demonstrations

Assembly of Film Strip Plots
We will be involved in a collaborative printing demonstration. Our intention is to create a number of prints (horizontal strips) that are about 41 inches long and 12 inches high through a team printing effort and studio demonstration. Conceptually, the intent of this proposal relates to the film industry. In our work each individual frame will illustrate a specific point along the way of a visual narrative that when viewed in totality, will develop the potential for a historic, evolving plot.
One overriding concept pertaining to the selection of imagery is that salient points about the history of early America will provide a point of departure. Imagery related to the past such as issues about Native Americans, transportation, important discoveries in science, and historical events of consequence will develop, overlap, and repeat throughout the film strip panels.
Various images from each of the artist’s repertoire will be introduced into the panels; these images will be repeated, moved, slid sideways, faded, and altered as the individual artworks are viewed from left to right. Thus a sense of motion will become evident in this traditionally static form of art.
Demonstrators: Kurt Wisneski, Richard Gere, and Karen Kunc

Bon a Tirer: Good to Pull
Your proofs look good, the paper is soaking and your print is ready to edition. But are you good to pull? Bon a Tirer, the French phrase in printmaking nomenclature describes an impression approved by the artist to serve as the standard for the edition. With an awareness of the sustained physical efforts required to print, this series of exercises was designed to condition the body to be more effective at work. Pursued daily using ordinary weights from the studio – 1lb ink cans, 25lb carborundum buckets, and rollers – learn to support the strains of your profession, staying fit and healthy.
Demonstrator: Joel Seah

Destination Print Blitz!
This intensive demonstration invites students and faculty from universities and high schools in KC to participate in this event. The Print Blitz is intended to revolutionize the “scope” of the workshop by encouraging students/faculty/community collaboration beyond printing editions. Here, the notion is to share ideas, techniques, aesthetics and technologies in order to develop work that re-contextualizes traditionally defined roles and techniques in an environment that connects printmaking to diverse communities. Ultimately, via print collaboration, technical exploration, critical thinking and dialogue, students and faculty alike will continue to move towards representing printmaking as a significantly democratic link between artist and society.
Demonstrators: Nancy Palmeri, Breanne Trammell, Nicole Hand, Oscar Gillespie, Dave Morrison, Benjy Davies, Jerry Pedor Phillips, and Michelle Moode

Flock N’ Roll! Glitter N’ Glam! This is Dust Bowl Printing!
Dusting and flocking refers to the adhering of colored or metallic pigments and powders, and fuzzy flocking to printed imagery by means of glue adhesives or simply sticking to freshly printed ink. The effect results in a lustrous sparkle or velvety softness sure to lure any viewer.
Flock! – Give your print warm fuzzies! A heavy layer of adhesive can be applied when squeegeed through silkscreen mesh onto almost any surface or material.
Glitter! - Make it sparkle! Pigments stick when they are gently brushed over the freshly printed ink surface of a lithograph or relief print.
Glam! - Give your print a little pizzazz! A heavy ink film acts as your adhesive when applying gold or silver leaf to a freshly pulled print.
Come and see how to add some sparkle to your art!
Demonstrators: Deborah Chaney, Heather Corley, and Sarah Shebaro
Assisted By: Micah Craven

Foam Printing: Plotting the Plate’s Path to Perdition
Builder's foam and Volara foam are readily available materials useable for making printmaking plates. Rieth will demonstrate using pink builder’s foam to make large-scale prints with shaped, stamped and reduction printed images. Plates will be cut, scored or textured, with a mixture of gesso and talc, before being printed. The Volara foam (Type "A") is a smooth surfaced, pliable, archival quality fine closed-cell polyethylene foam, with excellent chemical resistance. It can be easily cut with a scissor or knife, but Anderson burns into it with a hot drawing tool. Both foams can be printed with oil or water based ink.
Demonstrators: Mark W. Anderson and Sheri Fleck Rieth

Innovations in Non Toxic Printmaking
We embrace non/less-toxic methods in printmaking with enthusiasm, yet wonder how non/less-toxic some of these innovations really are. We propose the use of a “I can put it in my mouth” criterion for non/less toxic materials. We will demonstrate two innovations meeting this criterion: 1. the use of rosin, dissolved in a variety of potable ethanol solvents, producing a range of aquatint effects including a faux peau de crapaud effect from intaglio plates, and 2. the use of denture adhesive as a binder for chine collé.
Demonstrators: David Newman and Don Taylor
Assisted by: Tony Garbarini, Amelia Jones, and Rani Rautela

Off-the-Cuff Screenprinting
This demonstration focuses on the unique and inherent qualities of screenprint which are possible using non-repeatable inking and printing processes. Several monotyping techniques will be covered. A series of images will be printed using an open/ imageless screen, hand-cut stencils and other non-traditional mark making tools in order to create textured, layered images which push the boundaries of what is generally thought of as a screenprinted mark. All materials used are water-based and non-toxic. A discussion addressing the set up of a water-based screenprint studio in the home/ studio space will be included.
Demonstrator: Nichole Maury

On and Off Press Inkjet Transparency Transfer: Penning Plots with Printed Matter
This demonstration will show how to easily transfer digital images on to alternative surfaces, using readily available, inexpensive materials; the ink jet printer, the standard overhead inkjet transparency, a press, or gel medium. Surfaces include but are not limited to, paper or painted and raw canvas. Part of this demo will discuss and show integration with traditional etching and photo etching processes to create a color “plate” for a key image. It will also demonstrate watercolor monotype, with transparency transfer in a completely, compatible, layered combination.
Demonstrator: Margaret Craig

An Orgy of Intaglio
This will be an interactive demonstration in which artists are asked to bring their own plates, and our team will process them assembly line fashion in a variety of ways, such as la pupe, chine colle, rolling up, viscosity and hand wiping techniques. The finished prints can be compared with the artist’s proof, so everyone will have a unique chance to see how the process used to print a plate can affect the outcome, and can discuss this in a casual candid atmosphere. Our plot is to create a three-way collaboration with the artist, the conference attendees, as well as our printers, from morning to evening. Our plot is to reveal the technical secrets of everyone involved, and expose their naked processes so that everyone involved might expand their technical horizons.
Demonstrator: Chunwoo Nam

Phantom Monotype
The Phantom Monotype is a blend of drawing, relief printmaking, monotype, and painting. Using large rubber rollers, ink is blended and composed on a glass slab in varying compositions—much like a blend-roll or split-fountain— utilizing the rolling action of the roller, the placement of ink, and carefully modified inks to then transfer a thin membrane of ink to a sheet of copper. Conceptual and theoretical issues of the Phantom Monotype will be discussed, especially as regards both the implications of the action of offsetting information as well as an awareness of the over-arching theme of the relationship of the circumference of the roller to the information created, as a larger metaphor for the relationship between the imagination and physical space. In some ways you can say that my discussion is a way of relating the press or roller in printmaking to the functional value of a telescope to the astronomer-both are vehicles for resolving a type of information.
Demonstrator: Steven Wirth

Pressure Printing on the Vandercook: Plotting the Foundation of Trans-discipline Work
The foundation of a pressure print is extremely varied— yet in a linear layered sequence— its realization is concrete allowing the artist the freedom to use almost anything as a platform in which to build upon. It is this expansion of layering that serves as multiple plots or actions. This demonstration will focus on the integration of the disciplines and techniques of printmaking and book arts with those of design arts: form, structure, and content; linear design methodology; printing— both digital and letterpress; bookbinding; and the multiple. Visual examples presented will highlight a cultivated cross-discipline, synthesized body of experimental work— broadsides, prints and artists’books— which incorporate pressure printing techniques with other media such as digital prints, wood cuts, and hand papermaking. A thorough demonstration of pressure printing will be covered including instructions for creating stencils using various methods and imagery, ink modification, various printing techniques and suggestions for collaborative endeavours.
Demonstrator: Cynthia Thompson
Assisted By: David Charles Chioffi

Toner Applications in Litho
This demonstration will illustrate the different forms of toner that maybe used in traditional plate lithography processing and printing. We will discuss the chemical make-up of toner and where to obtain the best materials to use for these processes (both stick and powder from). The first plate will demonstrate the uses of toner as a dry drawing material, demonstrating its uses as a powder and in stick form, illustrating its ability to obtain subtle tonal shifts and its resemblance to charcoal drawing. Also, illustrating it extreme flexibility and forgiveness as a litho drawing material and as a general drawing material for other art applications. Test plates and materials will be made available for the viewers to try out the material. The second plate will demonstrate the uses of toner as a tusche wash. It has many advantages; controlled reticulation, non-greasy/removable, erasable, and best of all it never fills in while printing. Many of these same advantages apply to the dry demonstration as well.
The next demonstration will illustrate similar applications as in the first two plates (utilizing toner dry and wet), but the printing and processing is unique to toner lithography. The toner will serve as the printing base, creating a much simpler and less toxic method for processing and printing.
The last demonstration will illustrate the uses of toner in positive plate photolithography. We will show how to prepare positive transparencies using similar drawing methods as in the previous demonstrations. If time permits, we will also demonstrate how to use toner in waterless lithography processes and how to convert positive working photo-litho plates into waterless lithography plates.
Each demonstration will illustrate the proper uses of the material (drawing, fixing, processing, and printing) and exhibit the safety precautions needed when working with any of these materials and techniques. Detailed instructional handouts outlining step-by-step processes, supplies needed, and safety information will be provided for each demonstration performed at the conference and available online at that time. All of these demonstrations (including all provided documents) are congruent with the current toner lithographic printing methods and research of the Tamarind Institute and D’Uva Fine Artists Materials, Inc.
Demonstrators: Bill Lagatutta, Deborah Chaney, and Joseph D’Uva

Wolves in the City
My most recent prints evolve from drawings on grained glass. An image is drawn on grained glass that replicates the feel and response of drawing on a lithographic stone. The glass is laid on top of an original sketch and the outlines are traced. Then, using a variety of pencils, the drawing is filled with a range of tones. Several pieces of glass are used to create the color separations. Each piece of glass is exposed to a Solarplate; the plate is then developed, post-exposed, and hardened. The Solarplate is then ready to be printed. One of the joys of this process is that one has an editioned print as a result, but the drawings on the glass tend to be rich and textured due to their translucency.
Demonstrator: Geo Sipp