Students will be introduced to various methods used in making intaglio prints. Demonstrated techniques will include etching, drypoint, and engraving, as well as a variety of experimental approaches to plate making and printing. Discussion and critique of work will be included with equal emphasis on technique and concept.

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Students will be introduced to various methods used in making intaglio prints. Demonstrated techniques will include etching, drypoint, and engraving, as well as a variety of experimental approaches to plate making and printing. Discussion and critique of work will be included with equal emphasis on technique and concept.

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This co-taught class calls into question genre specificity and thematic orientation and instead examines the constructs and the philosophical tenets of work. Through print based projects such as monotypes, basic etching, and other basic print techniques students will call into question value structures and assumptions of work in an individual artistic practice. Focusing on the manners of work that typically define art schools and residencies as well as the research into the history of a Midwestern work ethic will be foreground. Discussions regarding labor, duties, tasks, exertion, and industry will augment physical studio projects. Based in Oxbow’s print studio, a range of printmaking methods and techniques will be available to students but they will not obligatory for participation in this class.

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Participants will explore the basic techniques of hand lithography. Both stone and metal plate lithography processes will be demonstrated. Critiques of individual projects will be included with an emphasis on technique and concept.

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Participants will explore the basic techniques of hand lithography. Both stone and metal plate lithography processes will be demonstrated. Critiques of individual projects will be included with an emphasis on technique and concept.

In this course, students will acquire technical proficiency in the various hand stencil-printing methods. Individual exploration and development in the medium will be encouraged and supported by individual instruction and group critiques.

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In this course, students will acquire technical proficiency in the various hand stencil-printing methods. Individual exploration and development in the medium will be encouraged and supported by individual instruction and group critiques.

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Students enrolled in Image and Word explore several woodcut, hand printing, typesetting and letterpress techniques. The 2012 Image and Word class will examine the application of relief printing processes within public, functional and contemporary image making contexts. This course of study will consider how the qualities of paper, image, and text most effectively shape meaning and message in posters, cards, fine press prints, broadsides, labels, and other forms of printed communication. Studio projects may include the design, printing, and dissemination of broadsides, posters, pamphlets, or anything else from the infinite universe of ephemeral printed matter.

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Students enrolled in Image and Word explore several woodcut, hand printing, typesetting and letterpress techniques. The 2012 Image and Word class will examine the application of relief printing processes within public, functional and contemporary image making contexts. This course of study will consider how the qualities of paper, image, and text most effectively shape meaning and message in posters, cards, fine press prints, broadsides, labels, and other forms of printed communication. Studio projects may include the design, printing, and dissemination of broadsides, posters, pamphlets, or anything else from the infinite universe of ephemeral printed matter.

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In this course, students will acquire technical proficiency in various hand and photographic stencil printing methods. Individual exploration and development in the medium will be encouraged and supported by individual instruction and group critiques. Emphasis will be placed on unique prints created by layering, stencil repositioning, and combining hand mark-making with photographic and found imagery. Collaboration will be encouraged.

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Using traditional and non-traditional methods of bookbinding and box structures students create several artists' book pieces. Examining many contemporary works and traditional methods, students develop skills and concepts to create new work. This course explores a variety of methods of constructing book forms offering students an array of strategies to realize his or her vision. Using traditional and non-traditional methods of bookbinding and box structures students create several artists' book pieces. Examining many contemporary works and traditional methods, students develop skills and concepts to create new work. This course explores a variety of methods of constructing book forms offering students an array of strategies to realize his or her vision. The class will also be an opportunity for students to interact with a variety of artists' books, both as inspirations for making and as invitations for critical thinking. In addition to our making and viewing, we will read from a selection of texts that address the book as an art form. As we survey important authors in the field, including Bright, Drucker and Smith, we will also become familiar with contemporary journals devoted to the artist's book, including The Blue Notebook, The Bonefolder, and JAB: Journal of Artists' Books. Students will walk away from the class with a strong foundation in the book arts, and a box full of books made with their own hands.

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Woodcut printmaking offers a broad range of expressive possibilities,
from abstract, minimal to intricately carved narrative. Combined with
collage, participants will explore the power and potential of both
media. Traditional processes such as hand drawn design and carving
will be combined with xerox transfer, stencil and chine colle.
Students will be encouraged to explore photo, found and collage
imagery. Various approaches to these processes will be shown through
slides, books and actual artwork. All processes can be done at home
and are non-toxic.

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This course will present a variety of oil and water-based monotype techniques:
including multiple plate or block printing, and over-printing. By employing
direct devices such as stenciling and shadow printing, images will be formed.
Monotype is a versatile process that can be performed in the landscape as well
as in the studio. Painters as well as printmakers will find this a dynamic new
medium that is perfect for the home studio.

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