Photo CollagraphWorkshop with Beth Grabowski
July 23-27, 2018
Beth Grabowski, Beth Grabowski is an artist, educator author. She is co-author, with Bill Fick, of Printmaking, A Complete Guide to Materials and Processes, which is in its second printing. Her work has been represented widely in national and international venues, including the National Museum of Women in the Arts in Washington DC, the North Carolina Museum of Art, Art Helix in Brooklyn, NY, Racine Art Museum, and the Câmara Municipal de Alijo, Portugal. She has held several artist residencies including at Proyecto Ace in Buenos Aires, Argentina, the Sanbao Ceramics Institute in Jingdezhen, China and the Frans Masereel Centrum in Kasterlee, Belgium. Beth is a three-time recipient of support from the North Carolina Arts Council (two Artist Fellowships and a Project Grant.) Beth is Professor of Art at the University of North Carolina-Chapel Hill where she has taught printmaking and book arts since 1985. Since 1987 she has been involved with SGC International, the largest professional organization for print artists, educators, collectors and enthusiasts, serving as its president of from 2012-2014.
Photo Collagraph, Photo collagraph is a process that utilizes light-sensitive screen-printing emulsion (but no screens) to establish an image on a plate. Plates coated with photo emulsion are exposed to positive imagery. When washed out, the image exists as physical recesses in the plate. The process can stop there or can continue with additional collagraph plate-development work of any sort.
As with other collagraph approaches, the base plate material can contribute a textural component to the image. Smoother support materials print with an “open bite” look, while a base texture will be visible in open areas and, to a lesser degree, in the surface under the emulsion. Functionally, the surface must be able to bond with the emulsion. For this reason, wood or composite boards tend to work best. Minimal but sufficient thickness provides stability for the water-based emulsion and the absorbent quality aids the adhesion of the emulsion.
Plate substates can be any of a number of materials including: Lauan, masonite, sealed board from mat board, chipboard and pretty much anything that the screen emulsion can adhere to and can take the pressure of printing. A digital transparency is often used to give the plate it’s print matrix, but drawing and painting materials with enough opacity and UV blockage will work, too.
The creative potential of this process makes exploring new territory in your work unavoidable.
- Monday morning begins with students arriving at the studio between 9:30-10 AM.
- Daily instruction is 10 AM to 4 PM with the studio open to students between 9:30 AM and 7 PM. Exception is Friday when the workshop ends at 4 PM.
- Bring a lunch everyday except Tuesday when we go out Dutch for a late lunch
- Thursday night we host a dinner in our courtyard. Companion welcome.