2018 Australia Print Triennial
Description of artists’ workshops, demonstrations, talks
Look hard at the material and respond appropriately (Wendy Murray)
A practical workshop where Wendy will guide you through the process of making a poster that packs a punch! Wendy will share her Letraset and clip art collection and teach you some simple tricks to make great quality poster prints quickly and effectively – a super special opportunity!
Scraping to reveal the bright-side (Bill Young and Geoffrey Ricardo)
Bill and Geoffrey will discuss, demonstrate and show examples of two methods of darkening plates and then working back from dark to light in a subtractive manner. The first method Maniere Noire – French meaning black manner – is the process of scraping back into a heavily aquatinted plate to produce a drawing and lights. The second method Mezzotint is an engraving technique developed in the seventeenth century which allows for the creation of prints with soft gradations of tone and rich and velvety blacks. Mezzotint achieves tonality by roughening a metal plate with thousands of little dots made by a metal tool with small teeth, called a “rocker”. The image is then created by selectively burnishing areas of the surface of the metal plate with metal tools. By varying the degree of smoothing, mid-tones between black and white can be created, hence the name mezzo-tinto which is Italian for “half-tone” or “half-painted”.
George’s legacy: the Baldessin & Friends Folio – (Tess Edwards Baldessin, Jock Clutterbuck and Nicole Bowller)
Share an intimate viewing of the limited edition Baldessin & Friends commemorative folio and discover the ways in which George Baldessin’s legacy lives on through his family, friends and at his St Andrews studio. Tess Edwards Baldessin and Jock Clutterbuck, in conversation with Nicole Bowller, share personal stories and memories of George from the vibrant period of printmaking that occurred in Melbourne in 1960s-70s. They will also discuss the making of the folio and the works of the seven artists who created prints specifically for this project in memory of George – Rick Amor, GW Bot, Jock Clutterbuck, Michael Leunig, Jan Senbergs, Imants Tillers and John Wolseley.
Hand printing with barens for relief printing (Michael Schlitz)
This demonstration will be based on my study of traditional and contemporary Japanese woodblock printing over twenty-five years. This will involve a demonstration of the transferring of an image onto 3 ply plywood as well as higher quality shina ply. There will be a discussion on: my working method and registration set-up; the qualities of kozo paper; the sharpening of tools; cutting of a key block; hand printing using a baren; transferring an image to another block by traditional methods for multiple colour printing; and the cutting and proofing of the block.
Senior Master/Custom Printmakers: shared secrets and possibilities (Theo Tremblay, Bill Young, Peter Lancaster, Martin King, Basil Hall Chair: Michael Kempson)
For many artists, the relationship established with a Master or Custom Printer is an essential ingredient in the production of fine art original prints. There are many ways to define the role of the printer in this working relationship, on the spectrum between offering a technical service to being a pivotal collaborator in an artwork’s creation. How do you get involved in this facet of printmaking practice? What issues need to be considered when working with an artist? The respected printers that join this panel session have been responsible for some of the most significant printed work produced in this country and each have, in some form, devised ways to provide a service to artists and make their enterprises work. This session promises to be a lively anecdotal forum that will address the behind the scenes experiences inherent in this process – the pleasure and pain of making when you need to consider the intent, expectations and responses of another. Each speaker will share the realities of running a printshop, of what they were prepared for when starting out and what they weren’t. Audience members will be encouraged to be part of the conversation, revolving around the specific experiences of Australian Master Printmakers and how developments in technology have potentially changed the industry, to the stories that chronicle the experiences of successful print projects, and as a counterpoint, some of the disasters that never entered the public sphere.
Putting your stamp on things (Kay Watanabe)
Learn to carve rubber stamps with Brisbane-based printmaker Kay Watanabe. Use your stamps to create artwork on paper and/or design your own fabric. Kay will teach participants how to design and carve their own rubber stamps and a few tricks to print them with ink and stamp pads. The technique is also useful in creating your own chop – a stamp which you often see on Chinese and Japanese artworks together with an artist’s signature. All materials provided, including fabric, paper, inks and use of tools for the workshop. You will take your own artwork and/or a piece of fabric home.
Water based screen printing: thinking in Layers (Joshua Searson)
This workshop will introduce participants to printing multiple-layered screen-prints using water-based ink. Using existing photo-emulsion screen-printing stencils, participants in the workshop will be guided through the process in order to create their own unique, layered prints. The workshop will also cover considerations when using different types of ink; mixing inks to desired opacity; and applying opaque and transparent ink for interesting results. Suitable for complete beginners and those who have dabbled in screen-printing before.
A printmakers cookbook (Dianne Fogwell)
A Printmakers Cookbook has come about from a forty-year career working in the field of print and the artist book as artist maker, master printer and educator. The focus of the book is to unravel the image or artist book via the tools and methods involved. The presentation will be a selection of images the tools and methods used in their making along with a demonstration of tips and useful techniques that I have found fundamental to artists whose field of practice is based in printmaking and the artist book.
Mokulito – Part 1 Preparing a plate, Part 2 Printing a plate (Barbie Kjar)
Mokulito is a print technique developed in the 1970’s by Ozaku Schissi in Japan and more recently by Polish artist Ewa Budka. Mokulito utilizes and adapts the principles of lithography allowing you to print from a wooden surface rather than a stone or aluminium plate. The Mokulito technique is incredibly versatile. It combines the marks of lithography and woodcut on the same plywood plate. It is possible to firstly paint with tusche and draw with litho crayons and after gum Arabic is applied to cut into the same piece of plywood using sharp woodcut tools. This print technique allows for spontaneous marks and experimentation as well as considered drawing. The inking up stage is fluid and exciting. The workshop will be in two stages. Part 1 will involve preparing the surface of the plywood plate and then drawing and painting your image. Part 2 will focus on printing the mokulito.
Eco friendly printmaking using the Photopolymer Photogravure technique Parts 1 & 2
Using UV exposure and water washout photopolymer plates, we will make an Intaglio photo etching from your original photograph. Part 1 – Using Adobe Photoshop adjust your photograph for optimum black and white quality. We will then transfer your digital file using the ‘direct to plate’ method, expose and process with water. Part 2 – Printing methods using water wash-up inks. Colour options with digital chine colle if time allows. Participants will make 1 A5 Plate and at least 4 – 5 prints.
The unfinished print – Parts 1 and 2 (Ray Arnold)
The Unfinished Print: The French 19th Century artist Degas was the ultimate exemplar of the dictum that a work of art is never finished, only abandoned. (The English writer Julian Barnes writing about a Degas exhibition in a recent London Review of Books). ‘Abandoned’ sounds a bit extreme but throughout my life as a printmaker I have been preoccupied with the almost endless potential of printed variations from the plate matrix. The intaglio print medium is beautifully placed to allow such variation and development of ideas over time. Unique States: Seriality and the Panoramic was the title of a survey show of my work which toured through 2012/2014. The exhibition included print-works involving etching states, aggregation of plates and collaboration with others to develop ideas about landscape and people. My APT workshop will explore, in the short time allowed, some of these concepts. Following a visual presentation/introduction I will supply small grounded copper plates for us to draw, etch and print. I don’t imagine we will get far but intrinsic to my workshop is the idea that the plate will live on beyond the APT. We will use Ferric Etch and oil-based inks in the process.
Can’t see the forest for the trees – Parts 1 and 2 (Rosalind Atkins)
Wood engraving is a relief-printing medium utilizing the qualities of blocks of fine end-grain wood. The medium is capable of tonal ranges and great detail. Whilst the execution of the image on the block takes time, the print is efficient and quick. The wood engraving workshop, run over two sessions, will introduce participants to the medium of wood engraving from design, execution and printing. As it is run over two days the scale in which participants will work is small. The workshop is suitable for those with some drawing experience. No printing experience is necessary.