WORKSHOP: Two-Tone Texture Method (with Judith Rosenberg)

DATES: Saturday-Sunday, 12-13 August 2017
TIMES: 10am-4pm both days
COST: $225 + $25 material cost
Spots are limited, so buy your booking now!

In this workshop, participants will take the process of non-toxic etching a step further. Having created a linear image, the participants can use the block-out method to create a two-tone effect from their plates. This involves using the bitumen resist to cover selected areas of the plate and allowing the copper sulphate to work on the exposed areas.

The aluminium plate size available for these activities will be 15cm x 15cm for creating images on fine art printing papers that measure 20cm x 20cm.
Participants are encouraged to supply their own ideas, drawings, or images that could be useful for their intended prints, and rubber gloves. These items will be available for purchase on the day from the ArtWorld Studio Gallery Shop.

In compliance with Workshop Health & Safety regulations, all participants must bring their own aprons and wear closed-in shoes.
Tea and coffee will be provided.

Workshop Booking: Introduction to Etching Techniques 13&14 May (IET-14-05-17)

A$300.00
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ABOUT THE WORKSHOP TUTOR
Judith Rosenberg has a B.A. in Fine Arts from Leeds College of Art (UK) majoring in painting with printing as an elective. In 1989, she started printmaking at Studio One, Canberra, and found that etching was the medium closest to her daily drawing practice and to her heart. She has since made printmaking her main arts practice. Since 1989, she has had over 20 solo print exhibitions and participated in many more. Over the last decade she has facilitated 10 print (etching) workshops. These were mainly through regional galleries in Queensland, which have produced many interesting works and been a lot of fun.
Students will learn about the following:
Day 1:
  • Brief introduction about studio procedure and the steps of the printing process
  • Using the plates prepared with bitumen resist, participants inscribe their image onto the plate with the tool supplied for inscribing
  • The drawn images are then bitten - this is done through the immersion of the plate into a copper sulphate and salt solution dissolved in warm water
  • Removal of the resist and cleaning of plate
  • The inking-up process
  • Tarlatan netting being used to remove excess ink from the plate - the amount of ink remaining creates the image unique to each individual
  • Starting printing the first plate.
Day 2:
  • Using the bitumen resist, blocking out selected areas of the linear image of the bitten plate
  • Placing the treated plate in the copper sulphate and salt mixture - the copper sulphate solution will work on the exposed areas
  • Once bitten, this will produce a soft, darker background texture and the blocked out area will remain light - thus, a two-tone effect is created
  • Printing up the new images
    • It is anticipated that each participant creates 2 or 3 different images
    • Over the weekend, from the plates, each person could make 10 prints or more
  • The clean-up
  • Conclusion and discussion about the works produced and the processes to achieve them.