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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!
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.
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.
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 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.”
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.
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.
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.
This two day workshop of tri-color gum printing was a huge success, each and every student that attended left with beautiful images. Thank you to Diana Bloomfield for teaching this amazing process! To learn more about upcoming workshops make sure to check out our Events tab.