Tag Archives: handmade

Photogravure 2-Day Workshop with Karen Hymer

We are hoping the Covid situation will allow safe travel to Art Intersection and workshop participation. If our optimism proves wrong, we will refund 100% of the workshop fee.

In this two-day workshop students will learn the art of photopolymer gravure printing. Using light-sensitive steel-backed Solarplates, participants will create 4″ x 5″ and 6″ x 8″ gravure etching prints from their photographs. This environmentally friendly process translates photographic detail into ink on paper with unparalleled beauty.

No prior experience with printmaking is required. All necessary aspects of printmaking will be discussed including choosing inks, papers, and wiping material. Wiping and inking techniques will be covered. Be prepared to marvel at the way your photograph is transformed through ink on paper.

The making of digital positives will be discussed, but for the workshop itself, you will send color or black and white image files (300 dpi at 10” on the long side) to be made into a digital positive prior to the workshop. An email with details will be provided once you are registered. Please submit a WORKSHOP SIGN UP FORM located below so we are able to contact you!

Here is a brief outline of the process that will be presented in this workshop:

  • Starting with your digital photograph, a 5 x 7 transparency positive will be made
  • The positive is then laid on top of the light sensitive polymer plate and exposed to UV light
  • Washing the plate in water etches the image onto the plate
  • Once hardened, the plate is hand inked using water-soluble intaglio inks
  • The inked plate is then run through an etching press onto dampened paper
KHymer_Remnants 202

Remnants #202, Karen Hymer

About Karen Hymer
Karen Hymer
is an artist and educator based out of Silver City, New Mexico. For the past seven years she has ventured into the world of printmaking – exploring imagery in the form of photopolymer gravures. Her current work explores the effects of time on the human body and various plant life. Hymer’s richly detailed photogravures emphasize the interplay of texture, pattern, light and shadow in muted earth tones. The decontextualized close-ups of the body and decaying plants reveal a poetic beauty in these often over-looked subjects.

Watch The Beauty of Ink on Paper: Photopolymer Gravure printing from Karen Hymer to get a preview of Karen’s process!

KHymer_Inking Plate 1

Photo by CL Burns

KHymer_Pulling a print off the press

Photo by CL Burns

Workshop Sign Up Form

Please complete this workshop sign up form before payment! This helps us stay in contact with you as well as update you with any information you may need before the workshop.

Transferred and Embedded Imagery with Encaustic, with Sherrie Posternak

We are hoping the Covid situation will allow safe travel to Art Intersection and workshop participation. If our optimism proves wrong, we will refund 100% of the workshop fee.

Join us for an exciting workshop at Art Intersection and learn the techniques of transferred and embedded imagery with encaustic, with Sherrie Posternak.

In this 2-day workshop with Sherrie Posternak, you will play with your photo transfers on sample boards, using seven different types of printed surfaces, three methods of transferring, and six different ways of “sealing in” your transfers.

You will also spend time learning how to correctly do a “dammed” pour which prepares for the transfer. You will then transfer other materials besides photo imagery, such as oil pastels, metallic foil, and charcoal pencils, onto both smooth and textured, clear and colored surfaces. 

Next, using the students’ and instructor’s imagery printed on sumi paper, habotai silk, Japanese tissue, and commercial napkins, you will embed images into wooden panel bases which have received an “overpour” of encaustic medium. Students will learn the overpour technique as well as the adherence and “setting” techniques necessary to form a strong bond between the encaustic medium and the printed materials. Multiple overlaying embeds will create visual dimension, and the top layer may even receive a transfer.

The Process

The medium of encaustic -beeswax plus resin (sometimes with added pigment)- marries well with many other materials and techniques. One characteristic of encaustic medium lends itself well to receiving transferred or embedded images. These techniques enhance the ability of the artist to represent ideas using layering, perspective, and graphics. Sherrie Posternak uses transferred and embedded images extensively in her work, and has advanced experimentation with a large variety of materials and methods.

In addition to working on sample boards for transferring and embedding, participants will have the opportunity to combine their skills and sensibility in at least one finished piece.


Sherrie Posternak – Artist Biography

Sherrie Posternak began her encaustic practice in 2007, and has had solo and group shows in the U.S. and Mexico. She has also curated or juried various gallery exhibits. She teaches workshops in all phases of the encaustic practice. She self-published a catalogue on the topic of her 2010 art installation “A Memorial for El Tomate.” Her thoughts appear in various magazine articles and blog interviews. Images of Sherrie’s art are in the gallery section of the E-book “Contemporary Paper and Encaustic” by Catherine Nash, and Volume I of Linda Robertson’s revised E-book “Embracing Encaustic.”

Workshop Sign Up Form

Please complete this workshop sign up form before payment! This helps us stay in contact with you as well as update you with any information you may need before the workshop.

Tri-Color Gum Printing with Diana H. Bloomfield

We are hoping the Covid situation will allow safe travel to Art Intersection and workshop participation. If our optimism proves wrong, we will refund 100% of the workshop fee.

In this intensive two-day workshop, we will learn how to print in the 19th century photographic process of gum bichromate. Using color separation negatives, we’ll learn how to make multilayered, tri-color gum bichromate prints on watercolor paper.

After mixing an emulsion of watercolor pigment, potassium dichromate, and gum arabic, this mixture is brushed on watercolor paper, dried, and by placing a negative on top it is exposed to UV light.

We then ‘develop’ the prints in plain tap water. Layers are built by repeated coatings and careful registration of negatives until a full, rich image is achieved.

We will also explore one-coat, monochrome prints, made using black and white negatives.

No prior experience with this type of printing is necessary, so join us for two days of fun and experimentation with this interpretive, intuitive, and infinitely creative photographic printing process. Once you experience the joy of gum printing, you will never be the same!

The making of digital negatives will be shown, but for the workshop itself, please send four color image files (300 dpi at 10” on the long side), and one black and white image file if you would like, at least one week prior to the workshop. Please complete the WORKSHOP SIGN UP FORM attached below before payment!

Learn more about Diana on her website Diana H. Bloomfield.

BK Skaggs, Shari Trennert, and Maylee Noah rinse their prints while others hang to dry. These prints show the first pass with the cyan layer.

Tri-color Gum Workshop-2622_800px

Finished prints by Maylee Noah showing one-color, two-color, and tri-color prints.

Workshop Sign Up Form

Please complete this workshop sign up form before payment! This helps us stay in contact with you as well as update you with any information you may need before the workshop.

Call for Work – Light Sensitive

Submission Deadline Extended to January 23

Art Intersection presents Light Sensitive, our ninth-annual, international juried exhibition of images created using traditional darkroom and historical and alternative photographic processes and methods. In the current trend of imagery presented on computer screens and the overwhelming volume of digitally printed pictures, Light Sensitive reaffirms and promotes the art of handcrafted prints that uniquely belong to the tradition of light sensitive creative processes.

As our juror this year we are honored to have Christopher James, University Professor and Director of the MFA program in Photography and Integrated Media at Lesley University, Cambridge, Massachusetts.

Awards for Light Sensitive 

First place $350
Second palce $250
Third place $150
Three honorable mentions

Art Intersection will pay return postage for individuals receiving one of the above awards and honorable mentions.

Acceptable Processes

Process  include, but are not limited, to the following: silver gelatin prints, albumen, anthotype, argyrotype, athenatype, Bayard direct positive, calotype, carbon, casein, chrysotype, cyanotype, dusting-on process, gum bichromate, gumoil, Herschel’s breath printing, photopolymer gravure, Ivorytype, kallitype, mordançage, platinum/palladium, printing-out-paper, solarplate intaglio, van dyke brown, wet plate collodion, whey process, Ziatype, combinations of any of these processes, and all photographically based image-making techniques that incorporate traditional studio-based mediums such as printmaking, ceramics, or painting. 

Both 2-dimensional and 3-dimensional work may be submitted.

Conventional, unmodified digital inkjet prints are not acceptable for entry; however, the use of digital negatives, created for printing any of the above processes is acceptable.


Important 2019 Dates

  • January 23 – Submit online with JPEG files and paid fee by midnight MT (GMT-7)
  • January 30 – You will receive an email notification of selected Work
  • February 27 – Due Date for selected Work to be received and ready to install at Art Intersection
  • March 9 – Light Sensitive seven-week exhibition opens for viewing
  • March 16 Light Sensitive Reception from 5 – 7pm, please join us!
  • April 27 Light Sensitive closes at 6pm
  • April 25 – Local Work pick-up
  • May 2 – Return shipping of Work will begin
  • May 23 – Last Date to pick up or arrange shipment, after this date Work is considered abandoned

About the Juror

Christopher James is an internationally known artist and photographer whose photographs, paintings, and alternative process printmaking have been exhibited in galleries and museums in this country and abroad. His work has been published and shown extensively, including exhibitions in the Museum of Modern Art, Metropolitan Museum of Art, George Eastman House, Philadelphia Museum of Art and the Institute of Contemporary Art-Boston. Represented by the Lee Witkin Gallery in New York City for over two decades he has also shown at Pace-McGill (NYC), Contrasts Gallery (London), Michelle Chomette (Paris), Hartje Gallery (Berlin), and Photokina (Germany). He has published extensively including Aperture, Camera (Switzerland), American Photographer, Solstice (for short fiction), and Interview magazine and in books such as The Antiquarian Avant Garde, á Prova de Aguà: Waterproof, Human Documents, and Handcrafted: The Art and Practice of the Handmade Print (China).

All three editions of his book, The Book of Alternative Photographic Processes, have received international critical acclaim and are universally recognized by artists, curators, historians, and educators as the definitive text in the genre of alternative process photography and photographically integrated media. A significantly expanded 900 page / 700 image, 3rd edition was published in 2015.

Christopher, after 13 years at Harvard University, is presently University Professor and Director of the MFA in Photography and Integrated Media program at Lesley University College of Art and Design in Cambridge, MA. He received his undergraduate degree from Massachusetts College of Art and his masters from the Rhode Island School of Design. He is also a painter, graphic designer, author, and a professional scuba diver. Christopher offers individually customized alternative process workshops and portfolio consultations in his Dublin, NH studio. Christopher’s web site is www.christopherjames-studio.com

 


 

You can view images from Light Sensitive 2018 by clicking here.

Palladium over Digital Pigment

Michael Puff presents a printing process combining a Cyan-Magenta-Yellow digital print on watercolor paper with the beautiful, warm tones of palladium for the Black layer. This wonderful process connects today’s digital, color imagery with the unique properties of the nineteenth-century palladium darkroom process.

In this workshop you will print using your color digital images, create and print color separations and digital negatives, and coat, expose, and develop the palladium over layer. You will print the CMY (cyan-yellow-magenta) portion of your images onto a watercolor paper, and then finish the Black layer using palladium in the darkroom with a K (black) separated digital negative.

By the end of the workshop you will have created several prints using this beautiful process.


All images by Michael T. Puff

 

 

 

 

 

 

 

Light Sensitive Opening Reception

Thanks to everyone who joined us for the Opening Reception of Light Sensitive 2018! We loved seeing so many friendly faces, both familiar and fresh. Thanks for helping us celebrate this beautiful exhibition!

Luigi Luccarelli with his work

Peter Friedrichsen with his cyanotypes on birch ply

Amanda Scheutzow with one of her sculptural tintype pieces

Kayla Bedey with her gum bichromate over cyanotype prints

Rebecca Lynn Fuller with her work

Tags: , , , , ,
Posted in Event Recaps | Comments Off on Light Sensitive Opening Reception

Call for Work – Light Sensitive

Submissions for Light Sensitive 2018 are now closed. For more exhibition opportunities, please visit our Calls for Work page.

Art Intersection presents Light Sensitive, an annual juried exhibition of images created using traditional and alternative photographic processes. Past work has included analog c-prints, platinum/palladium, cyanotype, gelatin silver, gum bichromate, wet plate collodion tintypes and ambrotypes, chemigrams, and other printing processes. Both 2-dimensional and 3-dimensional work may be submitted.

Art Intersection staff will select up to three artists from Light Sensitive to show additional work during the (re)View exhibition in 2018.

Important 2018 Dates

  • January 16 – Application with JPEG files and paid fee must be completed by midnight
  • January 23 – You will receive an email notification of selected Work
  • February 20 – Due Date for selected Work to be received and ready to install at Art Intersection
  • March 10 Light Sensitive Reception from 5 – 7pm, please join us!
  • April 21 Light Sensitive closes at 6pm
  • April 26 – Local Work pick-up
  • May 3 – Return shipping of Work will begin
  • May 24 – Last Date to pick up or arrange shipment, after this date Work is considered abandoned

About the Juror

scott b. davis is an artist and founder of the Medium Festival of Photography. His photographs are created with wooden view cameras ranging in size from 8” x 10” to 16” x 20”. His photographs explore the Sonoran desert and ordinary urban spaces in the American landscape. davis’s photographic prints are made by hand using the exquisite 19th century process of platinum printing.

His work has been reviewed in the New York Times, the Village Voice, the New Yorker, Los Angeles Times, and other print media. davis’s photographs have been collected by the J. Paul Getty Museum, Pier 24 in San Francisco, the Nelson Atkins Museum of Art, the Santa Barbara Museum of Art, Museum of Photographic Arts, and others.


Step One: Submission Guidelines

 

Step Two: Exhibition Terms and Conditions

 

Step Three: Submission Form

 

Step Four: Pay in the Blue Box Above

 

You can view images from Light Sensitive 2017 by clicking here.

Photogravure Open Studio

Get back in the studio and practice your skills! If you have taken a Photogravure workshop at Art Intersection or are proficient in the process, you are invited to participate in an Open Studio day dedicated to photopolymer gravure. Please note, this is not a workshop; while you are encouraged to share knowledge with your studio mates, there will be no formal instruction. 

If you are not familiar with the photopolymer gravure process, learn it the day before in our workshop with Karen Hymer! Find out more and register here.

Materials Pricing
The $40 registration fee includes your access to our lab and equipment during the Open Studio. You are welcome to bring all your own materials and pay no additional fee. However, Art Intersection will have 4×5″ SolarPlates available for $8 each, paper and ink available for $5/print, and digital negatives for $5 each – this is a great option for those just starting out with photogravure, or those that don’t want to invest in their own materials yet. These additional items will be accounted for at the end of the day. 

Working Group
In addition to the open lab, the day will start at 9am with a Photogravure Working Group meeting. This is an opportunity to meet other photogravure printers, reconnect with friends from workshops, and share some work you’ve done already. This meeting will last no longer than an hour, but may be briefer depending on the discussion. Art Intersection hosts Working Group meetings and Open Studios on a recurring basis.

 

Refund Policy

 

Printing Out Paper Workshop

Printing out Paper, or PoP, makes an image by exposing a negative and paper to light without any chemical development. With a printing-out process, you can watch your image come to life during your exposure, rather than having to wait until it is processed! Used originally as a simplified field process without the need of a darkroom, today we use this handmade emulsion to create artful images with subtle and warm tonality.

This workshop begins on Friday night with a lecture and demo, where instructor Siegfried Rempel will discuss the history of collodio-chloride printing and demonstrate two different printing-out methods. Following on Saturday is a day of coating and printing your own hand fabricated, collodio-chloride printing out paper.

The day after the workshop, return to the lab to further refine your mastery of this process! We are hosting a PoP Open Studio on Sunday, March 26 from 9am – 3pm. More information here.

About Collodio-Chloride
The use of Collodion in photography for the production of photographic prints an be found as early as the 1850s, and is most commonly used in the Wet Plate Collodion process to produce tintypes and ambrotypes. The concept of an “emulsion” of silver salts in a collodion binder was introduced by Gaudin in 1853 and by 1861 he was actively producing the “Photogene” collodion emulsion.

The collodio-chloride print has a similar physical appearance to its gelatin counterparts and it can be difficult to tell them apart. In fact, modern gelatin silver darkroom papers evolved from this early printing method! Today, we still practice the collodio-chloride process because of the rich and beautiful tonality it imparts on our images.

 

Refund Policy

 

Call for Work – Light Sensitive

Art Intersection presents Light Sensitive, an annual juried exhibition of images created using traditional and alternative photographic processes. Past work has included analog c-prints, platinum/palladium, cyanotype, gelatin silver, gum bichromate, wet plate collodion tintypes and ambrotypes, chemigrams, and other printing processes. Both 2-dimensional and 3-dimensional work may be submitted.

The Art Intersection curatorial staff will select three artists from Light Sensitive to show additional work during the (re)View exhibition in November 2017.

Click here: Light Sensitive 2017 to view the PDF Light Sensitive 2017 Submission Guidelines

Important 2017 Dates

  • January 23 (deadline extended): Application and JPEG submissions due
  • January 31: Notification of selected work
  • February 25: Selected work due at Art Intersection
  • March 4: Opening reception Saturday 6 – 8pm
  • April 15: Exhibition closes Saturday at 6pm

About the Juror

Ann M. Jastrab is currently the gallery director at RayKo Photo Center located in the SOMA arts district in San Francisco near SFMOMA and the Yerba Buena Arts Center. RayKo is a comprehensive photographic facility with rental darkrooms, digital labs, studio and galleries that has been serving the San Francisco Bay Area for over 20 years. RayKo Gallery serves to advance public appreciation of photography and create opportunities for regional, national and international artists to create and present their work. RayKo Gallery offers over 1600 square feet of exhibition space and presents eight to ten exhibitions yearly with many nationally recognized artists; there is also a section of the gallery called The Marketplace that is reserved for Bay Area artists and displays a wide variety of photographic work. RayKo also has a thriving artist-in-residence program.

Besides being a curator, Ann Jastrab, with an MFA degree, is a fine art photographer, master printer, and teacher as well. Ann has curated many exhibitions for RayKo as well as juried exhibitions for the San Francisco Arts Commission, the Academy of Art in San Francisco, Artspan, SFAI, the Center for Fine Art Photography, and other national and international venues outside of San Francisco. She has reviewed portfolios at the Seoul International Photography Festival in Korea, FotoFest, Photolucida, GuatePhoto, Review Santa Fe, Review LA, PhotoAlliance (Our World), SPE, Medium, Palm Springs Photo Festival, Filter, Lishui International Photography Festival in China, and Click646 as well as being a juror for Critical Mass. She has also been teaching courses at the Maine Media Workshops (formerly the Maine Photographic Workshops) in Rockport, Maine since 1994.

Ann is always looking for new artists for the gallery, both for solo shows and group shows. She is most interested in seeing documentary projects, fine art photography, alternative processes/historical process work, and also work made with traditional film cameras as well as plastic and pinhole cameras. Ann is not interested in seeing work that is obviously digitally manipulated. Ann can offer exhibition opportunities as well as resident artist possibilities.

Application to Light Sensitive 2017 is now closed.

 

You can view images from Light Sensitive 2016 by clicking here.