Collagraphy and Monoprint: Experimental Print Combinations

Collagraphy and Monoprint:
Experimental Print Combinations
With Catarina Coelho

5 days:
June 12th, 13th & 14th (Friday, Saturday & Sunday)
June 20th & 21st (Saturday & Sunday)

10 AM - 4 PM
6 participants maximum
Cost: $640 + $40 materials fee

This two-part workshop explores the expanded language of printmaking through both collagraph and monoprint processes, guiding participants through an exploratory approach to image-making.
In the first part of the workshop (3 sessions), participants are introduced to carborundum collagraph plate-making techniques, and experiment with richly textured plates using a variety of materials and tools. Emphasis is placed on the expressive potential of surface and materiality, alongside foundational collagraph printing methods.
The second part of the workshop (2 sessions) focuses on monoprint, where participants engage with the practice of layering as a way to slow down and examine each visual decision. By building images in stages, participants develop a deeper understanding of visual language—mark making, value, texture, form, and composition—while exploring additive and
reductive methods, texture offset, masks and stencils, color interaction, and overlays. Drawing and hand-coloring are encouraged as extensions of the print, offering additional opportunities to enrich and expand each piece.

This two-part workshop explores the expanded language of printmaking through both collagraph and monoprint processes, guiding participants through an exploratory approach to image-making.
In the first part of the workshop (3 sessions), participants are introduced to carborundum collagraph plate-making techniques, and experiment with richly textured plates using a variety of materials and tools. Emphasis is placed on the expressive potential of surface and materiality, alongside foundational collagraph printing methods.
The second part of the workshop (2 sessions) focuses on monoprint, where participants engage with the practice of layering as a way to slow down and examine each visual decision. By building images in stages, participants develop a deeper understanding of visual language—mark making, value, texture, form, and composition—while exploring additive and reductive methods, texture offset, masks and stencils, color interaction, and overlays. Drawing and hand-coloring are encouraged as extensions of the print, offering additional opportunities to enrich and expand each piece.

Participants will be asked to bring:

•One or more images/drawings that could be used as references for creating a printed image. The size of printing plates and paper are 22 x 30 inches, which means that images/drawings will be scaled to this size.

•We will use plexiglas/lexan and mat board for plate substrates.
Images/drawings can be traditional, digital, or photographs, all black and white or monochromatic. It is important that these visual references show broad value and texture - a range of five distinctive values or textures.

•Assorted inexpensive hard bristle brushes

•X-acto knife and a pair of scissors

•Paper:
Eastern: Mulberry, Kozo, Kita-kata. A few sheets of choice
Western: Arnhem printmaking paper 22”x 30”, Rives BFK lightweight 115/175 grams, 26" x 40”, Stonehenge paper, other heavyweight Rives BFK, or printmaking paper of similar kind - 5 or more sheets

•A few drawing materials and paper for sketching, note taking and planning

•Optional: organic and found stencils, specialty textured papers

What will be provided to participants:
• Mat-board and thin lexan for plates
• Small containers for mixing gel and carborundum
• Acrylic medium gel and gesso
• PVA glue
• Carborundum
• Inks: etching and relief
• Yupo paper for stencils.
• Misc tools for creating textures and plate making
• Sharpies and other assorted drawing materials
• Print examples and assorted materials for demonstration
• Rags for wiping plates

Born in Lisbon, Portugal, Catarina Coelho is a mixed-media artist whose drawings and printmaking work explore the subject of landscape as a testimonial site of the human interaction with a territory. Cartographic spaces, borders, and the problem of the division of the page recur in her work as forms that seek to point out broader historical narratives. Recent collective exhibitions include: Childs Gallery, Boston; Washington Art Association, CT; Danforth Art Museum, MA; Second International Print Biennale, Yerevan; Venice International Art Fair, Palazzo Ca’ Zanardi, Venice, Italy; European Contemporary Print Triennial, Toulouse, France. Her work is in several collections including the collection of the Museum of Fine Arts of Boston.

This class is limited to 6 attendees. Free parking is provided.

Class is located at:
Shepherd & Maudsleigh Studio
27 Dunstan Street, West Newton, MA
[email protected]