that make him an undisputed master of this art.
by Wuon-Gean Ho
Japanese woodblock is a beautiful, non toxic technique that uses natural wood, watercolours and handmade paper in order to create images. The colours can be transparent and subtle, or very intense and powerful. In this 5-day workshop you learn how to design, carve and print your own black and white and multi-coloured prints in the traditional Japanese style.
You will learn how to use the different tools such as carving knives, printing brushes and the hand held printing disc called a baren, and take these tools home with you after the course ends.
Wuon-Gean Ho is an artist printmaker and book maker that lives and works in East London. She teaches Japanese woodblock in various printmaking workshops in the UK and USA.
by Amanda Taylor
Producing a collagraph is a simple non toxic process using cardboard rather than lino or metal as the printing plate. The plate is made by cutting into and sticking on everyday materials (such as embossed wallpaper, coffee grains, netting etc) to the cardboard to produce a textured plate rather like a collage. From this, prints are made by using various inking and masking techniques which can produce remarkable sculptural results.
Initially we will experiment with the effect of texture in one colour. As the course progresses we will introduce more colours and other more advanced techniques such as chine colle (adding Japanese coloured paper to the print as it goes through the press) to add depth and interest to the prints. Finally, the skill of presenting the work will be demonstrated on the last day.
I studied printmaking at London College of Printing in 2001 and have exhibited at a number of galleries in London. I was brought up by the sea which inspires me in my work to create impressions of landscape and nature. I have run collagraph workshops at the East London studio and am a member of East London Printmakers.
Multiplate Printing: Drypoint and Carborundum
by Ann Norfield
Come and learn to make exciting prints using different plates to create layers of vibrant colour.
During this five-day workshop you will create aluminium plates that combine the exciting drawn lines of drypoint together with the painterly effects of carborundum. You will be painting with carborundum and printing coloured plates, in much the same way as Picasso, Miró, Jasper Johns and Tàpies. As the course progresses you will be able to learn multiplate printing using careful registration and three colours of ink; also how to incorporate chine-collé (fine paper collage material) onto the surface of the print as it goes throught he press. Drypoint and carborundum are non-toxic techniques that produce exciting and individual prints.
Ann Norfield is both an artist printmaker and a teacher. She has a Postgraduate Certificate in Education from the University of London (1984) and an MA in Fine Art Printmaking from the University of the Arts London (2003). She has taught art in schools for many years and also runs adult printmaking workshops for artists and teachers.
by Catherine Walsh
In this workshop you will develop original designs for textiles and learn how to create your designs on fabric using lino-block printing and screen-printing.The design process will begin by using sketchbooks to collect material and develop ideas. You can sketch from the beautiful surroundings of the workshop venue or work on ideas and images that you bring with you. There will be a brief introduction to the history of textile art and design. You will be shown ways to interpret your sketchbook material to isolate and develop design elements. Alongside this design process there will be hands-on practical workshops on how to carve and print repeat patterns with a lino block and screenprinting using paper stencils, mono screenprinting to create texture and drawn screen-filler designs. By the end of the workshops you will have created samples of fabric with your own designs which you could use for interior design or fashion projects, or textile art.
Catherine Walsh teaches art and craft workshops and is a mixed-media artist.
A member of East London Printmakers since 2003, she likes to use colourful printed and stitched textiles in her artwork.
She graduated with an MA in Art and Design in Education from the University of London in 2002.
by Victoria Browne
During this five day course attendees will learn to master this innovative printmaking process using hand-painted or drawn positives. Empowering light from the sun, positives are exposed onto photo-sensitive polymer plates.
Often compared to traditional copper-plate photogravure, polymergravure printing was developed in Denmark by Eli Ponsaing in 1989 and offers a non-toxic alternative.
The prints exhibit a wide and continuous tonal range, rich blacks and sensitive to the original intention of the artist. Attendees will work in the etching studio to combine a variety of inking methods and chine-collé to edition single and multiple-colour plates onto archival rag paper.
Victoria Brown holds a Master of Arts in Multi-Disciplinary Printmaking from the Centre of Print Research, University of the West of England and studied at the Kunsthøgskolen i Bergen in Norway. Browne is currently the resident artist at the University of Middlesex London, she works with artists to edition polymer photogravure prints and teaches a variety of printmaking techniques.
by Umberto Giovannini
Xylography (engraving on wood) is the oldest graphic technique. The power and communicative force of its sign lies at the heart of works created from the 14th century onwards, passing by way of Dürer and Holbein down to Cézanne, Picasso, Münch and contemporary artists. The purpose of this workshop is to teach woodcut techniques and the ability to use materials, tools and methods with view to creating woodcuts with more than one matrix (polychrome) through the classic techniques of chiaroscuro and camaïeu. The week’s work will include invention of the drawing for the polychrome woodcut, its transposition to the matrices, creation of the intaglio, then registration printing and experimentation with monotype inking.
A completely ecological technique employing wood, oil inks and essences.
Umberto Giovannini is a multidisciplinary artist with specific interest in printmaking: since 1991 he has produced more than 600 pieces. His special love is color woodcut for which he has fine-tuned personal techniques. He teaches woodcut at the Rimini Fine Arts Academy, is a founder of VACA and a member of ELP.