Rhoda Rosenberg

The Nitty Gritty of Carborundum Intaglio

Rhoda Rosenberg (lead) & Max Colby (assisting)

Thursday March 21st, 1-2:25pm
UW-M  Fine Arts Building (ART) Room 345

This workshop demonstrates the making and printing of carborundum intaglio plates using a variety of methods, including different grits of carborundum mixed with liquid gel medium, modeling paste, and other adhesives. See how to build surfaces and add texture using tools and different materials. The printing demonstration also covers the mixing of inks, additives, wiping methods,chine collé, overprinting with different colors and the addition of drypoint. Many plates and prints are ready to view as examples, demonstrating the possibilities this medium offers.


Peter and Sayre_1

Image Printing on the Vandercook Press: Printing and Coloring Secrets Revealed

Peter Kruty

Thurs, 1-2:25 pm & 2:35 – 4:00 pm
UW-M  Fine Arts Building (ART) Room 336

Based on the production of Lesley Dill’s ground breaking artist’s book I Had a Blueprint of History, in this demonstration workshop, master printer Peter Kruty will reenact several of the simple yet beguiling techniques he and his colleague Sayre Gaydos used to create Lesley’s distinctive and magical imagery. Some of the topics covered will include: scanning of wash drawings for photopolymer plates, creating differing ink ‘personalities’ when mixing and printing, applying water-based and polyurethane paper staining, achieving dense letterpress printing on ‘dry’ abaca and cotton paper, surprinting on printed tints, ink smearing and everyone’s favorite, archival collage. Not just for the printer/practitioner, this demonstration workshop should appeal to all who in their love of ink on paper find new perhaps deeper mysteries once the mysteries are revealed.


moku_hanga

Moku hanga: Japanese wood block printing

Martin Vinaver

Thurs, 1-2:25 pm & 2:35 – 4:00 pm
UW-M  Fine Arts Building (ART) Room 179

As an ancient technique developed in the Orient, moku hanga pooled from nature’s gifts, using earth as pigments,rice paste as its fixative, bamboo for tools, plants for making printing paper and the ingenuity of the artist to put it all together. It is now widely known through it’s Ukiyo-E images by masters such as Utamaro and Hiroshige. Martin Vinaver, from Mexico’s graphic arts center La Ceiba Gráfica, demonstrates the technique and talks about its availability to the western artist and art students.


Chika ItoPastemaking for Printmakers: Silkscreen Printing

Chika Ito

Thurs, 1-2:25 pm & 2:35-4:00 pm
UW-M  Fine Arts Building (ART) Room 390

Chika Ito demonstrates pastemaking with different kinds of starch (wheat, rice, etc) and materials (colourrants from plants, etc). Paste can be used as a base for ink and can be combined with many other printmaking techniques. Using paste in printmaking and other art, especially on paper, is a Japanese tradition. It is sustainable and is very stable over time. Pastemaking is low-cost and low-technique, and using paste is low-impact to the environment and less harmful to printmakers. Ito has been printing silkscreen with paste-based ink for the past five years.


Kim Gatesman

A Homemade Printmaker
Kim Gatesman

Thurs, 1-2:25 pm & 2:35-4:00 pm
UW-M  Fine Arts Building (ART) Room 403

 

This demonstration teaches how to build a small, safe and sufficient print studio through a collection of homemade tools and repurposed industrial methods. Gatesman illustrates how the creativity used in the studio can be employed to build and improve the studio itself. This demo looks at how to to use the maker mindset as the inspiration behind the creative problemsolving needed to build a studio from scratch. This also promotes the idea that limiteded circumstances (studio space, safety concerns, etc.), do not need to be restricted in the pursuit of goals. The demonstration includes a variety of tools and tricks developed for a small, home-based printmaking studio. The materials and procedures are non-toxic, and include an electrolytic etching system and a homemade etching press, among other things. The entire demonstration setup will fit into two custom-built shipping crates – further illustrating how concise your studio can be.


Kim Gatesman

A Painterly Approach to Intaglio
Ed Bernstein, Keegan Adams (assisting)

Thurs, 2:35-4:00 pm
UW-M  Fine Arts Building (ART) Room 345

 

White ground etching offers an immediate, non-toxic way to create intaglio prints that can combine line, wash, tone, texture and transferred imagery from other surfaces in one process. Artists can work additively or subtractively with a variety of creative tools to produce subtly rich prints. White ground is a semi-permeable, water-based ground that breaks down when it is applied progressively thinner (as a wash) on the plate or totally resists biting when opaque. Because the ground is made with soap, images can immediately be removed with water. The technique allows one to go back and add or subtract more white ground once dry. Finally, because the ground is white, one is not working with reverse values as with traditional hard grounds.


UWM Digital Craft Research LabUWM Digital Craft Research Lab

Frankie Flood and Jay Fox

Thursday, 7:00-9:00 pm
UW-M PSOA, Kenilworth Square East (KSE) Room 368

SGC Handout

3-D printing, laser cutting and other CNC technologies are becoming more accessible for the production of art, and the Digital Craft Research Lab of UW-Milwaukee invites you to explore the possibilities of digital fabrication. The goal of the Digital Craft Research Lab is to foster innovative, creative research in the areas of design, craft and art by combining advanced digital technology with traditional craft practices in an effort to educate students for the future. The DCRL fosters interdisciplinary design research, material research and innovation through making. As printmakers and artists, we look forward to contributing new ideas and innovations to our current practice as we share information with other makers. The lab features the work of designers and printmakers who have adapted the potentials of this technology to their practice. We invite you to share in our experiences through demonstrations and examples that will be shown in the lab.


The Unique Print: Monotyping Wisconsin Style Fresh Hot Press

The Unique Print: Monotyping Wisconsin Style Fresh Hot Press
(Club President: Galen Gibson-Cornell, Officers: Greg Luckeroth & Maren Munoz)

Friday, 1:00-2:25pm
MIAD Room 345

Using a variety of different matrices, transfer techniques and registration methods, this demonstration embraces printmaking’s creative side. Fresh Hot Press, the University of Wisconsin-Madison’s printmaking club, presents a demo focusing on monotype processes. Club President Galen Gibson-Cornell, and officers Maren Munoz and Greg Luckeroth will be leading the charge, and audience members are encouraged to participate in the making. This demo starts with a litho stone, a photoplate and a sheet of plexiglass. A multi-run image will be created using each matrix, exploring creative inking strategies, innovative registration methods and alternative printing methods. Participants will play with colors and ink modifiers and found objects. The demo encourages thinking outside of the traditional norms of printing, taking risks and discovering a new look on making.


Kate Conlon

Century Plate Lithography
Kate Conlon

Friday March 22nd, 1:00-2:25pm
MIAD Room 360

 

Century Plate technology is one of the biggest breakthroughs in the teaching and practice of fine art lithography in the last fifty years. It is now possible to re-use just one inexpensive heavy gauge aluminum plate hundreds of times for hundreds of editions. Printmakers can easily register and print multiple color lithographs combining crayon drawings, reticulated toner washes, flats, halftones, digital images, found objects, even oil-based paint markers using just one Century Plate! When this capability is combined with new biodegradable solvents and materials for processing the plates, there is no need for hazardous acids, asphaltum, Red Lacquer V, or Lithotine…although all of them will work on Century Plates.


Lauren Bennett

Velvetint on Copper and Zinc
Lauren Bennett

Friday March 22nd, 2:35-4pm
MIAD Room 360

 

Velvetint not only produces rich and fine mezzotint or aquatint results, but is easier for students to master and eliminates the risks of breathing finely powdered rosin as well as toxic fumes generated from melting rosin onto plates. Simply brush coat plates with a self-leveling high resolution photo coating made with a vegetable based solvent and expose a stochastic screen onto it. Develop it in an aqueous based developer and etch it. Featured in the new studio textbook, Printmaking Revolution by Dwight Pogue (released May 2012 by Watson-Guptill)


Jeff Sippel

Mokulito – Wood Lithography
Jeffery Sippel (lead), Ewa Budka (assisting)

Friday, 2:35-4pm
MIAD Room 345

The original process of lithography, developed by Alois Senefelder, has been expanded through the use of zinc and aluminum. Traditional lithography continues to be a vital art form for artists that practice printmaking, and especially those who entertain painting and drawing. How about using wood as a printing matrix for lithography? There have been innovations with Waterless Lithography and other processes that are being researched as alternatives. Join a presentation of a relatively new printmaking process developed by Ozaku Schisi, professor from the University of Tama Bijutsu, Japan, that has realized further development in Poland. This alternative process using wood has great potential for combining processes of relief and lithography. As the future of printmaking continues to expand, we will no doubt witness this technique being incorporated into printmaking curriculums and professional studios throughout the United States.


Three Bridges

Three Bridges
Project Coordinators: Koichi Yamamoto, University of Tennessee-Knoxville; Michael Barnes, Northern Illinois University; Karla Hackenmiller, Ohio University

Friday March 22nd, 1:00-4:00pm
MIAD River Level – East Gallery

“Three Bridges” is a collaborative installation by more than 30 students and faculty from Ohio University, Northern Illinois University and the University of Tennessee-Knoxville. The concept of “Three Bridges” references the “Milwaukee Bridge War” of 1845 between early settlers of the city. By creating a printed city at 1:50 scale, the project allows the participants to create three sections of an ideal city linked by bridges. This city is an ideal place for printmakers, where advertisement for ink and press manufacturers appear on billboards and the sides of buildings.


Crown Point

Multiple-Plate Printing for Intaglio Crown Point Press
Ianne Kjorlie & Fanny Retsek

Friday, 1:00-4:00pm

MIAD Room 335


San Francisco Crown Point Press master printer Ianne Kjorlie and printer Fanny Retsek demonstrates how to create a multiple-plate etching from start to finish, featuring Robert Bechtle’s 2011 soft ground and aquatint etching, Three Houses on Pennsylvania Avenue. This is a complex six-plate print, which demands tight registration within the image. This demonstration shows how the artist built and evolved his print in the Crown Point studio, and explain the techniques used by the printers to set up a system that enabled the artist to draw the multiple-plate realist image on six plates, each plate in register with the others. Kjorlie and Retsek will then print Bechtle’s Three Houses on Pennsylvania Avenue to demonstrate Crown Point’s inking and hand-wiping techniques, and jig-based printing registration system. This method allows you to print a complex multiple-plate image with precise registration every time.


Michael SmootMake/Do: Building Your Own Low-Cost Printing Press with Easily Accessible Materials
Michael Smoot

Friday, 1:00-4:00pm
MIAD Room 325

After attending a workshop on installation art at Anderson Ranch Arts Center in the summer of 2011, Michael Smoot decided to build his own printing press using only materials he found at the local hardware store and common hand tools (drill, saw, wrenches, etc.). After two weeks of tinkering, the press was complete and had cost approximately $300 in materials. See the press in action at this demonstration, plus watch a video of how it was built and get instructions for making your own. Smoot sees sharing his plans as way to allow fellow printmakers to spread a shared appreciation of the medium, and he bases his demonstration on the innovation and collaborative spirit that is found in the opensource technology community, attributes he feels the printmaking community also shares.


Bob Erikson

Layer Upon Layer Upon Layer: Cool Paper, Hot Glass and Other Stuff
Presenters: Bob Erickson (pictured), Kristin Thielking and Keven Brunett

Friday March 22nd, 1-2:25pm & 2:35-4pm
MIAD Room 230

 

This presentation will discuss the exploration of printmaking processes used to facilitate the layering of text and imagery. Bob will illustrate his method of creating multi-layered prints using archival inkjet prints on Asian papers, traditional prints, natural dyes and mixed media supports. Kristin and Keven will discuss their investigations with fused/cast glass, and screenprinting. They will also demonstrate how their explorations are incorporated into student sculptural work and an interdisciplinary curriculum at the University of Wisconsin-Stevens Point.


 

Stacy Elko

Picnic Table Printmaking
Stacy Elko (lead), Denise Bean & James Chase

Friday March 22nd, 1-2:25pm & 2:35-4pm
MIAD Room 315

 

This demonstration presents a range of techniques on a variety of substrates that do not require a press, harmful acids or toxic solvents. Non-press transfer techniques that can be done on wood, metal, fabrics and paper, among other materials, are shown, appealing to artists with limited or no access to a press, as well as those interested in pushing the boundaries of printmaking, both technically and conceptually. These techniques can be used by themselves, or with a variety of traditional printmaking techniques.


dumboDeath Metal Press!
Eric Fuertes, John Medina, Andrew Smith and Ross Turner

Saturday, March 23rd, 10 am – 2 pm
MIAD Room 199

Dumbo Press will unleash fire and brimstone upon all that attend the 2013 SGC Conference. Forged by the devil himself, Dumbo Press, will be wielding the most sinister printing press that man has ever witnessed. Utilizing fire as an energy source, cast metal “woodblocks” and the mechanical actions of a letterpress gone mad, they will forever burn images into your mind, paper and soul.