inks, resists, gold leaf, wax resist, stained glass

BANISH THOSE WINTER BLUES

Exploring Drawing using Oil Pastels, Inks and Experimental Media

Tutor: Adrienne Craddock

Saturday 29th February 10am-4pm £62

Materials included 

Discover the beauty of drawing with oil pastels, inks and mixed media inspired by stained glass imagery and medieval illustrations. Alternatively you might choose to work with your own theme.

Adrienne will introduce you to all sorts of exciting alternative media to further explore drawing. Depict both the real and the imagined using playful and uninhibited drawing skills. Explore the use of colourful and dynamic wax resist surfaces. If you happen to have some inks, gold leaf, gouache, metallic waxes or similar hiding in your art box do bring them along. There will also be plenty of inks, paints, and waxes in the studio for you to use.

Adrienne will bring inspirational picures and items to work from, however do feel free to bring your own source material if you wish. The class is also an opportunity to develop your own sketchbook work.

Both experienced artists and beginners are welcome.

Medieval Motifs 

 

 

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squirrel, linocut

LINOCUT - SINGLE BLOCK

It sounds simple, and it is! Treat yourself to a day learning how to make your own linocut prints

Tutor: Jill Barneby

Saturday 7th March 10am-4pm £62

All materials included

This linocut day is really helpful to those who either have no experience of this medium at all or perhaps have done a little and need a refresher course. Linocut images are enjoying a huge rise in popularity. See the styles of art works by some of the St Judes group of printmakers who use linocut as part of their practice. Favourites of mine are Jane Walker, Angie Lewin, Mark Hearld, Paul Catherall who are all quite different in their approach.

We will examine the use of form and movement as seen in the lively print of the squirrel by Mark Hearld. Learn some of the artist's tricks which go toward making your image fizz with energy. It is not necessarily the perfectly cut lino which has the most wow factor. 

Do bring images to work from such as photographs, drawings or greetings cards as a starting point. We will begin by discussing what kind of image might make a successful linoprint. 

Although it is suggested that you work with a single image on one block, once this is cut, Jill will show you how to add further colour and interest to your work. 

Squirrel: Mark Hearld 

 

 

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charcoal, graphite,

REVEAL THE MAGIC, CHARCOAL DRAWING

Charcoal Drawing. Loosen your inhibitions, banish the 'drawing fear'.

Tutor: Adrienne Craddock

Saturday 14th March 10am-4pm £62

Materials included

Get rid of the white paper, put that charcoal all over it and begin revealng with a rubber.

Enjoy this technique in creating lively marks to make expressive and atmospheric images. Explore the journey by adding gestural uninhibited drawn lines and tonal areas.

Adrienne suggests working on large-scale A2 paper, using a variety of dry media. Larger dramatic work keeps you away from too much fussy detail!

Adrienne will bring landscape, flora and fauna imagery to inspire you, but do bring your own selection of images or work by drawing from the beautiful landscape around the print studio if you prefer.

Charcoal is a versatile, tactile and surprising medium. As a natural material every stick is different; it just slides gracefully over the paper to give rich dark marks. Work into the rich dark grey with your rubber to make highlights to reveal your image. 

Eve Sewing: Adrienne Craddock 

 

 

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etching, edition, saline, Outward Bound,

SALINE ETCHING

Saline Etching on Aluminium

A safer, less toxic way to Etch

Tutor: Jill Barneby

Saturday 25st and Sunday 26th April 10am-4pm on both days

£120 for the weekend, all materials are provided.

This is a great course for newcomers or returners to etching. Using aluminium and a saline solution you will learn the principles of etching. Learn all of the basics for preparing the etching plates, applying a waxed ground, drawing the image through the wax to enable you to etch the line. Adding tone and retaining light areas with an aquatint process will also be covered.

Over the two days you will be able to make one or two etching plates and print an edition of your images. Jill will show you how to use different colours on the same plate as well as adding rolled-over colour to your image. 

Bring source material - sketches, photographs etc. It will be helpful to you if these are in black and white. Simple greyscale images will help you to identify the lights and darks when working on tonal areas of your etching plate. Keep images to under A5 please. Pictures can be any aspect, the matter of size is to enable two or three students to have etching plates in the mordant at the same time.

If you are making a landscape or using text in your image please bring a mirror version of the image if you are able to do so.

Image: Outward Bound, Jill Barneby

 

 

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collagraph, intaglio, printmaking, print, texture

TEXTURAL COLLAGRAPH PRINTS

Make interesting textural prints

Tutor: Jill Barneby

Saturday 28th March 10am-4pm £62

All materials included

First make your print matrix by making areas of different textures and marks.

Beginners: Yes, you can do this! We will stick to using simple textures and techniques. Pieces of mountcard are used as a base, add texture to this, add something shiny to make light areas or maybe remove some of the surface for dark areas. Mark making ideas include using some pre-patterned items, try borrowed texture from wallpaper, make marks with roulette wheels, knitting needles, etching points as well as trying various tools from the garage. Flat head screwdrivers, nail punches, small hammers, sandpaper are all possible 'drawing' tools for your collagraph plates.

More experienced collagraph printmakers: add new textures to your lines, make very dark as well as really light contrasting areas, try out those roulette wheels, pop in some collage. Good results can appear from layering different media. Raid the kitchen drawer and shed for small tools to use for alternative mark makers.

We can be experimental. Collagraph printing is one of THE most versatile printmaking methods. There are literally hundreds of ways to make interesting marks to hold the luscious inks.

Do bring scraps of textured fabrics, papers, wrapping nets - they just need to be flat and will get covered in ink. If you've just had a 'Kondo moment' there will also be some mixed materials to work with in the studio.  

Earth and Water: Jill Barneby

 

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