Ink and Interference: Monotype and Monoprint

Workshop with Catherine Kernan

Ink and Interference: The artful way of printmaking, Catherine Kernan

July 27-31, 2020

Limited to 8 – 6 spots left

Taking advantage of new technology, this workshop will introduce the use of computer-controlled machinery to cut blocks from your image. These blocks will be used to learn the vast range of creative printing approaches that Catherine uses in her own work. Other blocks may be cut, by hand or machine, as needed and to learn the processes. Maker’s shops have spread across the country. You will come to understand how to use them for your creative work while saving you great amounts of time. Each participant will send a digital file in advance so the first blocks will be cut and ready to use on the first day. Pre-workshop consultation with Catherine about your images will be offered.

Using the pre-cut blocks, we will learn how to modify them by hand as needed, and how to ink and print them in a wide variety of ways, but almost never straight up directly from the block. Some of the approaches are: off-setting to plastic or wood with either ink or resist for viscosity rolling; lifting ink with the wood block using tissue or a texture layer; printing face to face with two blocks; and double layering with resist for complicated viscosity layers. An integral part of the learning curve will be modifying and mixing of Akua Intaglio soy-based inks to learn how they behave and what unique things they can do that are not possible with linseed oil-based traditional inks.

Even if you are technophobic, a beginner, or have never considered wood as a comtemporary printmaking medium you will find what you need in this course. Catherine’s students become grateful printmakers to this wonderful and knowledagble teacher.

Catherine Kernan is a painter and printmaker. She is co-founder and partner of Mixit Print Studio and is represented by Soprafina Gallery in Boston and Jason McCoy Gallery in New York. She has taught workshops at Anderson Ranch, Art New England, Peregrine Press, Ballinglen Arts Foundation, Oklahoma Arts Institute, Center for Contemporary Printmaking, and MakingArtSafely. Her course teaching includes the School of the Museum of Fine Arts Boston, Wellesley College, the Rhode Island School of Design, Massachusetts College of Art and Design, and Pine Manor College. Residencies include the Ballinglen Arts Foundation, Ireland; Anderson Ranch; MacDowell Colony; and the Virginia Center for the Creative Arts. Her work is in the collections of, among others, the Boston Museum of Fine Arts, Cleveland Museum of Art, Boston Public Library, Grunewald Collection, New York Public Library, Detroit Institute of Art, and the Harvard Art Museums. http://www.catherinekernan.com/

 

What’s Included

Too much stuff to list! We will have everything Catherine requested.

Of course ink and paper are also included.

MakingArtSafely is a well stocked and tooled studio.

What to Bring

Bring a spirit of investigation and curiosity. A willingness to be surprised is essential.   Bring blocks you have already cut, or bring some wood for cutting. This should be ¼” Shina wood available from McClain’s Printmaking, but Baltic birch ¼” plywood, or whatever you have will do. If you can get the carving started or completed ahead of time, you will have a jumpstart on the workshop. A set of three blocks would be best for maximum effect. They do not have to register exact images to each other but should be the same size blocks and of the same “vocabulary”.

If you plan to cut blocks in the workshop, come with some simple design ideas.  For purposes of learning, a smallish size might be best, perhaps 12” square, or thereabouts, but if you are confident, choose a larger size that will be a bleed print on 22 x 30 paper. Shaped blocks are another option.

Woodcut tools (several u gouges of different sizes) sharpening stone and a strop – quality make a difference.

Brushes and drawing implements for mark making.

carbon paper or transfer paper tissue paper

I took much of Catherine’s list of what to bring and made that our responsibility to have onhand. Even with that I could not get carving tools (TSA issue) covered in a proper way. If checking luggage is too expensive or cumbersome for you by all means please ship your TSA-less-friendly things to us in advance. Allow 7 business days for assured delivery by Monday of the workshop. Shipping is really a great way to travel light in the age of short plane changes which always seem to be on another concourse from the one you arrive.

That’s it! Any questions about supplies, please feel free to contact us.

Workshop Itinerary

  • 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.