Judy Watson: Drawing on the Stone, Lithographic Workshop

Judy Watson

Judy Watson: Drawing on the Stone

Lithographic Workshop


This workshop aims to explore a range of drawing styles and mediums on lithographic stones, experimenting with the medium. Judy will work alongside the individual participants and suggest ways to translate your ideas and designs using these methods.

Drawing, composition, concepts and analysis of final works will be discussed.


Tusche washes, line drawings, tusche brush marks, rubbing ink, scratching back into the image, blocking out the image, transfer, monoprint techniques, crayon work, splatter and spray techniques will be demonstrated.


Printing techniques including chine colle’, multi-colour printing and registration may be used.


An all-inclusive print

In addition to you will be learning about Overlays and Colour Registration. On a large stone, each workshop participant is invited to do a small image that builds up to one image, hand inked in a different colour and run through at once, changing the small pieces of paper around so that each participant finally receives all the colours and a complete collaborative print to take home.


A note to participants: Please wear enclosed shoes, bring some source materials to the workshop. These could be examples of your own work, newspaper/magazine cuttings that take your interest, drawings etc. The stones will be pre-grained and gummed ready for the workshop. Two participants working to one stone, image size 22 x 32cm each.


Dates: 7th, 8th & 9th June 2014 (Public Holiday Monday 9th June)

Time: 9.am-4.30pm Sat, Sun & Monday

Location: Umbrella print Studio- entry via rear access (Enclosed shoes must be worn at all times)

Cost: PressNorth Printmakers members $140 non-members $180

All materials supplied


Judy Watson is an Indigenous artist whose matrilineal family is from country in north-west Queensland. She co-represented Australia in the 1997 Venice Biennale, was awarded the Moët & Chandon Fellowship in 1995, the National Gallery of Victoria’s Clemenger Award in 2006 and, in the same year, the Works on Paper Award at the 23rd National Aboriginal and Torres Strait Islander Award. In 2011 her exhibition waterline was exhibited at the Embassy of Australia, Washington, DC. Her work is held in major Australian and international collections including the National Gallery of Australia and all of the Australian State Art Galleries, Taipei Fine Arts Museum, St Louis Art Museum and USA, and British Museum, London as well as important private collections. She has exhibited widely over the past twenty years.


A major survey of works made from 1989-2003 was exhibited at the John Curtin Gallery, Curtin University, W.A. in 2003 and at the Institute of Modern Art Brisbane in 2004. A version of sacred ground, beating heart was toured by Asialink in 2004 Vietnam, Sri Lanka and the Philippines. It was also exhibited at the University of Queensland Art Museum, Brisbane and toured regional venues in Australia


She has received major public art commissions including wurreka (2000) a fifty metre etched zinc wall for the Melbourne Museum; walama forecourt (2000), a sculptural installation of woven steel screens and upturned bronze dilly bags at Sydney International Airport; ngarrn-gi land/law (2002), a fifty metre etched zinc wall at the Victorian County Court, Melbourne; heart/land/river (2004,) a large photographic and light piece on glass, installed in the foyer of the new Brisbane Magistrates Court; fire and water (2007), a bronze, granite, steel, reeds and sound piece installed at Reconciliation Place, Canberra. She is one of eight Indigenous artists commissioned to make work for the new Musée du Quai Branly in Paris (2006). In 2011 Watson designed a wall for the Queensland Institute of Medical Research.


In 2009 Watson was the University of Queensland’s artist-in-residence at the University’s Research Station on Heron Island. The residency resulted in an exhibition at The University of Queensland Art Museum in October 2010. The artist’s first major suite of etchings heron island suite was produced in 2009/2010 and was jointly published by the artist and grahame galleries + editions in Brisbane.


Images from heron island suite were used in the design of Judy Watson’s artwork on the exterior of the Tilt Train, which made its inaugural journey from Brisbane to Cairns on Friday 6 May 2011.


A new suite of etchings experimental beds will be released in February 2012.


Judy Watson blood language, a monograph by Judy Watson and Louise Martin-Chew, was published by The Miegunyah Press, Melbourne University Publishing in 2009.


Judy Watson is currently Adjunct Professor, Queensland College of Art, Griffith University.


Bookings Essential: email pressnorthnq@gmail.com Subject line: Att. Jo Lankester- Judy Watson workshop

Ph: Jo Lankester 0400626313

An interview with Trent Walter

In your opinion what is so good about Printmaking and in particular etching?

The ability to make multiples and surfaces that are not possible in any other medium are the strengths of printmaking that I am drawn to. Etching is the most emotional of printmaking techniques. The depth of colour and mark making are qualities that cannot be reproduced any other way.

Can you give us a little bit of background about how you got involved in printmaking and what led you to become so well respected in the Australian print community?

I first tried printmaking at University of Melbourne in 1998. Soon after I had quit my enrolled course to take up Fine Art printmaking at Victorian College of the Arts. What got me hooked was the transformation of information from matrix to paper as both objects passed through the rollers of the press. Over time my relationship to printmaking has become more complex, though I have persisted and gain much joy from this engagement.

What are the top 3 things that an artist should know in order to be a successful Printmaker?

Be persistent, patient and open to what the medium may suggest.

What’s the best way to get started?

With enthusiasm!

How long does it take to really become proficient at what you teach?

There is no single answer to this question: there is always something new to learn and think about. When it comes to printing, I’d say that after 3 years of art school I could print a hard ground etching pretty well while many other processes felt foreign to me. After 13 years of regular engagement, I do feel proficient in one sense, though on another level I feel like I’m just starting to get past the surface I scratched several years ago. In terms of the content of the workshop I will run in Townsville, 3 days will be enough to get participants started!

Will your techniques and processes work in a humid climate?

For the benefit of the workshop participants I certainly hope so! Though I lived in Darwin in 2006 and understand the challenges of printmaking in northern Australia. For Townsville printmakers coming south I imagine there could be the same difficulties, though in reverse.

How much experience in printmaking does an artist need to attend your workshop?

None whatsoever.

If you had one secret to give about Etching, what would it be?

Degreasing your plate well is the key.

What are some of the common problems that printmakers experience in etching combined with book arts?

How to deal with the plate mark when your etching plate is smaller than your page size + the transfer of ink from an etching on the recto page to the opposite verso page.

Where can people find more information about your professional practice?



What have been the benefits to your professional development to be an artist in residence?

The engagement with another community and the opportunity to spend time making my own work.

What tips can you give about applying to be an artist in residence?

Be true to your own work when making your application. i.e. be sure to apply to venues that could benefit your work rather than somewhere that might be nice for a holiday.


An Interview with G.W. Bot

In your opinion what is so good about Relief Printmaking?

I approach relief printmaking as a form of relief sculpture – I love carving.  I also like the way the cut block impresses itself into the paper when printing.  My choice of medium for relief printmaking is linoleum (lino) originally made as a floor covering.


Can you give us a little bit of background about how you got involved in printmaking and what led you to become such an expert at Relief printing?

After cutting and printing my first small block of lino (which I still have) at high school in London I was “hooked”.  The rest just followed.


What are the top 3 things that an artist should know in order to be successful in Relief Printmaking? I’m not sure what “successful” means – creativity is an act of uncertainty – the image is not done until it is created, so take the plunge, take a risk, find your own “touch” and just do it.

What’s the best way to get started?

The best way to begin is to find a spot to place your lino so it will be stable and start cutting.

How long does it take to really become proficient at Relief Printmaking?

How much experience does a person need to do Relief Printmaking?

No one needs any prior experience to do linos – the techniques are simple and straight forward. For me the cutting of the lino can be a form of meditation – it can be of high energy too


If you had one secret to give about Relief Printmaking, what would it be?

Give yourself “time” a space where there is a timelessness to give what you think the image needs. There are no mistakes though – it is all the journey.


What are some of the common problems that artists experience in Relief printing?

The basic technical hurdle in all printmaking is the registration – knowing where you are going to place the block on the press in the same way each time you print an image from that block so that it prints on a piece of paper each time in the same place.


Where can people find more information about your professional practice?

I don’t have my own website but you can find my work on these website; Australian Galleries, www.australiangalleries.com.au; Beaver Galleries, www.beavergalleries.com.au; National Gallery of Australia, www.nga.gov.au and the British Museum,  www.britishmuseum.org


What have been the benefits to your professional development to be an artist in residence?

An artist’s residency is very valuable.  It allows one time out to think about one’s work and possible directions it could take.  Often the location is different from one’s own usual surroundings, the unfamiliarity helps one to “see” again.


What tips can you give about applying for an artist in residence?

Perhaps look for a residency you would love to have and apply for that.  In a way all of life is a residency, so perhaps you don’t want to be going somewhere you are not interested in – life is short.


Report from Aberystwyth, Wales

DSC03906 (800x600)Can’t believe how fast time is going.

I’m getting quite fit climbing up the hill to the studios each morning, some very steep rises and I’m convinced that Aberystwyth is made up of steep hills and hundreds of steps. (Actually this seems to apply to most of Wales  from my experience).

I am working across engraving to produce quite a number of prints (plus making drawings, paintings and collages as well). Has been great just working away on different mediums. Images are being developed from my travels and the regions around here. Most are precursors for larger works, i.e. lithos, etchings and relief, though engravings are going to play a more noticeable part of my future printmaking.  I have caught up with the Paul Croft, the author of Plate Lithography and Stone Lithography and also Aberystwyth printmakers at last. They have a very small space, packed with a litho press, Albion and etching presses. Apparently have only temporary premises and they need to find another space soon.  Access to presses there works out about $4 per hour (plus of course membership) with all material being supplied by the printmaker using the presses. I think this includes blankets.

Have set up my own hand little printing space in the studio, which is working very well and makes me quite independent of local printmaking access

Printmaking is a very important part of the Aberystwyth Art school, as is life drawing, painting   and the fine arts.  They cover the full range of printmaking and have good presses. Access to the print studios here at the art school is somewhat limited to the artist in residence program which is quite understandable given the number of students there, work place safety requirement s and insurance etc.

Off now to do a Lunchtime lecture at the Aberystwyth University Art School and a tutorial in professional practice to 2nd year art students at 4pm and have been lined up to do a phone interview with the BBC tomorrow. We have our open studios next week.

All very exciting indeed and no, not ready to come home at all.

See you all soon.

Jill O’Sullivan