We specialize in five print processes
Throughout the year I offer an almost continual rolling programme of back to back blocks of studio time
Thursdays for three artists working in Screenprinting at £39 a day
Fridays for four artists working with Solar Plate Etching, Carborundum Etching, Drypoint and Monotype processes at £37 a day
I also run one day Solar Plate Inductions usually on a Sunday (3 free plates, inks, paper and lunch) for £65, Weekend Screenprint Sessions at £135, and occasional Carborundum Etching Introductions at £150
If you join my mailing list on my home page I will keep you up to date on workshop opportunities, competitions and exhibitions.
Summer Schools 2017
Solar Plate Etching/Carborundum Etching/Drypoint/Monotype £250
These two weeks offer the opportunity of sustained practice for artists at any level in a professional workshop within a friendly and supportive environment. Both weeks include free lunches in our sunny yard plus the odd glass of chilled wine to unwind.
To book or for further information contact Ian Brown at: firstname.lastname@example.org
The prints illustrated below give an idea of the breadth of work executed in the workshop
Notes on the prints
Andy Gammon, Untitled. This is a technically complex photographic print. The main image is a tone separated four colour separation with a matt silver screened under the helmet and gold foil fixed within the visor space. Additional images include a three colour separation of the astronaut. Two other images complete the collage, one with a hand spattered background.
Janet Sang, Cross-border Flow. Created using layers in photoshop and then mostly broken down using threshold, Janet continues to expand her dystopian vision of the state of the world.
Frank Dolphin, Untitled. This image was created by painting onto Mark Resist with Indian Ink and using cut black paper shapes for flat colour. The soft greys in the bottom left section were printed with three screens made with differing exposures from the same painted positive. Overprinted spatters and cut shapes were overlaid using more open meshed screens to deposit strong colour over the range of tones and black. A fluorescent pink was added just to spice things up.
Teri Walsh, Skopelos 2, A well executed print that combines a simple tone separation using threshold and some indian ink wash painted positives rendering the lights and their reflections. Bridges the relationship between figuration and abstraction with confidence.
Lisa Joffe, Screen Ink dripped and squeegied across the screen with a single flat colour to finish. This is a monoprint and therefore unique.
Solar Plate Etching, Carborundum Etching, Drypoint, Monotype (Fridays)
Notes on the Prints
Solar Plate (Photopolymer) Etching
Brenda Anderson, Untitled, Solar Plate Etching inked up in two colours.
Bryony Rimmington-Jones, Untitled, Solar Plate Etching from an Indian Ink painting/drawing on Mark Resist, inked up in black and then overpainted with etching ink before printing.This might be described as one of a Variable Edition (where the drawn and painted matrix is constant but there will be variations in the hand painted additional colour).
Pam Aldridge, Rhino. Solar Plate Etching from an ink drawing on Mark Resist. Delightfully idiosyncratic drawing combines line with tone playing to the strengths of this medium.
Pat Thornton, Untitled, Photographic Solar Plate Etching from a drawing on Mark Resist with added Chine Colle.
Jill Vigus, Untitled. Images of Spanish dolls sourced from the internet, added colour, drypoint and haphazardly cut plates create a delightfully ambiguous image.
Pam Aldridge, Untitled. Drypoint on plastic with separate plates to emboss wings.
Debbie Broadhurst, Untitled. A single colour one plate monotype. This is a deceptively simple print packed with a range of subtle mark making techniques that explore space and form in the landscape.
Sarah Marziaoli, Untitled, Monotype with Chine Colle. One of a series of prints using notes left by the artists mother to explore a shared interior life.
Jo Okell, Untitled. This print has been made by rolling up blended colour on acetate sheets and then masking out areas with newsprint before printing. Some of this has been printed wet on wet. The prints have been dried and redamped for further overprints.
Spencer Power, Untitled. This is a three plate monotype, printed wet on wet with more than one colour worked into the separate plates.
Krysia Drury. Monotype created from three separate plates, each rolled up with flat colour and worked on subtractively, magenta, cyan and yellow, then printed wet on wet. The first print usually creates a very intense print while the ghost (illustrated) is printed from the residue of inks immediately after the first impression.