Print Techniques: Drypoint on Palight and Relief on Lino
While studying print technology and techniques can tell us much about past practices, sometimes the best way to learn about an embodied craft is to get your hands dirty (or in this case, inky). Under the direction of expert printer Theadora Ballantyne-Way, this workshop will give you the chance to do exactly that.
Using a range of materials, this workshop will introduce participants to a number of intaglio and relief techniques used to make original prints. We will then use miniature printing presses to make small prints, which participants can take home with them. By the end of the session, participants will have a better understanding of the craft involved in hand-making original prints and be able to produce their own printed miniatures and small edition.
This workshop is one in a two-part series and will focus on several print processes allowing you to gain access to the endless possibilities of the printed mark including monotypes using found materials, drypoint on perspex and palight and relief on lino. Participants are welcome to sign up for one or both workshops - register for the other workshop.
The workshop will take place in-person at the Senate House MakerSpace. Please come in clothes you don't mind getting messy in.
Meet the instructor:
Theadora Ballantyne-Way is a printer at Thumbprint Editions, London, and is the founder and director of Atelier21, a contemporary art and print studio in Bristol, where she specialises in traditional photographic printmaking processes including polymer photogravure. Since studying at Byam Shaw St Martins, University of Reading and University of West of England, her work has been widely exhibited including at the International Original Print Exhibition and the Royal Academy.
Theadora takes every day harmless objects and fuses them into romanticised suburban landscapes in the great tradition of surrealist art. In much of her practice, mundane utensils become monumental industrial components; a transformation that elevates them into objects of aesthetic consideration and bizarre emblems of middle-class terror. Her enlargement of these objects is as much a critique of consumer habits as they are a celebration of the surreal – a playful conceit on the rich history of the English pastoral. Probing at our sense of perception, her use of the textures and antiquated processes of traditional printmaking produces a false sense of legitimacy; one that is at odds with most contemporary image production.
All welcomeThis event is free to attend, but booking is required.
This page was last updated on 3 July 2024