Posts Categorized: Tuesday

Screenprinting Explorations (January)

Most people are fans of screenprinting whether they know it or not. Screenprinting is an art form known for its bold graphics and versatility. A close cousin of stenciling, screenprinting is relatively easy to learn, yet has many facets to explore and master. Our eight-week class provides adequate time for new printers to complete a range of projects on paper and fabric, gradually increasing in complexity and nuance. With the ongoing support of a pro to help trouble-shoot along the way, students will be familiar with dark room exposure, mesh count, screen tension, ink consistency, and registration.

In addition to developing A+ printing skills, this class will help students develop their imagery, be it hand-drawn illustration or digital files, to successfully translate to print. By the end of the class, students will know their way around the print shop, and be well equipped to continue printing independently at Spudnik Press Cooperative.

Relief Printmaking (January)

Relief printmaking is a graphic and versatile type of printmaking that dates as far back as 500 BC. An image is carved in reverse onto a block, which is then inked and sent through a press. The tools are basic but the possibilities are expansive.

Relief Printmaking empowers students (both first-time printmakers and experienced printmakers) to plan, carve, and print relief blocks. After looking at lots of examples, both historical and contemporary, students will begin their relief printing adventure with a playful low-pressure “Speedy-Cut” block. Throughout the class, students will move on to carving both linoleum and wood with a variety of carving techniques that exploit line, shape, contrast, and texture.

On the press, students will learn how to mix ink, handle paper, register multiple colors, and finesse pressure to produce a set of prints that utilizes the skills built throughout the class. Graduates are welcome to continue printings independently at Spudnik Press through our Open Studio program.

Basic carving tools are available to use during class, but we strongly encourage students to acquire their own set to use outside of class. Nicolette recommends Blick’s Student Wood Chisel Set as well as Flexcut SlipStrop to keep them sharp.

Artwork Documentation Workshop: Copy Stands, Batch Edits & Color Correcting (Jan)

As a visual artist, the importance of high-quality art documentation cannot be over stated. To help empower our community have the best slides possible, Spudnik Press has added a professional camera, copy stand, and light kit to our shared resources available through Open Studio!

Not sure how to use these fancy tools? This workshop will bring you up to speed on how to use a DSLR camera (or your phone), copy stand, and Adobe Lightroom to efficiently and effectively document your own work.

We’ve invited Adam Schachner, professional photographer, and Latitude’s Lab Director, to educate artists on the ins and outs of how to document their own work, be it flat or dimensional.

Students will learn how to use the copy stand coupled with a digital camera “tethered” directly to a computer with Adobe Lightroom. In Lightoom, you will learn how images can be batch edited to adjust for color balancing, warping, sharpness, and more. Typical and simple Adobe Photoshop techniques for doing more local image adjustments will also be shared.

The hands on workshop will review simple hardware and software trouble-shooting as well as how the copy stand’s continuous lights can be used for documenting books and zines.

Participants will work collaboratively to take high-quality digital photographs of their own artwork. Each student should bring about five artworks, and expect to leave with 1-2 edited images ready to be published online or included in a grant or residency proposal.

Risography 101 (February 5)

The Risograph is an automated duplicator from Japan that efficiently produces offset-like prints in a variety of saturated colors. Though not originally intended for artistic application, the machine has recently gained traction (and notoriety) in small-press culture for its distinct footprint and efficiently as well as being rather finicky.

This workshop will walk students through the fundamentals of risograph printing for making books and fine art prints, and familiarize students with techniques to best reproduce their imagery. Students will become acquainted with the mechanics of the printer and learn basic maintenance, including how to change the master roll and a drum’s ink tube. Lastly, students will learn how to best design for the risograph, taking into consideration ink drying time, ink density, paper options, registration, and patience. Everyone will leave with a three-color collaborative print produced throughout the workshop.

While students gain authorization to continue making risograph prints at Spudnik Press Cooperative, attendees are encouraged to round out their riso know-how by taking a Risography 102 workshop and/or returning to use Open Studio shortly after taking the workshop.

Risography 102: Bring Your Own Files (February)

Risography 102 reinforces the skills introduced in Riso 101. Each student will bring their own project to set-up and print during the workshop.

Best practices for imposition or layout for zines and publications will be reviewed as well as tips for color separation and digital file set-up. Smart file set up is step #1 to ensure smooth and efficient printing!

Then, through creating a small run of prints during the workshop, students will get a refresher on how to make masters from digital files, how to troubleshoot paper jams and other typical print errors, and how to replenish ink and masters. Lastly, students will have the opportunity to use our guillotines to trim their prints.

This workshop is limited to just four students to ensure that everyone can print their own imagery and log time operating the machine independently. Students who take this workshop will be well suited to print and use guillotines unsupervised during Open Studio.

Students should come ready with a 2-3 color project–either a single-sided print to be completed in the workshop or a longer project to be finished during open studio. While PDF files are great, students are welcome to bring anything from text typed in Microsoft Word to photocopies.

Screenprinting on Textiles (March)

Knowing how to print on fabric opens up a slew of opportunities. Designing custom apparel, making gifts, stocking an Etsy store, making unique yardage for sewing projects, and manufacturing your own kickstarter rewards are just the tip of the iceberg when it comes to potential fabric printing projects!

Screenprinting uses a stencil to transfer ink onto a flat surface. The process is approachable and fun to learn. Students will create prints from both hand drawn and digital images. Through weekly demonstrations, students will learn about ink mixing, color and pattern relationships, repeat patterns and printing with multiple colors. This class is well suited for first-time screenprinters as well as printers who have only printed on paper. Student will some experience will add to their repertoire a better understanding of how different fibers and weaves affect printing, and how screen coating, exposure and wash out, printing, and ink mixing is adapted with textile printing.

Graduates of Screenprinting on Textiles are encouraged to continue printing at Spudnik Press through our Open Studio or Keyholder Program.

Printmaking Foundations (April)

For anyone who wants to be creative through printmaking, our foundations class introduces first time printers to the wide variety of printmaking processes, equipment, and resources at Spudnik Press Cooperative. Students will experiment with three unique types of printmaking throughout the six weeks. With each printing process inducing its own aesthetic, this class offers abundant opportunities to elevate sketches and designs through print and to understand the basic concepts that bridge the many types of printmaking at our studio.

Screenprinting is a form of stencil making that is used to print fine art as well as posters, cards, t-shirts, and more. A relief print is made by carving an image into wood or linoleum with gauges, inking the surface, and transferring the image onto paper. Etching, also known as Intaglio [in-tal-yoh], is a family of printing techniques in which an image is incised into a metal plate. Artist can directly scratch into plates with needles, or they can draw through a ground and etch the image into a plate using a chemical.

Together, these processes range from experimental to exacting, bold to subdued, and unpredictable to calculated and can open new possibilities for artists, writers, and anyone who wants to learn a new way to make art. Printmaking Foundations can act as either a general introduction to everything Spudnik has to offer, or a refresher course for artists who have previous experience.