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This annual summer workshop continues to be recognized as one of the most prestigious printmaking intensives in the world; drawing professional artists, educators, and college students from all over the United States and aBryant.


Participants are encouraged to observe all areas of artistic demonstrations taking place, as well as to concentrate on their own artistic endeavors. Frogman's Print Workshops consistently proves to be an extremely influential educational, professional and social experience.


Session #1: July 3 - 8, 2017


Mezzotint is a less toxic intaglio process that produces beautifully rich blacks and a wide range of subtle tonalities.  Participants will learn how to draw and edition a mezzotint including image preparation and transfer, tool preparation and maintenance, plate rocking, scraping and burnishing, inking, and printing.

Deborah Lulu Chapman was born in Argentina, but has made Canada her home for over thirty years.  She received her Bachelors in Plastic Arts from the Université du Québec à Montréal and has a diploma in infography from the Insitute de Création Artistique et de Recherché. Chapman recently completed residencies in Guanlan, China; Quebec City, Quebec; and Melun, France.   Her work is in many prominent collections and has been recognized numerous times for awards including: first place in technique and imagery at the International Mezzotint Festival in Yekaterinburg, Russia; first place at the International Engraving Competition in Garzapapel, Spain; and first place at the International Miniprint Festival in Rosario, Argentina.   Over the last two years Chapman’s work has been shown in over a dozen countries including solo exhibitions in Mexico, Canada, and France.



Stone lithography offers a physical drawing process that can expand the sensitivity and depth of the artist’s hand.  This workshop will explore stone lithography with emphasis on additive and subtractive processes to create a state progression or a multi-color print.  Demonstrations will include:  graining, various traditional and unconventional drawing and image transfer methods, etching, black and color printing in register, and altering the image for states and/or over-printing.


Andrew DeCaen is an Associate Professor and Printmaking Area Coordinator at the University of North Texas.  DeCaen holds an MFA in printmaking from the University of South Dakota and a BA in Fine Arts from the University of Dallas.  DeCaen’s work has been shown Bryantly in exhibitions across the United States and internationally including exhibitions in Brazil, Bulgaria, Canada, China, Denmark, Japan, Korea, Romania, and Turkey.


This Workshop is an introductory course in water-based screen printing, designed to present the basic techniques and concepts of the medium as a fine art form.  All techniques will emphasize non-toxic / less-toxic methods and materials.  Techniques covered will include direct methods (paper stencils, hand-drawn stencils, and monotypes), and indirect methods (photographic & autographic stencils).  Students will be encouraged to adopt an experimental approach toward screen printing production, while also developing an awareness of the traditional aspects of the medium, such as the significance of layering, appropriation, the multiple in art, edition work, and collaborative printing.  No prior experience is required.

Born and raised in Fresno, CA; Matthew Hopson-Walker received his BFA in Printmaking from the Kansas City Art Institute in 1998. After several years of playing in a heavy metal band and working at various bars and liquor stores he then received his MA in 2002 followed by his MFA in 2003, both from the University of Iowa.  Hopson-Walker currently teaches printmaking and is the coordinator of foundations at the University of Southern Alabama.  He has also conducted numerous workshops throughout the United States at institutions of higher learning. He has been included in over 120 exhibitions over the last six years and his work can be found in the collections of the Franklin Furnace Artist Book Collection at the Museum Of Modern Art, New York, NY; the Amity Art Foundation, Woodbridge, CT; the Stonehouse Residency for the Contemporary Arts in Miramonte, CA; the Drawing and Print Collection at The University of Iowa Museum of Art, Iowa City, IA; the Kansas City Art Institute, Kansas City, MO; Corcoran School of Art & Design, Washington, DC; and the Tama Art University Museum, Tokyo, Japan; and many others.



Photopolymer plates, exposed from film, have a magical ability to reproduce minute details and hold a full range of values. Because they develop with water and can be exposed with sunlight, they have become a safe and simple alternative to traditional intaglio. The plates can be rolled up for relief as well. Backed with a thin sheet of steel, they can be cut into shapes with hand shears.

In this class participants will work with both digital and traditional media. All the necessary Photoshop skills will be taught, along with demonstrating how to produce optimal film from photos, drawings, and found imagery. For those who would rather forego the digital process, we will work directly on prepared film with pencil, fiber tipped pens, and ink washes. A foolproof method of registration will be used for multiple plate color printing, and adding color with InkAID transfer film will be demonstrated as well. Participants are encouraged to experiment in keeping with the wide range of possibilities with this medium.


Mary Jones is Professor of Art & Design at Grand View University in Des Moines, IA, where she teaches printmaking, bookbinding, typography and design. She received her BFA in art history at the University of Illinois at Urbana-Champaign, IL; and her MFA in printmaking at Indiana University, Bloomington, IN. Jones has exhibited Bryantly in the United States, and has work in permanent collections including The Illinois State Museum and The Pennsylvania Academy of Fine Arts. Her work is represented by Ann Nathan Gallery in Chicago, Moberg Gallery in Des Moines, and Tory Folliard Gallery in Milwaukee. Current interests involve combining traditional and digital print media, motion graphics and animation, and installation.


Participants in this workshop will produce multilayered letterpress edition prints or books that feature several relief techniques -- pressure printing from stencils to create background pattern/texture layers, text or typographic studies from a wide selection of both metal and wood typefaces, and relief images from either the Fine Arts Press collection of found printer’s cuts or the artist’s own carved blocks. Printmakers can work on one of four Vandercooks, two show card proof presses, or a Pearl clamshell. The UNO letterpress lab holds over 300 cases of metal type, 30 cases of wood type, 12 cases of printer’s cuts, and a wide assortment of ornament and decorative materials sufficient to enable your wildest letterpress fantasies.

Bonnie O'Connell earned her BA in art from the University of Wisconsin-Madison and her Master’s from The University of Iowa. She teaches book arts and letterpress printing classes at The University of Nebraska-Omaha, where she has produced fine press limited editions of contemporary poetry for Abattoir Editions. She also maintains The Penumbra Press, a private press imprint with a 30 year background in literary fine printing. O'Connell has been awarded grants from the National Endowment for the Arts, the Women's Studio Workshop, and the Nebraska Arts Council. A founding member of the College Book Art Association, she now serves on their Publications Committee. Her unique bindings and edition books are featured in over 50 artist’s book or fine press collections and have appeared in numerous national exhibitions. Her most recent solo exhibitions were at the Museum of Nebraska Art, Kearney; the Lux Center, Lincoln; and St. Cecelia’s Cathedral Arts Project, Omaha. Her current body of work features mixed media letterpress works on social and art issues, as well as sculptural books and assemblages.



iThis workshop utilizes the oldest form of printmaking, relief, in combination with found, re-purposed fabrics and basic machine and hand sewing to create quilted collages. Do you have old clothes, bedding, and other fabric scraps you love that need a new life? This workshop is for you!

The workshop will begin with transfer, carving and printing demonstrations. Subsequent demonstrations include cutting and pinning prints on fabric into collage surfaces using a variety of stitch types in hand and machine embroidery, addition of embellishments, appliqué, reverse appliqué, finishing techniques, and hanging solutions. These processes provide a gateway into three dimensional creations, performance, and installation. The class will work together on collaborative work at the end to explore these possibilities.

Hannah March Sanders is an interdisciplinary printmaker utilizing the repeatable matrix to create drawings, fiber art works and installations that explore the relationship between man and environment. Hannah received her BFA at Tulane University in New Orleans and an MFA from Louisiana State University. She has taught courses and workshops at the University of Louisiana Lafayette, Murray State University in Kentucky, and at a variety of other institutions and galleries across the country. Along with her husband, Blake, Hannah operates, an artist collaborative that organizes exhibitions, portfolios and art events. In the past two years, Hannah has exhibited work across the globe at the Printmaking In Graafika Festival in Estonia; The Shed in Galway, Ireland; Global Vision at Kyoto Seika University in Japan; New Narratives at IPCNY and 30 Years of LSU Printmaking at the Ogden Museum of Southern Art in New Orleans.  She is currently an Assistant Professor and Area Head of Printmaking at Southeast Missouri State University in Cape Girardeau, MO.

Blake Sanders works in print media as well as installation. His work supports stewardship by illustrating a bond between people and the natural world. Blake earned his BFA from the University of Northern Iowa and an MFA from Tulane University. He has taught art and printmaking at universities, as well as workshops at colleges and community-based art organizations around the country. Sanders has participated in over eighty national and international exhibitions. Blake is one half of Orange Barrel Industries, a printmaking and curatorial partnership. He was recently an Instructor of Printmaking at Bowling Green State University in Ohio. He currently teaches courses at Southeast Missouri State University in Cape Girardeau, MO.



Monotype is an exceptionally malleable and immediate medium that can accommodate the aesthetic of any artist.  It can be a vehicle to work out ideas, generate a large body of finished works, or create the ingredients of a work to be compiled and combined with collage, painting, or drawing.

This course will introduce monotype as a painterly medium, a hard-edged, exacting medium, and a draftsman's medium.  Participating artists will work with brushes, stencils, and various drawing implements.  We will print on the intaglio press and by hand, on both Asian and Western paper.

We will also take a brief look at the long and multifaceted history of the medium, as well as explore transfers, adhesives, and methods of registration.  Participating artist are welcome to bring existing plates to generate monoprints and/or work more spontaneously on Plexiglas, and are encouraged to bring source material to generate imagery.

Sarah Smelser received her BA from University of California at Santa Cruz, and her MA and MFA from the University of Iowa.  She is a Professor at Illinois State University, teaching intaglio, relief, and monotype / print.  Sarah is co-founder of Manneken Press (with Master Printer Jonathan Higgins) and has served as President of the Mid American Print Council.

Sarah shows her work in solo, invitational, and juried exhibitions nationally and internationally, and her work is in such collections as Reader’s Digest Association, the New York Public Library, Library of Congress, Fidelity Investments Collection, Hallmark Corporate Collection, The Jane Vorhees Zimmerli Art Museum, and the Spencer Art Museum.  She has had artist residencies at Vermont Studio Center; Franz Masereel Center in Kasterlee, Belgium; ARTica in Bilbao, Spain; the Kala Art Institute, Skopelos Foundation for the Arts in Skopelos, Greece; Anchor Graphics, and the Ballinglen Arts Foundation in Ballycastle, Ireland.


Session #2: July 10 - 15, 2017


In this course participants will produce artists’ books inspired by personal possessions. Each student will come to the course armed with a collection of small objects which we will use to generate content for our books. We will investigate a variety of simple book structures and discuss the possibilities they offer for incorporating content. After warming up with a series of writing assignments and book sketches, students will each create an artist’s book devoted to an object they select. In the last stage of the course, we will produce boxes to house the books and the objects as a unit.

Sarah Bryant designs and produces editioned letterpress-printed artist’s books under the imprint Big Jump Press. Her work has won numerous awards and can be found in dozens of collections including The Yale Arts Library, The Houghton Library at Harvard University, The New York Public Library, and The Darling Bio-medical Library at UCLA. Sarah has taught bookbinding and letterpress-printing courses at institutions all over the United States and the United Kingdom, including Wells College, The University of Georgia, The London Centre for Book Arts, Penland School of Crafts, and West Dean College. She currently lives in Tuscaloosa, AL, and teaches for The University of Alabama MFA in the Book Arts Program.





This workshop is an introduction to digital bookmaking via Adobe InDesign. The basics of the InDesign interface and its integration with other Adobe Creative Suite programs through Adobe Bridge, especially Photoshop and Illustrator will be covered.  Participants will explore other tablet and smartphone input-­‐gathering/generating mechanisms including programs like Adobe Capture.  Participants will also discuss various modes of output, from inkjet printing to preparing files for online printing via companies like Lulu, Blurb, and others.  If time permits, we will review some of the interactive features of InDesign to create digital artist books that exist solely online.

An artist’s approach to design (typography, page layout, visual flow, relationships of image and text) will be taken, with opportunities for artistic intervention being encouraged. Participants will discuss images and text and their relationship to book structure and consider the affordances of the digital environment relative to hand-printed and commercially-printed books. This is an introductory class and no previous InDesign experience is required; however, students should have some basic familiarity with image editing (Photoshop) and artmaking concepts.


Beth Grabowski is an artist and educator.  She is a three-time recipient of support from the North Carolina Arts Council (two Artist Fellowships and a Project Grant.) Her work has been represented widely in national and international venues.  Grabowski is the Zachary Taylor Smith Distinguished Professor of Art at the University of North Carolina-Chapel Hill, where she has taught printmaking and book arts since 1985.  Beth is co-author, with Bill Fick, of Printmaking, A Complete Guide to Materials and Processes, published by Laurence King of London.  The first edition was released in 2009, and a second edition in the summer of 2015.  She served as president of SGC International, the professional organization for print artists, educators, collectors, and enthusiasts from 2012-2014 and currently serves on the SGCI Board of Directors.


In this class we will cover the basics of traditional multiple plate intaglio using a key image plate as a foundation for advanced color image development. The intaglio plate is a very tactile, workable surface which can be manipulated in order to achieve a wide array of aesthetic possibilities. Participants will begin with a key plate with basic line etch and aquatint which will then be transferred onto additional color plates. A number of methods and techniques will be demonstrated during the week such as stage line etch, aquatint, soft ground, subtractive method, spit bite, and a la poupee. Students of all levels of experience are welcome to participate.

After spending his formative years in Memphis, TN, Andrew Kosten received a Bachelor of Fine Arts degree in painting from Washington University in St. Louis, MO in 2001. Upon discovering the potential of the medium of printmaking, Mr. Kosten pursued a Master of Fine Arts degree in printmaking from the University of South Dakota in 2005. From 2009 to 2013, Andrew taught drawing and printmaking at The University of Southern Indiana and Middle Tennessee State University.

Andrew Kosten currently resides in Brookings, SD, and specializes in intaglio and lithographic print media through his own print shop and studio, Gum Pal Press. His work has been shown in national and international juried exhibitions and is featured in numerous public and private collections. Andrew has received various awards and has works in a number of public and private collections across the country.



In this course participants will explore the possibilities of both aluminum and polyester lithography plates for making multi-color lithographs. Together these plates offer an alternative to stone lithography that is portable, relatively simple to process and print, and very versatile. Techniques will be demonstrated for building up a drawing on an aluminum ball-grained plate, and for preparing additional registered color layers using polyester plates. Participants will learn various means of image generation, from traditional hand-drawing to incorporation of digital and photographic imagery via transfers and more. Techniques for registration, paper preparation, color ink mixing, and printing will be covered in detail. Participants are encouraged to bring source imagery and/or preliminary sketches in order to dive right in to the project. The class will be structured to accommodate participants of all technical levels.

Emmy Lingscheit’s work investigates the interdependencies and exchanges between the biological and the man-made, revealing a postnatural world in which the line between synthetic and organic beings, systems, and materials is increasingly blurry. She has held residencies at the Highpoint Center for Printmaking in Minneapolis, MN,  Zygote Press in Cleveland, OH, Ucross in Sheridan, WY, and at the Kohler Arts/Industry Program studios in Kohler, WI. Her work has been exhibited widely, including recently at Davidson Galleries in Seattle, WA, Nash Gallery in Minneapolis, MN, and The International Print Center in New York, NY, as well as a solo show at John Michael Kohler Arts Center in Sheboygan, WI. She holds a BFA in painting from St. Cloud State University in Minnesota, and an MFA in printmaking from the University of Tennessee, Knoxville. Emmy is currently an Assistant Professor at University of Illinois, Urbana-Champaign, where she is also the Coordinator of Printmaking.



Do you admire prints with delicate, calligraphic, linear qualities? Have you been looking for non-toxic printmaking? Do you live by the phrase, Love is in the Details? Then this is the workshop for you! Students will learn the traditional method of metal engraving using a burin to cut directly into the plate - no acid or grounds needed. Included in this workshop will be demonstrations on image and plate preparation, tool sharpening, proper handling of the burin, and printing single color as well as multiple colors in one run. Participants will have the opportunity to try different kinds of burins and sharpening fixtures, view prints displaying a variety of approaches to the engraved line, and learn fun troubleshooting tips.

Ashton Ludden is a printmaker, educator and sign artist. She received her BFA in Engraving Arts and Printmaking from Emporia State University in 2009 and her MFA in Printmaking from the University of Tennessee in 2013. Her work has been exhibited in galleries nationally and internationally as well as at conferences such as the Animals, Ethics & Law Symposium and the International Veterinary Social Work Summit. Since 2013, she has taught a variety of print and book community and national workshops at Arrowmont School of Arts & Crafts. Most recently, she has become the 2D Coordinator for the Pentaculum Artist Residency at Arrowmont School of Arts & Crafts. She lives in Knoxville, TN, where she teaches printmaking at the Community School of the Arts, is an active artist at the Vacuum Shop Studios Art Collaborative, and works full-time as a sign artist for Trader Joe’s.



In this course, we will examine the techniques and history of traditional Japanese woodblock printmaking and its use as a contemporary printmaking medium.  You will learn to create your own multi-color prints using traditional water-based woodblock printing techniques.  The course will cover the traditional carving and printing techniques as well as the Kento registration method and various types of Bokashi (ink blending techniques).  In addition, you will be exposed to the works of various historical and contemporary Japanese woodblock artists.  Examinations and discussions of cultural references and ideas relevant to Japanese woodblock printing will be an important part of this course along with the learning of technical skills.  Hands-on demonstrations and slide presentations will be given throughout the course.


Yoonmi Nam was born and raised in Seoul, South Korea, spending part of her youth in Canada.  She received a BFA degree in Printmaking from Hongik University in Seoul, Korea.  She moved to America to study at the Rhode Island School of Design, where she received a MFA degree in Painting and Printmaking in 2000.  Her work considers the cross-cultural experience and sense of transience throu­gh prints, installations and drawings.  Nam uses images of man-made environments and the culture of cut flower arrangements as metaphors to evoke a sense of time that is both fleeting and eternal.  Currently, she is an Associate Professor in the Department of Visual Art at the University of Kansas.


Collagraph is a collage based printmaking technique where printable matrices are created by adhering various materials to a substrate.  Variation in the surface quality of these glued materials yields a wide range of color, shape, value and texture that produces the unique richness characteristic of collagraph prints.  The process has great potential for experimentation and innovation through the reuse and repurposing of everyday materials such as tape, spackle, wallpaper, leaves, art papers and fabric scraps.  This course will introduce students to a variety of techniques for working with the collagraph process including additive and subtractive approaches to matrix construction as well as intaglio and relief printing possibilities.



Tracy Otten, is a professor at the University of Minnesota, Morris, where she teaches printmaking and foundations courses.  She earned a Bachelor of Science degree in Psychology, Sociology and Art from North Dakota State University, Fargo, ND.  Otten did graduate work at Palackeho Univerzita, Olomouc, Czech Republic and at the University of South Dakota where she completed an MFA in Printmaking.  Her prints and mixed media collages have been shown in over 100 regional, national and international exhibitions.  Her work is also included in the permanent collection of 60 universities and museums.  Otten has been the recipient of grants and awards through the Lake Region Arts Council, the University of Minnesota, the Plains Art Museum and the Nebraska Fine Arts Council One Percent for the Arts.


This course will cover the basics of combined methods in linocut and screenprinting.  Participants will start the workshop by completing a key linoleum block from which the color methods will be developed.  Demonstrations will include reductive and multiple block approaches to color in relief as well as reduction in screen.  Systems of registration will also be addressed. Each participant will print a two to three-color print edition. Time permitting, we will also discuss some of the practical aspects of studio practice, including cost effective methods of establishing a studio, press building, editioning in a small space, and more! Students of all levels of experience are welcome to participate.



A native of Kansas, Brandon Sanderson split his formative years between rural Kansas and Colorado Springs, Colorado. He holds a B.S. from Colorado State University-Pueblo in Printmaking and Computer Information Systems and an M.F.A. In Printmaking from the University of South Dakota, where he studied under Lloyd Menard.  Sanderson has been at the University of North Carolina-Pembroke since 2008.

He has participated in more than 350 venues since 2008, including 70 international exhibitions. Since 2008, he has brought 36 visiting artists to UNCP and held 18 visiting artist workshops at 16 universities nationally.  He maintains a private printmaking and drawing studio in rural Red Springs, North Carolina.