We are piloting several new courses at Double Elephant Print Workshop over the next couple of months. Some of these are not your usual printmaking course and I will probably need the help from as many people as possible to help get the word out there so that they can get seen by people potentially interested in taking part.
These might be one off opportunities – or might get repeated if there is sufficient interest. With that in mind, if you spot something you would have been interested in, but they timing is not right for you – do let me know.
AND while we are trying out new things, why not give Double Elephant Print Workshop the heads up of the type of printmaking courses you would be interested in taking part.
One day and two day workshop coming up in May, June and July include:
Create your own Cine Collé; Practical Colour Mixing for Printmakers; Alternatives to Etching; Full Colour Multiblock Intaglio; Kitchen Lithography; Wet Ink on Wet Ink; and Printmaking for the Terrified!
We are also piloting some half day workshops in August – but more about that later.
For a full list of workshop currently available see Double Elephant courses on their website
Here’s some details about the first of the particular workshops that I’m responsible for:-
Thursday 23rd May, 10am – 4pm
One day masterclass for practising printmakers. Chine Collé is a great way to add colour with the addition of fine coloured papers without making another block. Delicate tissue papers are used to attach to sturdier printmaking paper as the plate goes through the press. This workshop explores ways of adding colours, textures and imagery to fine paper to use in your own practice.
For those unfamiliar with the ways that Chine Collé is used in printmaking, I have given some insights on my Facebook page with 21 photographs by different artists as well as myself to illustrate this.
Traditionally chine collé was used as a way of printing onto fine lightweight papers bonded onto a firmer support. The tissue was usually cut to the size of the printing plate giving a smooth uniformity of colour and texture to the printed image – like these 4 examples on MoMA’s website.
But over the years contemporary artists have become more experimental with additions of chine collé. I particularly like the way that Mark Lunning has used overlapping geometric shapes in his work and I believe that Betty Woodman would colours up her chine colle elements herself rather than rely on found colours.
It is this playfulness that I would like to encourage in the one day Create Your Own Chine Collé workshop Thursday 23rd May at Double Elephant
I have experimented with a variety of ways of using chine collé in my work and feel like I’m only at the beginings of the possibilities. Here’s some photos showing some of the ways I’ve used chine collé and I would very much like it if you could share some photos of how you use chine collé too.