Cyanotypes

A cyanotype is a contact print on light-sensitive paper, and is process that bridges photography and printmaking. When UV light hits treated paper, a reaction is triggered that forms an intense blue dye. Students will see historical examples of cyanotypes and demonstrations than explore the process hands on. Weather pending, students will create prints out of doors with sunlight, as well as with our NuArc platemaker. Images can be composed from found objects, cut stencils, drawn or digitally printed transparencies, and can be exposed onto any durable paper or absorbent fabric. Color altering will be introduced through reducing, intensifying and toning techniques. No previous experience necessary for this explorative, and playful process. Students will leave the workshop with many finished images and the ability to continue working at Spudnik Press or at home.

Best Practices 1/3: Strategies of Self-Promotion

What tools do artists have to promote their artwork and their art practice? How can an online presence help or hinder an artist? What opportunities should artists look for to “get your work out there” and what opportunities should artists avoid? What can artists learn from other industries about branding and marketing strategies? What is the difference between an artistic style and a brand? Is this difference important?

Join three experts as they discuss these questions and more. Angela Bryant brings her expertise running Abryant Gallery, an art consultation service and rotating contemporary art gallery. In addition to other honors, she is the recent Director and co-founder of MOUNT Curatorial Residency at Design Cloud Gallery in Chicago. Manager of Marketing and Public Relations at Chicago Humanities Festival, Anna Marie Wilharm has years of experience researching and developing media relationships, conceptualizing and distributing press releases, customizing pitches for editors, producers and journalists across print, broadcast and online media, and more. Printmaker and Painter, Renee Robbins, has a long list of reviews and press coverage, maintains an active mailing list and online presence, and loves to talk about her perspective on self-promotion.

The Best Practices Series is presented as a partnership between Spudnik Press Cooperative and Chicago Printers Guild. Best Practices 1/3: Strategies of Self-Promotion is a free kick-off event.

Letterpress I: Wood & Metal Type (Begins 9/2/14)

Letterpress printing uses moveable type, cast from metal or carved from wood, and a mechanical press to crisply transfer ink to paper. This class uses multiple projects to familiarize students with basic letterpress and typography history, terminology, and practices. The class will begin with hand setting linear type to make business cards, note cards, stationary, etc. Students will then continue to use both independent and collaborative projects to acquire the technical skills needed to safely use a variety of presses, including setting type, distributing type, inking the press, color matching, adjusting pressure, registering paper, making an impression and cleaning the press.

NEW 12-WEEK FORMAT:
Beginning in the fall of 2014, we are extending our introductory letterpress class to 12 weeks. This format will allow students the time they need to plan and execute more intricate projects. Because this is a long commitment, we have designed the class to allow for occasional planned absences. Students will sign up for time slots to use the presses, spending time between print sessions setting type, mixing ink, distributing type, and otherwise falling in love with the time-honored art of letterpress printing.

Screenprinting On Paper (Begins 9/2/14)

Master the foundational skills and needed to create screenprinted images on paper. Learn how mesh count, tension, ink consistency, exposure times and registration all work in symphony to create exquisite products. This class establishes a wide base of skills including use of handmade stencils and photo emulsion, mixing ink, and printing tricks to create clean and professional prints. By the end of the class, students will choose an independent project that could be anything from a set of greeting cards to a gig poster, fine-art print, or components for a zine.

Printmaking Survey: Monoprinting, Etching, Letterpress (Fall 2014)

Experiment with three unique printmaking processes in one class. Monoprinting, etching, and letterpress offer a trifecta of opportunities for artists and creative people to learn processes and experiment with making images. These three oil-based printmaking processes range from experimental to exacting, bold to subdued, and unpredictable to calculated. In combination, these processes can open new possibilities for artists, writers, and folks who want to learn a new way to make art. Printmaking Survey classescan act as either a general introduction to everything Spudnik has to offer, or a refresher course for artists who have previous experience. This class can be taken independently or in conjunction with Printmaking Survey: Screenprinting, Relief, Lithography.

Etching Explorations

Etching, also often referred to as Intaglio, is a family of printing techniques in which the image is incised into a metal plate. Artist can scratch into plates with needles, or can draw through a ground and etch drawings into a plate. Beginning with basic line etching, students will learn and practice traditional plate making and printing processes. Through chine collé, aquatint, dry point, soft ground, and experimentation, student will add tonality, color, and varied marks to their images. While no prior printing experience is needed, students that do have intaglio experience can revisit the foundational skills with a more nuanced understanding of the process, and move on to independent projects.

Best Practices 2/3: Pricing Artwork, Quotes, & Commissions

Pricing artwork can be perplexing, to say the least. Where do artists begin when establishing the value of their artwork or their labor? What should pricing be based on? Time? Materials? Level of difficulty? Your resume? Your reputation? Competitor pricing? Context? Should pricing change based on context? What if you make multiples?

By bringing together two experts that specialize in different arenas, we’ll foster a rich conversation about these questions and more. Jason Teegarden-Downs, cofounder of Delicious Design League, shares his experience growing his studio from a gig poster side project to an established business working with large companies and advertising agencies. How was DDL able to transition to larger clients? How does pricing differ between design or branding projects, gig posters, and fine are prints?

Dan Devening established Devening Projects + Editions in 2005 and since then has exhibited an amazing array of artists, both from Chicago and Europe. He prolifically creates editions with the artists he represents, with the resulting artworks acting as a sort of archive for the gallery. Dan Devening will share his experiences with the fine art side of printmaking and publishing, shedding light on questions like: How can you identify and better know your market? When do artists versus galleries set prices? Why do galleries retain a portion of the sales? How does the price of your artwork affect how collectors will categorize your artwork? Is it okay to negotiate with a potential client?

The Best Practices Series is presented as a partnership between Spudnik Press Cooperative and Chicago Printers Guild. Fee members of either organization, the cost is reduced to $12. If you are a member of Spudnik or the CPG, but did not receive a coupon code through email, please contact angee@spudnikpress.org.

Screenprint Your Own T-Shirt

This one-day shirt printing workshop provides a solid understanding of the screen printing process, and is a great way to see first hand how a design can translate to a print on apparel. Take this workshop as a first step to starting a product line, or a way to create personalized gifts for friends and family. The all-afternoon format allows students the time they need to perfect their own design in class, using both simple tools like markers as well as Illustrator or Photoshop. Screens are pre-coated with photographic emulsion, and students will each be able to mix their own unique color of ink. Each person leaves the workshop with their own one-color design on 3-5 shirts, tote bags, or fabric of their choosing.

Letterpress Your Own Cards

Letterpress printing brings a level of sophistication to note cards, stationary, gift tags, and business cards. This introduction to this printing process from the 15th century will familiarize students with metal type and letterpress terminology. Through creating a small edition of greeting cards or business cards, each student will take a turn locking up their type and printing with our platen presses. Students will each make 20 cards with up to 3 short lines of text, choosing a typeface and paper stock to work with. The class is limited to six students so that everyone has time to run a press independently.

Best Practices 3/3: Building Relationships to Sell Your Art: Collectors, Galleries, & Artist Representatives

Perhaps you have just completed a new body of work. You have just updated your website. You have set up an email list with friends and family, or initiated which ever social media tools are best for your artwork. The next step is to make personal connections with people who will support your art. What are best practices for reaching out to a gallery? Can you directly contact curators? What are the pros can cons of working with an Artist Representative? What does an Artist Representative even do? How can you prepare for an amazing studio visit? Are there strategies artists can employ to turn followers or fans into collectors? How can artists develop relationships with art buyers? What do you do once someone does buy your art?

Both curators and art administrators, Alison Glenn, Gallery Director at Monique Meloche, and Jessica Cochran, Independent Curator and Collection Manager, bring diverse experiences working in a broad spectrum of situations to Spudnik Press. Through an open conversation with each other and attendees, Allison and Jessica will shed light on how artists can confidently build relationships with collectors, galleries, curators, and others who can help their work be noticed.

 

 

Allison M. Glenn is a curator, writer and arts professional. Her curatorial experience includes an appointment at the University of Chicago’s Arts Incubator (2013), project-based research and writing support for Now Dig This! Art and Black Los Angeles 1960-1980, and a 2010 Curatorial Fellowship at the Hyde Park Art Center. She has contributed to various publications including the Prospect.3: Notes for Now New Orleans Biennial exhibition catalog, Art21 and the Studio Museum in Harlem’s Fore exhibition catalog. She is currently the Director of Monique Meloche Gallery.

Named a “curator to watch” by Chicago Magazine in 2013, Jessica Cochran has curated exhibitions for the Contemporary Arts Council, School of the Art Institute of Chicago, Around the Coyote Gallery, What it Is and the Wicker Park/Bucktown Chamber of Commerce.  She coordinated exhibitions and public programs for the Poetry Foundation, Art Chicago, NEXT and the Artist Project. She was recently the Curator of Exhibitions and Programs at the Center for Book and Paper Art, and is now a Curatorial and Collection Manager for a private contemporary art collection.

 

The Best Practices Series is presented as a partnership between Spudnik Press Cooperative and Chicago Printers GuildFee members of either organization, the cost is reduced to $12. If you are a member of Spudnik or the CPG, but did not receive a coupon code through email, please contact angee@spudnikpress.org.

Monoprinting Expolorations: A Weekend Intensive

This Special Topics Weekend Intensive Meets Saturday 10/18 and Sunday 10/19 from 10-5pm. Students should bring a packed lunch.  

Monoprinting is an incredibly immediate, playful, and multi-faceted type of printmaking. Through learning and practicing a variety of inking and printing techniques, students will establish an understanding of the properties of ink, paper, pressure, and how they interact to create a broad range of aesthetic possibilities. Students will conquer a variety of stencil-making approaches, additive and reductive ways to develop an image, and ink-mixing. This weekend workshop will be team-taught by artists Josh Dihle and Lauren Anderson. Dihle teaches painting at the School of the Art Institute of Chicago. Anderson is the Print Technician at Ox-Bow School of Art. Together, they bring both technical expertise and a deep appreciation for playfulness and exploration in art making. This weekend intensive workshop will provide students the opportunity for an equally rigorous, engaging, and fun session.

Lauren Anderson lives and works in Chicago, IL. She was born in Virginia, on the same day as Bette Midler, and Richard Pryor, and then she earned a BFA from the School of the Art Institute of Chicago. She has exhibited at ADDS DONNA, Adult Contemporary, CCS Bard, Golden Age, Megamall, and Roots and Culture, and you can find her publications in the collection of the Museum of Modern Art Library, at Printed Matter, Ooga Booga, and elsewhere. During the Summer months she does extensive damage control as the Print Technician at Ox-Bow School of Art.

Josh Dihle  is a painter, printmaker, and sculptor working in Chicago. Dihle teaches at the School of the Art Institute of Chicago, where he earned his MFA in Painting and Drawing in 2012. He has exhibited at Autumn Space in Chicago, Champion in Austin, Texas, and most recently at Dutton in New York. Active in Chicago’s art dialogues, Dihle has curated several group exhibitions of emerging Chicago artists and, while earning his master’s degree, developed a novel system for exhibiting student work to wider audiences.

Printmaking Survey: Screenprinting, Relief, Lithography (Fall 2014)

Experiment with three unique printmaking processes in one class. Screenprinting, relief, and lithography offer three distinct ways to translate images to a new medium. With each process inducing its own aesthetic, this class offers abundant opportunities for artists and creative people to learn a new process to elevate their sketches and designs. Through this class, students will understand ink properties of both oil- and water-based inks, and will have experimented with a variety mark-making approaches and tools. In combination, these processes can open new possibilities for artists, writers, and folks who want to learn a new way to make art. Printmaking Survey classescan act as either a general introduction to everything Spudnik has to offer, or a refresher course for artists who have previous experience. This class can be taken independently or in conjunction with Printmaking Survey: Monoprinting, Etching, Letterpress.