‘The Art of Seeing’ Pen & Wash with Malcolm Carver

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Workshop in Townsville by well known artist Malcolm Carver, ‘The Art of Seeing’
August 22-25, 2014
Cost $150
If interested contact Gai Copeman at gaic1@bigpond.com
To know more about Malcolm carver, check his website http://www.carverstudio.com/

 

We used to call it sightseeing but more often today its snap snap, as tourists disgorge from a bus. Today, in reality, it’s apparent that there is lot less looking and even less seeing in travel.

Photography is a wonderful pursuit, yet sketching whilst travelling and taking it all in can be an even greater memorable event.

Open to all from beginners to proficient artists, this course will enlighten you to identify original subject matter, something special at home or abroad, to capture in a light and easy fresh style of sketching in pen and wash. Can be used whilst travelling to provide an excellent journal of your travels and interests.

Quote from a recent artist….. “For me, I feel that I have had my eyes opened! Without sounding ridiculous [after one week of watercolour classes,] I can’t believe how differently i am seeing my surrounds! I thought I was fairly observant but this is now driving me mad!!! I found today i just could not look at the garden or surrounding trees without looking at the pattern of light and then getting the insatiable urge to draw it and attempt to paint it! needless to say i took lots of photos, the children have not been fed properly all day and I want to give up my regular job to pursue this new passion! Tonight i went to pick tomatoes and eggplants for dinner and was waylaid for 30 mins taking photo’s because of the sheen on the veggies! ..we then had scrambled eggs for dinner, So thank you”

 

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?

www.negativepress.com.au

https://www.facebook.com/pages/Negative-Press/420916147954083

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.

 

Lithography, drawing into print with Peter Lancaster

Peter Lancaster: Master Lithographer
Residency Dates: 12 -15 November 2013 | Workshop Dates: 16 – 18 November 2013

“Peter Lancaster’s teaching and demo’s were very inspiring” 

“Thanks to Peter and Eliza for their time and extending their knowledge and help to all the workshop participants.”

http://www.lancasterpress.com.au/

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