Tag Archives: workshop

Hand-Coloring Photographs with Kate Breakey

Hand-coloring is as old as photography itself. In the 19th century, color tinting was applied to early black-and-white prints to make them more closely resemble reality; it was the advent of color films in the 1950s that took photographic hand-coloring techniques into the realm of interpretive artistic expression. Applying color has become a way for photographers to alter their images so that they become something other, something that can be more compelling and absolutely unique.

This four-day workshop introduces you to the many materials and techniques of hand-coloring, inspiring you to experiment with your own creative process.  You start with a digitally output print and then apply a variety of oil paints, pigments, pencils, and inks or pastels in combination, to extend the photographic image and produce the effects you want. The possibilities are limited only by your imagination.

Photography is a magical process and the ‘hands on’ aspect of applying pigment is not only fun, it is meditation on the joy of ‘making’ something that comes from somewhere within.  

Lunch and materials are included in the registration fee for this workshop.


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.

About Kate
Kate Breakey is internationally known for her large-scale, richly hand-colored photographs including her acclaimed series of luminous portraits of birds, flowers and animals in an ongoing series called Small Deaths published in 2001 by University of Texas Press with a foreword by noted art critic, A. D. Coleman. Since 1980 her work has appeared in more than 100 one-person exhibitions and in over 50 group exhibitions in the US, France, Japan, Australia, China, and New Zealand.

Her work is held in many public institutions including the Center for Creative Photography in Tucson, the Museum of Photographic Arts in San Diego, the Museum of Fine Arts in Houston, the Wittliff Collections at Texas State University in San Marcos, the Austin Museum of Art, the Australian National Gallery in Canberra and the Osaka Museum in Osaka, Japan. Her third book, Painted Light, published by the University of Texas in 2010, is a career retrospective that encompasses a quarter century of prolific image making.

Kate Breakey

Her collection of photograms, entitled Las Sombras / The shadows was published by University of Texas Press in October 2012.   This series is a continuation of her lifetime investigation of the natural world which in her own words is ‘brimming with fantastic mysterious beautiful things.’

A native of South Australia, Kate moved to Austin, Texas in 1988. She completed a Master of Fine Art degree at the University of Texas in 1991 where she also taught photography in the Department of Art and Art History until 1997. In 1999, she moved to Tucson, Arizona. In 2004 she received the Photographer of the Year award from the Houston Center for Photography. She now regularly teaches at the Santa Fe Photographic workshops, and The Italy ‘Spirit into Matter’ workshops.

Her landscape images – selected from a life-time of photographing all over the world – were published by Etherton Gallery in a Catalogue entitled  Slow Light.  She also works with gold-leaf to produce a modern day versions of an archaic photographic process called an Orotone.

Kate Breakey

 

Kate Breakey

 

Refund Policy

Photogravure 2-Day Workshop with Karen Hymer

This workshop is full. Please email or call if you wish to be placed on a wait list.

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:

  • A transparency positive will be made from your photograph
  • The positive is then placed 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 have a full class of students.
Please call or email to be placed on a wait-list.
480.361.1118 – info@artintersection.com

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, gum over cyanotype, 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.

Thank you to our sponsor Hahnemühle.

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.

Photogravure Workshop with Karen Hymer

This past weekend at Art Intersection we held a 2 day photogravure printing workshop with Karen Hymer. We had a talented group of students, some with experience in this process and others with none at all. Thank you to Karen Hymer for teaching this workshop!

Over the course of 2 days the students learned each step in the photogravure process which included exposing their positive under UV light onto a photopolymer plate. After the plate was exposed and the imaged was etched in, they coated with ink and learned different processes for wiping and removing the ink.

Karen Hymer explained that using the correct wiping techniques creates great contrast and highlights in the final print. Using your photograph as a guide, you can determine which areas need strong shadows and which parts you want more highlight.

Next, our 1870s etching press was used to stamp the plate onto wet paper creating a beautiful one of a kind print embossed into the beautiful art paper.

Students explored different mixtures of ink which created different colors, changing the outcome of contrast and highlight, as well as different types of paper.

We have new workshops at Art Intersection nearly every month, don’t miss out on the opportunity to learn a new unique process! Our next workshop is Tri-Color Gum Printing with Diana Bloomfield!

Tags: , , , , ,
Posted in Event Recaps, News | Comments Off on Photogravure Workshop with Karen Hymer

Encaustic Workshop with Sherrie Posternak

Thank you to everyone who joined us for this exciting 2-day Transferred and Embedded Imagery with Encaustic workshop with Sherrie Posternak. We had a talented group of students, who were eager and excited to learn this unique process. Thank you to Sherrie Posternak for teaching this workshop!

First, students were taught how to transfer their photos onto boards, using seven different types of printed surfaces, three methods of transferring, and six different ways of “sealing in” their transfers.

They also spend time learning how to correctly do a “dammed” pour which prepares for the transfer. 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.

We have new workshops at Art Intersection nearly every month, don’t miss out on the opportunity to learn a new unique process! Our next workshop is Tri-Color Gum Printing with Diana Bloomfield

Tags: , , , ,
Posted in Event Recaps | Comments Off on Encaustic Workshop with Sherrie Posternak

Transferred and Embedded Imagery with Encaustic, with Sherrie Posternak

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. 

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.

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 over pour 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.

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.”

Platinum Palladium Workshop with Ryuijie

Thank you to everyone who joined us on February 1st for a one-day Platinum Palladium Workshop with Ryuijie!

We had a talented and eager to learn group of students who created beautiful prints. In just one day, students were taught this 19th century process and took home at least 2 or 3 prints of their images.

We have new workshops at Art Intersection nearly every month, don’t miss out on the opportunity to learn a new unique process! Our next workshop is Tri-Color Gum Printing with Diana Bloomfield!

Tags: , , , ,
Posted in Event Recaps, News | Comments Off on Platinum Palladium Workshop with Ryuijie

Platinum/Palladium Workshop with Ryuijie

This workshop is now full, contact us at info@artintersection.com to be put on a waiting list.

The platinum/palladium process is one of the most beautiful and archival processes, and in this workshop, you will create platinum/palladium prints from your images. Ryuijie will teach a one-day workshop about this luminous 19th century process in the Art Intersection Photographic Arts Lab and the participants will take home two to three prints of their images.

As a participant, you will send digital files of black and white images to us and we will create a digital negative adjusted for Ryuijie’s process. You will hand-coat fine art paper with the light-sensitive solution and expose the sanitized paper through your digital negative using one of our UV light sources. After processing the exposed paper, you will have your photograph on a platinum/palladium print.

RyuijiePortrait 500px

P2-145-11 Dunes Oceano

P2-145, Ryuijie

RYUI-009

P2-52, Ryuijie

Emulsion Lift Workshop with Ernesto Esquer

Join us at Art Intersection and get reacquainted with Polaroid film by learning the emulsion lift technique! In this one-day workshop, Ernesto Esquer will guide you through the entire emulsion lift process.

You will start with a freshly exposed Polaroid made using pictures from your smart phone, slicing it open before it fully dries, peeling it apart carefully from the negative, and then submerging the positive in boiling water. This releases the exceptionally delicate material from the acetate, which we will then manipulate to a shape or form of your desire onto an array of substrates.

No prior experience with instant film is needed and all levels of photography are welcomed.

You will also learn:

  • What film materials are currently available to buy
  • How to get a usable exposure
  • Properly cutting and peeling apart the film
  • What different types of paper to use as well as other surfaces
  • Advanced techniques that will spur experimentation and creativity!

Please join us for this fun and in-depth emulsion lift workshop!

Artist Bio – Ernesto Esquer

Ernesto Esquer is a photographic artist and printer from Tucson, Arizona. He actively works in all aspects of traditional darkroom photography and various alternative processes including cyanotype and lumen prints. He has extensive experience working with instant film including materials made by Polaroid, Fujifilm, and Impossible Project (now Polaroid Originals) and teaches instant film manipulations. He often combines processes or materials in attempt to transform a photograph into a precious object. 

He received his BFA in Photography from the University of Arizona and is currently the Laboratory Specialist of Photography at Pima Community College. His first book In No Time, featuring a collection of hand colored or toned gelatin silver prints, was released by Dark Spring Press in 2017. He is represented by the Ryan Gallery at Art Intersection in Gilbert, Arizona and Peter Fetterman Gallery in Santa Monica, California.