Summer Archive


Innovations in Color Woodcut Printing with Karen Kunc


This intensive, exciting workshop will awaken the possibilities of the woodcut printing process for the intermediate and advanced print-maker. This approach is not technically tradition-bound…but inventive, with contemporary, creative methods, that can be spontaneous, simple and direct. This expressive medium will be introduced and explored through demonstrations and discussions of cutting techniques, oil-based ink and water-based ink, and printing by hand as well as using the press. Participants will go from designing their images and cutting blocks, to printing several projects using a variety of methods and individual discoveries. Concepts for invention and good fun will be directed in a collaborative atmosphere, while being inspired by master printmaker Karen Kunc, who opens the creative process with insightful mentoring. Previous woodcut experience is required.

Popping Up and Out: Advanced Paper Engineering for Book Artists with Colette Fu

    Return to the Land of Dieties, 2013

In this intermediate workshop, participants will take their knowledge of basic pop-up techniques to the next level to create complex variations. Some mechanisms we’ll explore include opposing angle folds, parallel and angle lifting platforms, three-dimensional shapes, revolving mechanisms and pivoting pull-tabs. Once mastered, these mechanisms can become the building blocks for spectacular three-dimensional inventions. Participants will all go home with at least one finished pop-up spread. Pop-ups are really just inventive uses of cutting, folding and gluing plus your own unique play and imagination. Participants should bring some of their own artwork/prints, special papers or other materials that they would like to experiment with. Some previous pop-up experience is required.


The Mother of All Boxes with Julie Chen Personal Paradigms, 2003

Many contemporary book artists have gone well beyond the traditional clam shell box when envisioning enclosures for their artists’ books. In many instances the box is more than an elegant container for a book, becoming instead an integral component of content. This workshop will begin with the assembly of a box model set that contains all the components needed to create an endless array of boxes including those with drawers, compartments, recesses, windows, false floors, and magnetic closures. The secrets of perfect fitting and corner covering will also be revealed. Students will then go on to make one or more complex boxes of their own design. Some previous box-making experience is required.


Contradictory Landscapes with Inge Bruggeman


Students in this three-day letterpress printing workshop will investigate a meaningful landscape (urban or rural) by creating an edition of prints that incorporate layered imagery with a small amount of text. Dynamic and even contradictory text and image relationships will be investigated while practicing accessible and alternative techniques for creating multi-layered photopolymer prints. Participants will make enough prints to exchange.




The Magic Tablet with Julie Chen True to Life triple image_medium.jpg

The magic tablet structure presents twelve pages that are cut into horizontal strips and assembled so that each page appears to dissolve into the next when the handles on either side of the mechanism are manipulated. This allows for multiple readings of each page as it slides in ever-changing combinations with both the previous and the following pages. Part book, part optical paper toy, this structure presents the opportunity to create mesmerizing illusions.


Woodblock Printmaking on the Cylinder Proof Press with Tom Killion coastcamp-hiresmed.jpeg

Tom Killion will teach a 2.5-day intensive workshop on woodcut printmaking utilizing the Vandercook cylinder proof presses. Students should come with sketches prepared to make a 6” x 8” 3-color print. Killion will teach his own modified Japanese-style key-block technique for carving, registering and printing a multi-block, multi-color image. Students may use shina plywood and/or linoleum blocks, and experiment with gradated (‘split fountain’) inking, reduction cuts, pressure printing and make-ready to achieve Killion’s “faux ukiyo-e” effects that seek to replicate the look of Japanese woodblock prints using oil-based inks and the form rollers on a proof press.

%d bloggers like this: