Marianne Courtenay.com

RELIEF PRINTMAKING WORKSHOPS

  1. HAND-COLOURED LINOCUTS – IN THE TRADITION OF MARGARET PRESTON
    • Still-life studies
    • Landscapes
  2. LINOCUT PORTRAITS
  3. REDUCTION LINOCUTS
  4. COLOUR PRINTING: COLOUR REGISTRATION
  5. CARVING AND PRINTING WOODBLOCKS
  6. BASIC JAPANESE PRINTMAKING TECHNIQUES

1. HAND-COLOURED LINOCUTS – IN THE TRADITION OF MARGARET PRESTON

People are often put off printmaking by the complexity of some of the processes and the need for a press. But some of the most famous and effective prints, such as those of Margaret Preston, were printed at home by hand with a minimum of resources.

In these two workshops Margaret Preston's prints are used as a starting point to explore the relationship between choice of subject matter, composition and the characteristics of lino and woodblock prints. Suitable for beginners or those with some printmaking experience.

a. Still-life studies
Participants work up a suitable image using one of a number of still-life assemblies set up in the workroom.

b. Landscapes
Participants each bring a landscape photo or sketch and translate this into a relief print composition.

In both cases the composition is then transferred onto a lino or vinyl block for cutting and hand printing. Everyone produces a small edition of a single colour print with at least one image had coloured using gouache or water colour.

2. LINOCUT PORTRAITS

This workshop is suitable for those with some lino-cutting experience. Following viewing and discussion of examples of lino and woodblock portraits, participants draw on either photographic references or prior portrait studies to develop a suitable image which is then carved and printed. This workshop can also be used to introduce reduction printing techniques (see below).

3. REDUCTION LINOCUTS

This workshop introduces participants to printing with more than one colour using only one printing block. In the reduction technique colours are printed one over the other but after each colour is printed a little more of the original block is removed so that when the next colour is applied parts of the previously printed colours remain evident on the paper. The final result is a complex multi-coloured image.

The workshop develops images based on still-life or landscape references. These are then transferred onto lino or vinyl blocks for cutting and hand printing. Participants each produce a small edition of a three-colour reduction print.

Suitable for those with some prior printmaking experience.

4. COLOUR PRINTING: COLOUR REGISTRATION

While still using a limited number of printmaking resources and hand printing the edition, this workshop introduces participants to cutting, registering and printing multi-colour, multi-plate prints. Correct registration is often seen as the 'big problem' in multi-plate printing yet with some simple procedures accurate prints can be readily and routinely produced. Participants each produce a small edition of a print involving at least three different plates.

Suitable for those with some printmaking experience.

5. CARVING AND PRINTING WOODBLOCKS

A workshop for those with some printmaking experience. It that looks specifically at the creative possibilities of using wood in printmaking and developing specific techniques for carving woodblocks. While the emphasis is on European relief printmaking processes, Japanese printing techniques are also considered.

6. BASIC JAPANESE PRINTMAKING TECHNIQUES

Japanese relief prints include some of the greatest masterpieces of printmaking yet the system of printmaking is quite simple and requires no complex workshops or printing presses. In addition, traditional Japanese printing methods do not involve printing inks and rollers. Rather, water-based paint is gently brushed over the block and then hand-printed. The effect is consequently often softer and more subtle than western methods.

This workshop examines Japanese printmaking techniques in greater detail and is an ideal follow-up to Workshop 4. Participants are shown traditional Japanese printmaking techniques and the basic steps in producing a multi-colour print. More contemporary uses of these techniques are also explored subject to time availability. Participants cut, hand-print and edition an image involving at least two small plates.

Suitable for those with some prior printmaking experience.

MATERIALS LISTS

Essential materials are available for purchase at each workshop or participants may supply their own.

Participants are asked to bring to all workshops:
Fine craft knife and blades
A cutting mat if you have one
Drawing paper, pencils, rubber
Tracing paper
Black texta or felt pen
Apron, clean up rag, old newspaper for transporting plates

Workshops 1, 2, 3 and 4

Vinyl or lino block at least 37 cm x 40 cm
Set of lino/wood cutters
Printing paper

These are all available for purchase at the workshop

Participants supplying their own paper can use any 'Japanese' type papers but should avoid anything that is too thick or with a heavy texture.

For these workshops participants should also bring:

Workshop 1 Still-life studies
Water colour or preferably gouache paints
A selection of small to medium soft brushes

Workshop 1 Landscapes
Water colour or preferably gouache paints
Photos/sketches of landscapes for translation into relief print images
A selection of small to medium soft brushes

Workshop 2
Photo references or studies for translation into relief print images

Workshop 3
Still-life and/or landscape references to be used as a starting point for developing a suitable print composition
A selection of different coloured oil or rubber-based printing inks (if you have these)

Workshop 4
References or prepared drawings suitable for translation into a relief print
A selection of different coloured oil or rubber-based printing inks (if you have these)

Workshops 5 and 6
Woodblocks are available for purchase
1 wood block 150mm x 195mm
1 MDF block 160mm square and registration right angle
Set of wood carving tools
Printing paper

These items are also available for purchase at the workshop

In addition participants should bring:
Gouache or water colour paints
A selection of small to medium soft paint brushes
A selection of stencil brushes (if possible but these will be available for use at the workshop)