18/12/2015

Summer Courses 2016 in Art Print Residence

Photopolymer Photogravure Printmaking | From Photography to Etching with Silvi Glattauer.

13th and 14th June 2016 or 20th and 21th June 2016


2 Day Workshop

Explore and learn the use of photopolymer printing plates in combination with digital photography to create Photogravure etchings. This is a completely non-toxic approach without the use of solvents, or acids.

This workshop will teach you the ‘Direct to Plate’ system. We transfer the image directly on to the plate with the use of an inkjet printer. Plates are then exposed using UV light, processed with water and printed via an etching press.

We do not use films for making plates, which simplifies the process immensely. Giving you more time to make prints!

This workshop will give you an insight into the hybridization of digital techniques with the hand made print. We will look at printmaking techniques, including inks and paper options, setting up the etching press, color options with roll ups and digital chine colle.

This workshop assumes that you have a basic working knowledge of Photoshop and your digital camera.

Day One:
• Preparing your images in Photoshop – Optimizing quality of your original image to suit the photogravure print.
• Direct to Plate printing vs using films – pros and cons.
• Inkjet printer options.
• Exposure Unit options.
• Printing images directly on to Photopolymer plate – adjusting for plate contrast.
• Testing exposure times.
• Plate making – process
• Proofing plates, using various ink densities to adjust print qualities.

Day Two:
• Review of day one
• More plate making
• Printmaking techniques for press preparation, registration, paper options
• Chine Colle techniques using rice papers and digitally created color layers.
• There will be plenty of time for experimentation during day 2.

Dates: 13th and 14th June 2016
Time: Monday & Tuesday
Workshop hours: 10am - 5pm
course fee: 350 €
materials included
Students: 6-8

Lodging possibilities in the residence
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Dates: 20th and 21th June 2016
Time: Monday & Tuesday
Workshop hours: 10am - 5pm
course fee: 350 €
materials included
Students: 6-8
Lodging possibilities in the residence
APPLY NOW

 

MOKULITO TECHNIQUE

With Ewa Budka

27th June 1st July 2016

Mokulito is an alternative printmaking process based on the principales of lithography. It was discovered by Professor Seishi Ozaku in Japan over 15 years ago. His process replaces the traditional bavarian slate used in lithography with a plate of plywood, which pocesses the same characteristics as the litho stone. The discovery of Prof. Ozaku has allowed a blend of purely lithographic traces and sharp woodcut marks. Mokulito has been protected by the Japanese printmakers for much of its existence, holding it as an undiscovered art process to those outside of Japan.

In 2010, my father (Józef Budka, Professor of Lithography at the Academy of Fine Arts in Katowice, Poland) began investigating the possibility of replacing litho stone for another matrix. The search led him to one exhibition in Poland where he found an assortment of Japanese prints signed "lithography on the wood- MOKULITO." Fascinated by the idea of changing the litho matrix for a wood, we contacted the Japanese artists and received a folder with a small number of Mokulito re-prints and a breif explanation: take wood, draw and print from it. Inspired by this concept, we started our Mokulito (a.k.a. Budka-lito) research. We have been exploring this secret process for over 4 years with exciting results. Mokulito is a engaging printmaking process which helps to unlock new approaches in our creativity and imagination. By opening our minds and finding new ways of using different plywoods, we have finalized our Budka-lito research.

Mokulito is a very chimeric technique. It is suitable for artists who are not afraid of making marks without the possibility of changing them. Once placed, marks made by ink, sharpie or litho crayon cannot be removed. The artist must consider that wood grain from the plywood will be visible in the project. The clean, white spaces on the print are possible only through cutting the wood by chisel. Mokulito uses plywoods from deciduous trees. Using a plywood matrix, Mokulito allows the artist to make up to 25 prints. The edition depends on the type of wood.
My most recent project “The Skin I have been Living in” is based on the Mokulito process. It combines my knowledge of printmaking, my love of the organic feeling of wood, thoughts about the human body as an installation itself, as well my memories, emotions, and curiosity of what’s behind our skin. Using plywoods with their own stories written between the wood grains, I create new narrations on them, creating a new life. The plywood exists as body while the paper serves as skin, which I am pouring on every time I put the body through the press. I am connecting the skin and body in a relationship where they will always be linked. I cut the body after printing, making the words more visible. They are like scars, answers to unasked questions, things you can’t hide. The skin unveils your secret thoughts, everything you are hiding inside of yourself. “The Skin I have been Living in” attempts to show what’s truly inside of our bodies.


27th June 1st July 2016
Time: Monday to Friday
Workshop hours: 10am - 5pm
course fee: 750 €
materials included
Students: 6-8
Lodging possibilities in the residence
APPLY NOW

Summer Courses 2016 in Art Print Residence

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Art Print Residence