Layered Color Woodcut/Monoprint Workshop
Instructor Name: Jim Lee
Date(s): September 17th , September 24th, October 1st
Time(s): 9:00am – 5:00pm
Location: Robert Dente Printmaking Lab
Class Cap: 8
This course will examine the bold and direct capabilities of woodcut and monotype in combination. It will take the student from preliminary sketches to the carving of blocks, using the multiple block technique together with monotype techniques. By printing multiple layers of transparent inks, images will develop with lush color relationships and luminous surfaces. We will work with carving using hand and power tools, color ink mixing, color registration and printing, and stencils. Monotype techniques will be introduced and will be combined with the carved blocks. During the workshop students first develop a key block, and transfer that image to back-up blocks, including a monotype block. These can over-print more layers, so students can explore multiple color variations. Students should plan to arrive with several simple worked out compositions, either representational or abstract.
Students do not need to have previous printmaking experience. I can adapt this to any level of experience. The intervening weeks between workshop sessions will allow students to continue cutting blocks so more time in the print-shop can be devoted to printing and experimentation.
Each student needs to obtain and bring:
One Japanese Detail Carving Tool Set - #44D1005
(set of 5 tools in plastic case) Available from Lee Valley Tools
(look under Woodworking > Carving > Hand Carving > Carving Tool Sets on
the website) at www.leevalley.com.
One 1.5mm #11 U-gouge - #44D1015 (This is a very fine tool for making tiny marks – important to have.) www.leevalley.com
Please note: The tool set listed above is a good general set at reasonable prices. They are sharp and will hold a good edge. In making a woodcut the tools are all important. Other types of woodcut tools may or may not work very well, so these tools are recommended.
If you are contemplating buying or bringing a different tool set please contact me before buying it. Old, dull tools will be hard and frustrating to use.
Optional additional tools:
Flexcut #1x7/8” (22mm) Gouge-Palm Tool (Handled) FR 705 www.flexcut.com (Very helpful for clearing away large areas.)
Flexcut Slip Strop honing kit PW12 www.flexcut.com (Good for keeping your tools sharp as you use them). This item is also available from www.leevalley.com. The print shop will have one you can use during the workshop.
Other materials to have:
Pencils, soft charcoal pencil, Sharpie markers (1 Ultra Fine and 1 regular)
Set of colored pencils (can be a inexpensive basic set)
Small pointed brush, no larger than a #3.
Small flat brush, possibly a #6 or #8, and/or a 2” flat brush (these can wait until the 2nd workshop session)
3-5 sheets of printing paper, choose from any of the following:
Rives Heavyweight white – 26x40” (recommended)
Rives BFK white or buff – 22x30”
Somerset white – 22x30”
Japanese papers, such as Sekishu – 24x39” or Moriki - 25x36”
(Smooth drawing paper pad such as Canson XL Recycled Medium Smooth Pad - 18x24” could be a less expensive alternative.)
These are good quality printmaking papers, available from Legion Paper, Jerry’s Artarama, Blick or most good art supply stores. The standard print sheet size for the workshop will be 12x15” or 13x15”. 26x40” sheets will yield four with a sizable scrap, 22x30” sheets will yield two 13x15” pieces per sheet with a sizable left-over. There will be newsprint for proofing provided.
I will have 8x10” birch plywood blocks to sell directly to you at the beginning of the workshop. I will have enough for each of you to use 3 blocks (if you need them all) - prices TBD. We will keep track of how many you use and you will pay for them on the last day of the workshop.
These are the blocks you must use for this workshop.
Jim Lee was born in Kansas and received a M.F.A. in printmaking from the University of Wisconsin-Madison in 1980. He taught printmaking, drawing and book arts at the Hartford Art School/University of Hartford, West Hartford, CT from 1982 -2020.
Landscape is at the core of his work. He often begins a series with on-site drawings and watercolors, and from these develops his color reduction woodcut prints. Recent work has been based on the west coast of Ireland, Maine and Maritime Canada.
A selection of Jim Lee’s recent exhibitions include:
Solo: University of Alaska, Anchorage, AK-2019; Bromer Gallery, Boston, MA-2019; University of Wisconsin-Madison, WI-2019; Five Points Gallery, Torrington, CT-2014; Group: Atlanta Print Biennial International Juried Exhibition, Atlanta, GA-2017; The Boston Printmakers International Biennial-2017; Imprint One, National Invitational Print Exhibition, Austin, TX-2016; Stand Out Prints, International Juried Print Exhibition, Minneapolis, MN, 2016; Yinchuan Conversation: Chinese & American Printmakers, Yinchuan Art Center, Ningxia, China-2016; IPCNY New Prints/Summer Show, NY- 2014.
His collections include: The Metropolitan Museum of Art, The National Portrait Gallery, The Getty Art Center, The Wadsworth Athenaeum, The Art Institute of Chicago, The Museum of Fine Arts-Boston, The Guangdong Museum of Fine Arts-Chongqing, China, The New York Public Library, University of San Francisco, and Bibliotheca Liborium Artificem, Sydney, Australia.
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