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Faculty Bios

INTAGLIO

PhotoEtching I with Sheila Goloborotko
Tuesday, March 6 AND Thursday, March 8, 10am-4pm
M: $250, NM: $265. Materials Fee: $50
This photo etching method uses Solarplate, a revolutionary and versatile method of printmaking. Artists create a photo etching plate from ink drawings on acetate or a laser print on a transparency. The Solarplate is a light sensitized polymer steel plate. An image is exposed and developed with water. This is a non-toxic, non-acid method that can produce extraordinary images. The class will include time for beginners as well as more advanced printmakers to experiment with various ways to create images on the plate and print them.

PhotoEtching II with Sheila Goloborotko
Saturday, March 31,10am-4pm
M: $130, NM: $ 145. Materials Fee: $25
This class is an opportunity to explore ways of printing your photo etching plates. This workshop will explore the use of color inks, multi drop plates, multi layered prints, viscosity of colors and more. Their will be plenty of time for intermediate, as well as more advanced printmakers to experiment with alternative ways to create while printing. Plates can be combined, layered or placed simultaneously on one paper. Artists will be able to make multiple impressions during this class. Photo etching I is required.

The Path of All Possibilities: from Plate to Print with Shelley Thorstensen
Thursday, April 12, 10am-4pm
M: $135, NM: $150. Materials Fee: $15
How you print your plate matters! Learn how to include chine collé, relief - surface rolls, as a motif, as a separate element, multiple plate printing, à la poupée, registration techniques, viscosity (monoprint and editioned) stencils, frottage, and get an introduction to mixed print media. Shelley will demonstrate how the same plate can be printed in all iterations with different results. This is an all day demonstration. There will be ample hand-outs and time to ask questions and take notes.

LITHOGRAPHY

Polyester Plate Lithography with Greta Anderson
Saturday, March 10, 10am-4pm OR Wednesday, April 18, 10am-4pm
M: $120, NM: $135. Materials Fee: $20
In this workshop we will work with the new Z*Acryl D2P plates, litho inks and water in the printing process. High contrast black and white images can be copied or printed directly from a laser copier or computer to the plate and are ready for printing in a few minutes. We will explore a variety of washes including toner washes which lend themselves to subtle gradations of color. In addition, students can use sharpies, crayons, ballpoint pens and archival stamps to enrich their designs or create new ones. Students are encouraged to bring their favorite art work for ideas to layer into multicolored prints. Color may also be added with chine collé.

Paper Lithography with Patricia Cudd
Thursday, April 5 OR Friday, May 11, 10am-4pm
M: $100, NM: $115. Materials Fee: $15
Want to print small editions easily with little fuss? Toner based photocopies will be prepared as paper plates for printing with gum Arabic and without other chemicals used in traditional lithography. This process works well with mixed media works. It is best to use images that do not have large solid areas or very subtle value changes (all typical printmaking concerns). We will be using oil-based inks so images can be printed over most other media. Have fun manipulating images and bring several copies and variations to explore the process.

RELIEF

Introduction to Linoleum Relief Printmaking with Caroline Garcia Ziegler
Friday, March 9, 10am-4pm
M: $ 90, NM: $105. Materials Fee: $20
Relief printing is the oldest and simplest method of printmaking. This 1-day workshop will explore basic carving and inking techniques using linoleum. Students will learn how to transfer an image to a block and carve the image. Then we will set up the etching press to print as well as practice how to print by hand with a baren or wooden spoon. We will also discuss how to edition a print, and will explore simple relief monotype techniques to add color to prints. A limited supply of tools is available. Participants are encouraged to bring their own.

Introduction to Wood Relief Printmaking with Greg Nanney
Wednesday, April 4, 10am-4pm
M: $120, NM: $135. Materials Fee: $35
The workshop will focus on relief printing techniques, specifically cutting MDF, printing on a press as well as hand burnishing. Participants will spend a day carving out a relief print from start to finish, this includes drafting an idea and creating an image to the printing process. Completing several proofs. The day will begin with demonstrations and lectures, followed by open work sessions. In the work sessions, individual attention and focus will provide participants with the tools and know how to complete the set goals.

Relief Printing on Textiles with Greg Nanney
Saturday, April 7, 10am-4pm
M: $120, NM: $135. Materials Fee: $15
The workshop will focus on relief printing techniques, specifically cutting MDF, and printing them onto Textiles and garments. Participants will spend a day carving out a relief print from start to finish, this can include drafting an idea and creating an image to the printing process. Students will then print these blocks onto t-shirts and other textiles they provide.

Introduction to Japanese Water-Based Woodblock Printing with Kathy Caraccio *
Three Saturdays: Saturday, April 21 AND Saturday, April 28, AND Saturday, May 5, 10:30am-4:30pm
M: $420, NM: $440. Materials Fee: $55
This workshop will encompass a show of traditional and antique, as well as contemporary prints and an explanation of the blending of Western and Eastern techniques and concepts. Participants will be guided step by step through the production of a small four-color edition through demonstrations on tool sharpening, carving wood, paper and brush preparation, kento registration, the use of the baren as a printing tool, and special effects such as bokashi (gradation), gomma zuri (sesame seed pattern), and baren sugi. This will be a special opportunity to learn how to produce a luminous multicolor edition at home, as well as an introduction to luster, metallics, and transparency in prints.

SILKSCREEN

Introduction to Silkscreen Printing with Jase Clark *
Six Fridays: March 9, 16, 23, 30, April 13, and 20, 10am-2pm
M: $365, NM: $380. Materials Fee: $65
In this hands-on, beginner/ intermediate class, students will receive a comprehensive introduction to silkscreen printing, also known as serigraphy. Students will learn the basics of non-toxic silkscreen printing and will have the opportunity to create their own printable designs on paper and fabric. Students will become acquainted with shop layout, terminology, tools, and equipment, and will learn techniques for registration and creating and preparing screens. Students will also learn about mixing colors, using various inks and additives, layering techniques, and transparent vs. opaque color. Based on interest, techniques may include a variety of stencil making methods, direct approaches, computer techniques, reductive printing, and photo-emulsion.

Silkscreen Monotype with Greta Anderson
Offered Twice: Tues, March 27 and Wed, March 28, OR Wed, May 2 and Thurs, May 3, 10am-4pm
M: $240, NM: $255. Materials Fee: $30
In this workshop we will build up our images layer by layer. Participants begin by using paper stencils and drawing and painting on the screen with crayons, Caran D'Ache crayons and water soluble screen printing inks. Printed with acrylic base these will be the start for a suite of three or four prints. These may then be further enhanced with thermal screen images printed with inks or Caran D'Ache crayons. Students should come supplied with a good number of high contrast black and white images for the thermal screens which will create a nice contrast to the painted and drawn layers. The final prints may look related but should differ enough to be shown together.

MONOPRINTING

Experimental Monotype with Anneliese van Dommelen
Tuesday, March 13, 10am-4pm
M: $100, NM: $115. Materials Fee: $20
This workshop is designed to free up the minds of experienced and beginner artists. Participants will be guided into a new creative thought pattern using ink, texture and plates. By painting directly onto plexiglass one can work the plate like a painting and still manipulate the inks, paint or watercolor before committing to final image to paper on the press. Images will develop as you discover more about the process. Monotype experience is useful, but not necessary.

Introduction to Color Viscosity Monoprinting with Kathy Caraccio
Two Wednesdays, March 14 and 21, 10:30-4:30pm
M: $280, NM: $295. Materials Fee: $25
Come experiment with the magic of the painterly print! In this workshop, students will create one-of-a-kind monotypes through the process that inventor Krishna Reddy named "simultaneous color printing". The color viscosity process enables the artist to construct an image on the surface of a plate with inks whose opposing consistencies cause them to appear to resist one another while applied simultaneously. As images are developed, second passes through the press reveal more innovative ways of manipulating the materials, like using static charge to your advantage as an unpredictable drawing tool, and drawing with solvents to create variations in line and shape. Fast, spontaneous, improvisational, colorful, and fun, color viscosity lends itself to the immediate creative gratification that artists crave in the crafting of a body of work!

The Painterly Print Monotype with Bruce Waldman
Saturday, March 17, 11am-5pm
M: $120, NM: $135. Materials: $30
This workshop is ideal for artists who love to draw and paint directly and spontaneously. Monoprint and Monotype incorporate draftsmanship and direct painting with printmaking. This workshop approaches monoprinting in a unique way; draw and paint in color with rollers, brushes, palette knives, and explore how to use found materials creating textures that enhance the atmosphere and mood of the print. We will focus on pulling both light out of a dark background, as well as working dark on light. Students who love to draw find freedom using these techniques, their color sense is expanded and their drawing abilities can evolve to a higher level. All levels of experience welcome.

The Versatile Gelatin Print with Shelley Thorstensen
Friday, May 18 AND Saturday, May 19, 10am-4pm
M: $320, NM: $340. Materials Fee: $50
Gelatin printing is most commonly a form of monoprinting. It has roots in the early part of the last century when it was dubbed the Hectograph. You'll use gelatin plates with water based mediums. The process like magic - simple and versatile and is equally well suited for professional printmakers, professional artists, those wishing to expand their artistic vocabulary. You can paint directly, work in double reverse for ala prima work in direct observation, use and learn of types of printmaking techniques including using stencils, selective color, multiple printings, in a series or on individual prints. The materials are non-toxic and clean up with water. Mostly, bring your imagination and be prepared to have fun and make gorgeous prints.

LETTERPRESS

The Wood Type Poster with Caroline Garcia Ziegler
Two Fridays: March 16 AND March 23, 10:30am-3:30pm
M: $90, NM: $105. Materials Fee: $25
Posters typically use both text and image and are attention-grabbing and informative. Students will learn how to set up the letterpress to create an individual poster using wood type and linoleum illustrations. We will explore the basics such as ink-mixing, how to use press furniture, printing, and clean up. We will decide on a theme and print enough posters to exchange prints with each other and still have some to take home.

The Layered Letterpress Print: A Jumbled Collaborative Project with Caroline Garcia Zielger
Friday, March 30, 11am-4pm
M: $90, NM: $105. Materials Fee: $40
Using wood type, ornaments, and pre-carved linoleum-cuts, we will work to create a collaborative jumbled print. We will experiment with pressure printing, a collage-like technique that offers atmosphere to a print on different types of paper. We will also explore other printmaking tricks such as ink transparency and rotations. All levels welcome.

BOOKARTS

Dis/connecting the Altered Page with Doug Beube
Friday, March 2 AND Saturday, March 3, 10am-4pm
M: $275, NM: $290. Materials Fee: $10
This two day intensive workshop introduces students to altering pages of found books through collage that begins with a sequence of inter-connecting concepts. Using the language of computers, 'cutting' and 'pasting' informs students to assess and integrate a range of disparate imagery. Through the practice of dis/connecting two or more pages through the use of zippers, Velcro and machine stitching, for example, constructing relationships through layering images is another focus of the class. Students are motivated to use their intuitive processes, combining meaning and grasping the formal issues of shape, layers, imagery, text, line, movement, pacing and transitions. Developing a sensitivity for integrating their art making intentions through abstract and narrative concepts are challenged. Accomplishing this task during class students work on individual pages using a variety of mediums; print materials derived from the computer; offset printing; found book pages; magazines; or their own picture-making sources. The class will also profile current artists working with both altered books and pages.

Coptic Book Binding with Liz Mitchell
Wednesday, April 11, 10am-4pm
M: $120, NM: $135. Materials Fee: $28
This unstructured binding showcases a beautiful hand stitch spine. The binding structure allows the book to open completely flat which makes it perfect for sketching or to use a writing journal. Do you keep a visual journal? Then this is the workshop for you. Fundamental bookbinding skills will be emphasized and discussed. Students will also make a reusable paper cradle to hold their signatures in place while piercing holes for binding. Cloth and decorative paper will be available for your covers. Consider bringing your own artwork to incorporate into your project.

Altered Board Books with Kathleen Lang Metaxas
Thursday, April 19th, 10-4pm
M: $85, NM: $100. Materials Fee: $15
Students will learn how to initiate and complete the process of transforming a board book into a one of a kind altered book. Using handmade paper, found objects, printed material, paint, stamps, etc., students will cover the pages with their personal message and/or art. Students will learn techniques such as acrylic transfer, collage, textural stamping; creating windows, shaker boxes, fold outs, tip-ins, and how to make a decorative book cover.

PAPERMAKING

Casting and Laminating in Paper with Amy Jacobs
Saturday, March 24, 10am-4pm
M: $160, NM: $175. Materials Fee: $30
This jam-packed workshop will introduce a wide range of materials and procedures for the papermaker wanting to gain more technical skills. Learn the basics for sculptural papermaking techniques using laminate casting and casting with moulds. Fibers will include abaca, cotton and linen. Lots of experimentation will be encouraged.

SPECIAL TOPICS

Honing Your Skills with Shelley Thorstensen
Thursday, March 22, 10am-4pm
M: $135, NM: $150. Materials Fee: $15
Hand working your plates is something you can do in your studio and then bring to a shop to proof. Demonstrations in how to use scrapers, burnishers, drypoint needles, roulettes, mezzotint rockers, electric engravers and sharpening stones will be included. Learn how to sharpen a scraper so that it works like butter - it's easy if you know how to use the tools. There will be plenty of time to practice. Bring your own tools and plates if you have them and we'll make them sing! Then work on refining skills, proofing and printing. Special one-on-one attention will be given. Bring examples such as prints, drawings, sketchbook, cds and photos.

Notes to Self with Shelley Thorstensen
Offered Twice: Thursday, March 29 OR Thursday, May10, 10am-4pm
M: $140, NM: $155. Materials Fee:
Participants will engage in a thoughtful one-on-one conversation and critique with the instructor about the direction of your current work; its paths and tributaries, the places that might be worth some exploration to arrive at new and deeper meaning in your art. The instructor will then demonstrate printmaking processes that will be specifically designed to help move you there during the class and more importantly, as you continue to work at your own pace. This is a high-impact intermediate to advanced class. Class is limited to 4 participants.

Artmaking to Printmaking with Sheila Goloborotko
Four Tuesdays: March 27, April 3, 17 AND 24, 10am-1pm
M: $260, NM: $275. Materials Fee: $25
Are you interested in learning printmaking techniques to translate your artwork into multiple prints? This workshop will explore how artists today incorporate the diverse elements of printmaking into their work, and the ways in which you can best translate your own work using the language of print media. After viewing artworks created by participants Master Printer, Sheila Goloborotko will help artists bridge their work onto diverse printmaking techniques. Each participant will have a chance to explore appropriate techniques that will enrich their work and practice. Examples of serigraphy, etching, aquatint, drypoint, monoprints, relief collagraphs, and chine collé will be viewed. Participants will also learn the basics of color and viscosity printing, and the registration of multiple layered images. Artists working in all mediums and at all levels are welcome.

Introduction to Collagraph with Talleen Hacikyan
Friday, April 13, 10am-4pm AND Saturday, April 14, 9am - 1pm
M: $240, NM: $255. Materials Fee: $30
Collagraph printing is a flexible and direct medium that offers a world of image-making possibilities. Create rich textures on cardboard plates with plaster, acrylic medium, carborundum powder and collage. This workshop covers the basics of making a collagraph plate and printing it through the press. All levels welcome.

Chine Collé with Sheila Goloborotko
Tuesday, April 24, 2-5pm
M: $65, NM: $80. Materials Fee: $15 (does not include Indo-Asian paper)
This intensive workshop is geared to artists familiar with basic printmaking techniques who are interested in learning how to use Indo-Asian papers glued and printed simultaneously on traditional western printing papers, while keeping in mind archival life and flatness. Artists will bring to class printing plates ready to be printed and Indo-Asian papers of their choice, and will walk out with amazing results.

Edition Printmaking with Sheila Goloborotko*
Four Mondays: April 2, 16, 23 AND 30, 12-6pm
M: $525, NM: $545. Materials Fee: $30
Editioning is the process of creating a set of prints from any printing element. Printing elements vary from formblocks, metal plates, screens, litho-stones, linocuts, etc. These elements are developed for an edition in various phases. In this course we will discuss standard conventions such as naming and numbering prints and will pursue the process of making a small edition. Participants should bring a plate ready to be editioned. At the final session participants will learn how to sign, chop and number their edition and will exchange among each other and the Master Printer prints created.

The Turning Point with Sheila Goloborotko
Six Spaces Available: Tuesday, March 23, 2-4pm OR 5-7pm; Tuesday, April 3, 2-4pm OR 5-7pm; OR Tuesday, April 17, 2-4pm OR 5-7pm
M: $150 NM: $165. No Materials Fee
Are you feeling stuck with your work? Are technical difficulties stopping your creative momentum? Are you ready to bring your work to the next level? This one-on-one consultation with Master Printer Sheila Goloborotko is focused on helping artists to solve technical and/or conceptual problems in your work and bring back a fresh start in the creative process. Sheila founded Goloborotko Studio in 1989 as a center for production and diffusion of printmaking. The studio's principal goal is to encourage the voice and vision of individual artists to support the creation of works that push the boundaries of printmaking. Appropriate for intermediate to advanced artists.

* Participants in these classes receive 2 complimentary Studio Use Vouchers. All other half or full day workshop participants receive 1 complimentary Studio Use Voucher.

Students will be contacted a few weeks before class on what supplies or items they may wish to bring with them to use during class.

PCNJ education overview and program policies

We deconstruct our past by cutting up our military uniforms; we reclaim our experiences by making handmade paper from these uniforms; and we communicate our lives by printing our images and speaking our words on this Combat Paper. The telling of our stories transforms us through healing, and gives us confidence to bridge the gap between ourselves and society.

Combat Paper is held Sundays beginning October 23, from 10am until 4pm at the Printmaking Center of New Jersey, 440 River Road, Branchburg, NJ. Veterans can drop-in with no pre-registration necessary. There is no charge to veterans for participate.


Combat Paper coordinators Eli Wright (left) and Dave Keefe (right)


Testimonial: "Combat Paper creates a community of veterans working together sharing knowledge and the simple, repetitive physical act of making paper. When the community sees, hears, meets, and looks at the art made from physical remnants of war, by the warrior, they then begin to have a connection to what war does to people. I believe this is an important aspect to help connect fellow veterans, connect community members to veterans, and connect veterans to communities they live in."

• The Combat Paper Program is dedicated to open, honest and respectful forms of expression shared through paper making, art making, and writing.


• Combat Paper is a public environment where all participants are mindful of each other's safety.


• Combat Paper is an open and free workshop available every Sunday. All veterans are welcome. No exclusions


• Combat Paper follows all studio policies and safety rules of Printmaking Center of NJ.

Also check out these ongoing sister projects of CPP:
Peace Paper
Button Field Press

Program Coordinators:

David Keefe was born in St. Paul, Minnesota and grew up in Newark, Delaware. He holds a Master of Fine Arts degree from Montclair State University and a Bachelor of Fine Arts degree in painting from the University of Delaware. From 2002-2009, he served in the United States Marine Corps and completed a tour of combat duty in Iraq from 2006-2007. Besides facilitating the Combat Paper Program, Dave teaches Painting and Graduate Independent Study at Montclair State University, works as a part-time curator and exhibition coordinator, and makes art in his New Jersey studio.

Eli Wright began working with the Combat Paper Project (CPP) shortly after its creation in 2007, while he was serving as a medic in the US Army. Learning the craft of traditional handmade paper making from co-founders Drew Cameron and Drew Matott, he immediately recognized the therapeutic potential of this art form for veterans and other survivors of trauma. After his discharge from the Army, he joined CPP on one of its many workshop tours, reaching out to veterans and discovering creative paths to healing through communication and collaboration. Eli is honored to have this opportunity to help bring the Combat Paper Project to a new home and community of veterans in New Jersey.

The Continuous Thread: Storytelling On and In Paper

The Artists in the exhibit:
Aileen Bassis, Jersey City NJ
Marion Behr, Branchburg NJ
Marcia Widenor, Sea Cliff NY
Robroy Chalmers, Seattle WA

Guest Curator - Pamela Cooper

Marcia Widenor

In the Library Gallery
Seedlings

Featuring 2011 Konrad Artist-in-Residence, Carlos Frias

Curator's Statement on The Continuous Thread

We think of storytelling in the form of the written or spoken word, but from the beginning of the human race stories have been told in the form of drawing, painting and sculpture. Homage to the hunt in the caves of Lascaux, images engraved on the walls of the Pharaoh's Tombs and Newspaper Rock in Eastern Utah, all tell us narratives.

Artists have continued to tell stories through paintings and sculpture commissioned by the church and the nobility. In the last two to three hundred years artists have selected their own subject matter and created political, historical and social comment. The four artists I have chosen approach storytelling in different ways.

Marion Behr keeps a daily dairy, drawing with pen on paper just letting the thoughts flow, mulling over the events of the day. These form the inspiration for a series of prints. Robroy Chalmers repurposes dark dense prints and drawings referencing his recent move across the USA, making them fly and lightly swirl around the room. Marcia Widenor's knitted paper clothing charges the viewer to wonder about the stories that inspired the fabrication of these beautiful objects. Aileen Bassis asks viewers to draw places from the past on acetate, 'Memory Maps'. Thinking about the nature of memory and how this has fascinated people throughout time she decided to use quotes from different philosophers, along with the photographs taken at the time, to document their experience of memory.

PREVIOUS SHOWS:

Giving Pause Reflecting Still
October 29 - December 23, 2011

In the Library Gallery
October 29 - December 23, 2011
Lyrical Three Dimensional Intaglio Prints by Lin Carte

Clay Monoprints: Pigments of My Imagination
Mitch Lyons Solo Exhibition
August 27 - October 22, 2011