Workshop 2013

Color woodcut 1: Camaïeu
by Umberto Giovannini
31 May – 2 June 2013

Woodcut (xylography) 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, from Dürer and Holbein up to Cézanne, Picasso, Münch and contemporary artists. Lately xylography has once again become popular, not only for its language, but also because it is an ecological technique, which uses wood, oil inks and natural essences. The purpose of this workshop is to teach woodcut techniques and the ability to use materials, tools and methods with a view to creating woodcuts with more than one block (polychrome) through the classic technique of camaïeu. The work will include invention of the drawing for the colour woodcut, its transposition to the blocks, and creation of the intaglio. Attendees will be taught to use a special body posture intaglio technique, in order to develop high precision and speed, and the basic techniques of registration printing and polychrome inking.

Umberto Giovannini is a multidisciplinary artist with a specific interest in printmaking. He has a passion for woodcut, for which he has developed some personal intaglio and printing techniques. Founder member of VACA and member of the East London Printmakers, he is the director of the Opificio della Rosa a low environmental impact graphic centre. He combines his personal work as an artist, his studies and research, to his teaching career. At present, he is Associate Lecturer at the Central Saint Martins College of Art, University of the Arts London.
www.umbertogiovannini.it

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Burin on copper 1: advanced level
by Jürgen Czaschka
1-5 July 2012

This course, only for those who have practice 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.

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Blue etching: non toxic printmaking
by Fabiola Mercandetti and Marco Innocenzi
8-13 July 2013

This course aims to provide new solutions for toxic printmaking materials through the use of non toxic materials and methods. It will also be an occasion to find new ways of expressing yourself because etching is a constantly changing technique and language, which continuously develops new methods and creative possibilities.
Antique books already contained some precautions concerning the use of etching materials, but it was only in the Eighties that, due to a greater awareness of solvent and acid toxic effect, a special attention for people’s health and safety developed. This was the basis for further development in the following years, to refine new non toxic etching methods.
These methods, which also use antique recipes, have contributed in making etching more eco-friendly, leading to a greater interest worldwide, especially by those who do not have a traditional printmaking studio available, who can now etch anywhere without any risk, like many other art techniques.

This 6-day course will start with a historical-theoretical introduction to non toxic etching, dealing mainly with the following aspects:
⁃ overview of different indirect engraving techniques (Etching: hard ground, soft ground aquatint) using non toxic methods;
⁃ insight on the “blue” mordant (copper sulfate), its characteristics, preparation and usage
⁃ introduction to the use of etching inks made from oils and natural pigments with no toxic additive, and also of the Charbonnel Aquawash inks with water washable emulsified oils
⁃ overview of non toxic methods and products for cleaning the plates with vegetable oils instead of traditional solvents.
A new technique will be presented every day: first we will explain the method, then will show the process. After that, each participant will create his/her own plate.

Day 1
historical-practical introduction to non toxic processes; presentation of the etching on zinc technique with acrylic solutions which substitute the traditional bitumen; different methods (brush, casting) and use of materials; demonstration of the process, plate preparation, working, etching and printing.
Day 2
soft ground on zinc using roller and pastel; process demonstration, plate preparation, working, etching and printing.
Day 3
Aquatint on zinc using acrylic varnish spray (stencil method, stickers, reserve); process demonstration, plate preparation, working, etching and printing.
Day 4
Alternative aquatint (direct marking, shades, additive method), open bite; process demonstration, plate preparation, working, etching and printing.
Days 5-6
participants will work on their own projects using the non toxic techniques; plate preparation and working; etching: copper sulfate mordant in its different preparations and dilutions; the copper sulfate is a non toxic mordant which substitutes the highly toxic nitric acid; inking and printing of the plates.

Fabiola Mercandetti and Marco Innocenzi are burinists and engravers, and they promote the art of engraving with a special historical interest in technique development. Fabiola Mercandetti has written an essay on the history of burin intaglio technique from its origin to the twentieth century and she holds engraving courses at the Associazione Cattolica Operaia Tiberina di Roma.

Marco Innocenzi has specialized in the restoration of decorative schemes, with a deep knowledge colours and antique techniques.
They are interested in and have worked with copper sulfate, non toxic materials and methods since 2005. They are the curators of the website www.occhiodellincisore.com.

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Linocut and Letterpress for Illustration
by Nick Morley
20-25 July 2013

In this workshop you will create an artists’ book, using a combination of linocut illustrations and letterpress text to explore a narrative of your choice. You will develop your linocutting and letterpress skills while discovering how illustrations and text can be combined in innovative ways. First you will be given guidance to plan the format and layout of your book by making a ‘dummy’. Then you will be shown how to use the unique qualities of linocut to create a range of illustrations using different visual effects. The illustrations will be combined with text using wooden letterpress blocks in a wide range of sizes and typefaces. You will be encouraged to experiment with text and image placement to create non-traditional solutions to story-telling.
The workshop will cover the following techniques:
– Carving and mark-making on linoleum using a range of tools
– Inking and printing to create a range of effects
– Controlling colour, texture and transparency of ink in printing
– Basic bookbinding
Participants will need to bring along a narrative to work from. This could be a novel, short story, poem, play, song or something similar. By the end of the workshop you will have produced a small edition of your book to take home.

Nick Morley is an artist and illustrator who specialises in linocut. He has more than ten years of printmaking experience and has taught workshops at East London Printmakers since 2006. He has illustrated book covers for Penguin, Faber & Faber and Random House and he also makes his own books.
www.nickmorley.co.uk

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Color woodcut 2: advanced level
by Umberto Giovannini
1 – 13 August 2013

This 13-day-workshop offers a deeper approach to the world of polychrome woodcutting. Starting from the classical XV century techniques, including the interpretations of these techniques by the great engravers of the past century up until the techniques developed by Umberto Giovannini in twenty years of studies and research.
Workshop – Part I
Each day a different technique will be examined: after a historical-theoretical part there will be a practical demonstration of the technique, which the students will then use to create a personal work.
Day 1
Introduction: history and techniques of colour woodcut, drawing, intaglio techniques, inking and registration print. Graphic approach to colour woodcut: the camaïeu.
Day 2
Traditional pictorial approach to colour woodcut 1; two-blocks chiaroscuro (three colours) in a chromatic/tonal range by addition.
Day 3
Traditional pictorial approach to colour woodcut 2; three-blocks chiaroscuro (seven colours) in a chromatic/tonal range by fusion.
Day 4
“Martini” technique and simultaneous colour printing technique by viscosity process on wood (derived from S.W.Hayter’s technique)
Day 5
Woodcut reduction and polychrome printing by transparency with Kento registration.

Workshop – Part II
Days 6-7-8-9
Each attendee will develop personal projects applying the techniques learnt in Workshop – Part I, and will be stimulated to experiment new possibilities.

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Burin on copper 2: advanced level
by Jürgen Czaschka
13-15 September 2013