COLOR INTAGLIO

JON GOEBEL

Back to top

WATER-BASED SCREENPRINTING & MONOPRINT

JOHN HITCHCOCK

Back to top

WOOD ENGRAVING

JOEL MOLINE

Demonstrations of block preparation, tool handling, and printing will prepare those who are just beginning with the knowledge necessary to create wood engravings. Methods of adding color, using multiple blocks, and utilizing reduction techniques will also be presented. Instruction will be individualized based on each participant’s experience. Original prints will be available to study the handling of subject matter, wood engraving’s expressive potential, and to explore the various ways of handling the wood engraving technique.

Joel Moline received B.S. and M.Ed. degrees in art education from the University of Minnesota, Minneapolis. Following his graduation from the University he taught art at the Minnesota School for the Deaf from 1966 until 1970 when he joined the Peace Corps, serving in Bolivia. Following his Peace Corps service he taught art in the St. Peter Public Schools, St. Peter, MN until his retirement in 2000.

A long time printmaker, for the past 14 years he has concentrated on creating wood engravings. He is an active member of the Northern Printmakers Alliance, having shows at the Northern Prints Gallery in Duluth, MN and throughout the state of Minnesota. The Wood Engravers Network (WEN, an international association of wood engravers) is also a focus of creative effort, having participated in their group shows throughout the United States. In 2000 Mr. Moline initiated a print exchange between WEN and Xylon Argentina, resulting in shows of Argentine relief prints at various locations throughout the United States and ‘WEN en Argentina, Exposición de Grabados’ in Buenos Aires, Argentina. He has also been active at the Minnesota Center for Book Arts and a member of the Mid America Print Council.

Back to top

STONE LITHOGRAPHY

DAVID MORRISON

David Morrison is currently an Associate Professor of Art at the Herron School of Art, Indianapolis University and Purdue University at Indianapolis. He has shown in over one hundred eighty international and national exhibitions and has received over sixty awards. He is a member of FACET (Faculty Colloquium on Excellence in Teaching) at Indiana University. He received a 2002 Lilly Creative Renewal Fellowship. In 1995 and 1992, Morrison received Master Fellowships from the Indiana Commission for the Arts. And in 1994, Morrison received an Arts Midwest Fellowship. His work is included in numerous public and private collections and he has been a visiting lecturer and guest artist at a number of universities. Morrison graduated from the University of Wisconsin-Madison in 1985 with a Master of Fine Arts and from the University of South Dakota with a Bachelor of Fine Arts in 1981.

Back to top

THE BIG REDUCTION

NANCY PALMERI

Nancy Palmeri’s prints have been included in several international and national venues. Recently, her work has been exhibited at the Istanbul Museum of Graphic Art (IMOGA), the Museo de Artes Contemporaneas Plaza, Bolivia, Proyecto’ace Buenos Aires, Argentina, and the Los Angeles Municipal Art Gallery, Los Angeles, CA. She is a recipient of the Frans Masereel Graphic Arts Center fellowship in Kasterlee, Belgium and a Bogliasco Foundation Fellowship, Bogliasco, Italy. She has presented at the Southern Graphics Council Conference numerous times, and has lectured and demonstrated her printmaking techniques at colleges and universities, nationally, including: the University of Cambridge, UK, Washington University, St. Louis, Pratt Institute of Art, New York, Louisiana State University, Baton Rouge, LA, Cornell University, Ithaca, NY and Boston University, Boston, MA, and Murray State University, Murray, KY. Palmeri has had solo exhibitions of her work in New York, Boston, Louisiana, Texas, Italy, Chicago, and Virginia. Her prints were included in Color Print USA, Lubbock, TX, and Global Matrix International Print Exhibition, Perdue University Art Gallery and the Frans Masereel Graphic Art Center’s Jubilee Exhibition, Belgium. She has also curated three exhibitions at the Gallery on the campus of the University of Texas at Arlington, Anthropology in Print, Pervasive Impressions: Contemporary Political Prints, and Foundations: Mechanics and Instinct.

Palmeri’s prints are in the collections of the Fogg Art Museum, Harvard, Museo de Artes Contemporaneas Plaza, Bolivia, University of Colorado, Boulder Special Collection, University Art Museums, The Royal Museum of Fine Art, Antwerp, Belgium, The Sheldon Memorial Art Gallery, Lincoln, NE, The Santa Barbara Museum of Art, CA, The Hunterdon Art Center, Clinton, NY, the Instituto per la Cultura e l’arte, Catania, Italy, the UCLA Grunwald Center for Graphic Arts, The University of Miami, and the Tama Art University in Tokyo, Japan.

Back to top

WATERLESS LITHOGRAPHY

JEFFREY SIPPEL

Jeffrey Sippel is an enthusiastic painter/printmaker/collaborating master printer/art educator, who has spent many years studying the art of printmaking. He has practiced and taught all methods of printmaking. Sippel is most specialized in developing new applications for the art of lithography and waterless lithography. He received his Master of Fine Arts degree from Arizona State University and Master Printer certificate from Tamarind Institute. Sippel has taught at several prominent universities, including The Ohio State University, ten years as Education Director of Tamarind Institute, and presently at The University of Missouri, St. Louis, where he has developed a new “non-toxic” printmaking facility. He has worked collaboratively, both as an artist and a printer, with over one hundred professional artists and artisans throughout the world and he continues to collaborate professionally in the St. Louis area with such artists as Sam Gilliam, James Surls, Kit Keith, Michiko Itatani, Michael Piazza, John Dilg, Salvatore Ventura, Donald Damask and Clarence Morgan. Sippel helped organize and direct the now established “Quensen” professional workshop in Lamspringe, Germany. He has traveled around the globe, presenting exhibitions, workshops, lectures, and demonstrations at many universities and in such countries as Germany, Mexico, Canada, Finland, Belgium, Bulgaria, India, Canada, Poland, Chile, South Africa, Venezuela, USSR, and Columbia. His work has been exhibited on an international level and can be found in many major private and public collections.

Back to top

BOOKS: LEATHER & MORE

BONNIE STAHLECKER

Bonnie Stahlecker earned her BFA from the University of South Dakota and her MFA from the University of Wisconsin at Madison. She has been making books for over thirty years and in addition to teaching at Frogman’s numerous times, she has also taught at Penland, Haystack, and at the Paper & Book Intensive. In 2007 Bonnie was a resident at the Banff Centre for Creativity in Alberta, Canada, where she explored various ways to print on book leather.

Back to top

SCRATCHING THE SURFACE

ART WERGER

Art Werger has been known as a master of intaglio printing for over twenty years. His imagery has included aerial views of suburbs and cities, narrative figurative scenes, underwater swimmers and most recently, the natural landscape. His work is known throughout the country and abroad for its intensity and subtle psychological approach. His work has received over two hundred awards and is in many major corporate and museum collections.

Back to top

REDUCTION RELIEF PRINTMAKING

BRETT ANDERSON

Students will create color woodcuts through the process of reductive carving. Reduction relief prints are often called “suicide cuts” since the print-editioning and block carving processes overlap. In that way reduction cuts are like life, once you’ve made certain decisions you’re usually stuck with them.

Working from a key image drawn or transferred onto MDF, color images will be developed from at least four printed layers of ink all coming from the same block, which will be carved or otherwise altered between layers. Strategies for creating reduction-cut and multi-block color relief prints will be central. Process demonstrations and discussions will include block preparation before carving, tips on carving and tool selection, ideas on color theory when planning to print multiple layers of color, ways to modify inks when printing in layers, stenciling techniques, methods of registration and press printing, and corrective processes for addressing mistakes. Discussions about content and imagery, aesthetics, professional practice, humor, music, culture and anything else constructive will also be welcomed. Students should have some experience with basic relief printmaking.

Brett Anderson learned relief printmaking and other bad habits from Tom Huck at the University of Missouri. These interests expanded to other print media when Brett continued his education with Lloyd Menard at the University of South Dakota, where he received his MFA in printmaking.

Anderson’s teaching career has been that of a “wandering gypsy,” an art-educator-for-hire. He has taught at South Dakota State University, the University of Nebraska- Lincoln, Community Colleges in California and Nebraska, previously at Frogman’s Print and Paper Workshop and has been an Artist in Residence at the Plains Art Museum in Fargo, North Dakota and the Lux Center for the Arts in Lincoln, Nebraska. He is currently a Visiting Assistant Professor at Western Oregon University.

Anderson’s colorful, narrative prints investigate the folly of human endeavors by intermingling art-historical iconography and innuendos from American popular culture within his own mordant vision. His attention to craft, reliance on traditional print media, and use of printmaking as an extension of drawing is complimented by the imagery’s topical content and acidic humor.

Back to top

DIGITAL INTEGRATION: LASER-PLATE PRINTMAKING

MICHAEL CONNORS

This workshop takes a less extreme approach to resolving the integration of digital and hands-on printing on presses. Students will develop imagery on computers and output this imagery to laser plates which will then go directly to the press for printing. This form of "desktop printing" was developed for the commercial offset industry some 15 years ago has been adapted by artists as a versatile technique for hands-on printing. In the Madison curriculum, laser plate printing was introduced by Professor Connors as a method of overprinting and enhancing the surface of inkjet prints. With respect to introducing printmaking to new students, laser plate printing is a very quick way to get students away from their computers and onto the ink slabs and presses. In fact, these plates can even be printed by hand without a press! Connors met George Roberts prior to his publication of Polyester Plate Lithography and many of the techniques covered in Roberts' book will be demonstrated, in addition to approaches and tips gleaned from Connors' many years experimenting with this medium.

After receiving his MFA at the University of Wisconsin, Michael Connors came back to Madison where, as a Professor in the Art Department, he initiated the University’s Digital Printmaking Center in 1998. His art practice reflects a deep interest in the impact of computer technologies on contemporary culture and his teaching methods are based on the integration of digital and traditional print techniques.

Connors has served on the Board of the Southern Graphics Council and co-coordinated the SGC Conference in Madison in 2006. He exhibits his prints internationally and is active in many invitational print exchanges. In 2009 his prints were included in the 32nd Bradley International Print and Drawing Exhibition, Los Angeles Printmaking Society’s 20th National Exhibition, and MATRIX Printmaking 2009.

Back to top

STIFF LEAF & DRUM LEAF BOOK STRUCTURES

MARGOT ECKE

Have you ever wanted to construct a book using prints of drawings but did not know where to begin? Have you been overwhelmed by the thought of organizing and collating prints that are printed on both the front and backs of the page?

This course will introduce students to the stiff leaf and drum leaf book structures. These structures are unique because their pages are adhered rather than sewn, allowing the pages to sit flat when the book is open. Well suited for printmakers, these structures allow the page spread to sit uninterrupted by sewing thread. These books are substantial in look and feel, but straightforward and fun to make.

Students are encouraged to bring a suite of ten printed or drawn images of the same dimension to be used for a book project. By the end of the course, students will have at least three variations of the drum and stiff leaf book structure. We will spend one full day at the Vandercook to play with personalizing your books and will discuss title pages and colophons.

Margot Ecke received her M.F.A. from the Rhode Island School of Design and her B.F.A. from Cornell University. She received the Professional Printing Certificate from the Tamarind Institute at the University of New Mexico and completed her training by earning her Certificate in Bookbinding at the North Bennett Street School in Boston, the only full-time bench bookbinding program in North America. Margot held a residency at the Carolina Rediviva Library in Uppsala, Sweden, where she studied medieval bookbinding structures and was the Victor Hammer Fellow in the Book Arts at Wells College in Aurora, New York from 2004-2006. She was Assistant Professor of Book Arts and Printmaking at the University of Georgia from 2006-2009. She is currently the creative director of Smokey Road Press and Bindery, with offices in Winterville and Athens, Georgia.

Back to top

METAL ENGRAVING

JAMES EHLERS

In this workshop participants will learn the traditional method of line engraving. The burin (or graver) is used to carve directly into metal and produces a calligraphic mark that can create lines of varying widths. I will instruct on how to hold the tool properly and discuss trouble-shooting involved when first learning how to engrave. Safety issues involved with carving directly into metal will also be discussed. Demonstrations on a variety of sharpening methods (Crocker, jig and GRS sharpening hone) will be shown and sample prints illustrating a variety of interpretations of the technique ranging from beginner to technical masters will be available. Plenty of class time will be devoted to honing your skills and a variety of mark making exercises will be given before embarking on your image. We will also cover some of the history of engraving ranging from its origin to contemporary interpretations of the mark.

James Ehlers was born and raised in Lake Charles, Louisiana. Through the support of his father, he attended McNeese State University where he studied under printmaker Gerry Wubben. It was there he became enamored with metal engraving. He also studied printmaking at Bradley University with Oscar Gillespie and received his Master of Fine Arts degree from the University of Florida where he worked with Robert Mueller.

He has been a part of group exhibitions in Bulgaria, Canada, Denmark, Poland, Portugal, Norway, Romania, The Republic of Macedonia, Turkey, and across the United States.

Currently, he is the Don and Mary Glaser Distinguished Professor of Engraving Arts at Emporia State University in Kansas. Emporia State University is the only school in the nation to offer a Bachelor of Fine Arts degree in Engraving Arts. Along with being in many private collections, his work can be found in the collections at the University of Wisconsin-Parkside, Bradley University, Kansas City Art Institute, the Spencer Museum, and the Engraving Museum of Douro (Alijo, Portugal).

PLATE LITHOGRAPHY

MARGO HUMPHREY

Through lecture, discussion and demonstration this course will cover basic theory, processing, and printing techniques for aluminum plate lithography. Traditional and non-traditional drawing materials, registration systems, use of color inks, and transfer methods will also be covered. This class will be structured to accommodate participants of all technical levels.

Margo Humphrey received a BFA from the California College of Arts and Crafts in Oakland and an MFA from Stanford University. She was also a resident of the Tamarind Institute in New Mexico. Since 1973, Humphrey has held various teaching positions, including at the University of California, San Francisco; University of South Pacific at Suva, Fiji; and the University of Texas, San Antonio. Humphrey became a faculty member in the Department of Art at the University of Maryland, College Park, in 1989, where she teaches printmaking. She has been the recipient of numerous fellowships and awards, including: a fellowship to The Whitney Museum of American Art, The James D. Pheland Award bestowed by The World Print Council, a Marcus Foster Award for Distinguished Educators, a Ford Foundation fellowship, two National Endowment of the Arts fellowships, two Tiffany fellowships, and three teaching fellowships through the United States Information Agency Arts America Program to teach in Nigeria, Uganda, and Zimbabwe.

Humphrey's works are included in several important national and international permanent collections. They include The Museum of Modern Art, New York; The National Gallery of Art, The Library of Congress, and the Smithsonian Institution, all Washington, DC; The Bradford Galleries, London; The Museum of Modern Art, Rio De Janeiro; The National Gallery of Art, Lagos Nigeria; The San Francisco Legion of Honor, and the Philadelphia Museum of Art. Her recent exhibitions include shows at The National Gallery of Art, Berlin; Museum of Modern Art, Berlin; and The Library of Congress, Washington, DC. A publication of Humphrey’s work, "The Lithographs of Margo Humphrey", will be published this year by Pomegranate Press, San Francisco.

SURFACE DECORATION MEDLEY

CAMILLE RINER

This papermaking class will introduce a variety of wet surface decoration techniques. Students will learn controlled and fluid pulp painting, multiple couching, pulp veils, inclusions, and the use of different fibers to create their own images. Bring images ideas you would like to develop into finished pieces or something you would like to do as a background for prints or books. This is a hands-on class; come with your ideas and prepare to get wet.

COLLAGRAPHALICIOUS

JON SWINDLER

This course will explore the physical and visual nature of the collagraph, attempting to go beyond bits of glued-on yarn and denim that have hampered the reputation (and progress) of the collagraph. We will be investigating multiple collagraphic techniques, including intaglio, relief, and simultaneous color printing.

The collagraph will be approached as image and object, wherein, we will be gluing, cutting, carving and collaging materials and applying adhesives to create a variety of printed images. Students will be working on multiple plates simultaneously, culminating in a 4-color multi-plate photo-based collagraph. Workshop participants will also be exploring multiple registration techniques and image transferring methods. All experience levels are welcome.

Jon Swindler is an Assistant Professor of Art at the Lamar Dodd School of Art, at the University of Georgia, where he teaches undergraduate and graduate level printmaking courses. Born in Pratt, Kansas in 1976, Jon was raised on his family’s wheat farm, which provided both employment and formative experiences for nearly 20 years. In 1999, he received a Bachelor of Fine Arts degree in printmaking and art education from Fort Hays State University in Hays, Kansas. From there he continued his education at Southern Illinois University in Carbondale, where in 2003 he received a Master of Fine Arts.

Over the last several years, Jon has exhibited his work in numerous solo, competitive and invitational exhibitions throughout the United States and abroad. He has also performed visiting artist lectures and workshops at various institutions, including: The Art Academy of Cincinnati, Penn State University and the Academy of Visual Arts in Ghent, Belgium.

DIVERSE MONOPRINTS

KOICHI YAMAMOTO

This workshop will explore print processes to discover diverse compositions. We will experiment with intaglio, relief and monotype on Gampi paper. Participants will learn effective chine collé techniques to utilize different languages in one format. An emphasis will be on hard ground, white ground etching, engraving and monotype. Participants are encouraged to bring finished intaglio plates with them.

Koichi Yamamoto was born in Osaka, Japan. He moved to Wyoming in 1983 and completed his BFA at the Pacific Northwest College of Art in Portland, Oregon in 1992. Prior to beginning graduate school, Koichi lived in Central Europe including stints in Poland, Denmark, and Slovakia where he attended the Bratislava Academy of Fine Arts to study copper engraving under the direction of Professor Dusan Kallay. Koichi completed his MFA at University of Alberta, Canada in 1999. He is an Assistant Professor at the University of Tennessee at Knoxville and he has served as an Assistant Professor at both Utah State University and the University of Delaware.

Yamamoto has exhibited internationally and received several awards including the International Biennial Print Art Award in New Delhi, India. His current work is in large-scale monotypes and exemplifies a contemporary, international aesthetic developed from his upbringing in Japan and his Education in the U.S., Canada, Slovakia and Poland. Koichi’s prints explore issues of the sublime, memory, atmosphere, light and history through various representation of landscape.