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Workshops

Encaustic Collagraph Monotype with Elise Wagner

365.00

Encaustic Collagraph Monotype

Instructor: Elise Wagner

Course Fee: $365.00*

Materials Fee: $15.00 Check payable to Elise Wagner

Dates: Saturday, January 18, 2020 9:00 AM - 5:00 PM

Sunday, January 19, 2020 9:00 AM –5:00 PM

Open to all levels.

6-10 Participants

Combining monotype with encaustic’s textural elements is a process that explodes beyond the boundaries of printmaking! With this technique, encaustic wax is applied to a plexiglas printing plate rather than a traditional painting panel. Equally, collagraphs, which are traditionally made with collage materials printed from a plate or matrix, in this instance, the wax becomes the collage material and is used to build up for relief or intaglio printing. 

The collagraph technique, pioneered by Wagner, allows artists to “break all the rules” of encaustic and reuse the plate again and again. The non-toxic soy and honey based Akua ink applied onto the collagraph merges with encaustic's natural resistance to moisture making it ideal for printmaking. We will be using a wax writer and incising tools to create line and a tacking iron to emboss various textures into the encaustic plate.  Incising the surface employs methods of intaglio printing and dry point etching, building such a wax surface and combining it with the inks offers a variety of exploitable textures. 

Day 1: Elise will tell the story behind how she came to develop this technique and demonstrate all phases of the process by first creating a plate on plexiglas using her handmade Wagner Encaustics Collagraph White along with various hand and heated encaustic tools. Students will be guided through the multitude of possibilities that exist by combining encaustic texture with printmaking. The application of wax to the plate, why we use white, paper types and how to apply and wipe the ink into the plate will be among the many things covered. The demo will end with Elise pulling a print from the collagraph she makes. Then, students will experiment with various textures they bring to class and use the etching, mark making and incising techniques common to both encaustic and intaglio printing. 

Day 2:  The second day becomes more about ink and less about wax. We will choose and mix inks and apply them to the plates. We will produce mono prints from the encaustic plates. You will learn about Akua Intagio Inks, creating a monotype background and ghost printing. You will also have the option to create a second collagraph and/or combine two collagraphs, turning or rotating your plate to create endless compositional options. Different paper types will be discussed as well as the importance of soaking the paper, tearing it down and registering it to the press for printing. We will spend the remainder of the day printing from your plates!

Participants must provide:

-BFK Rives Paper; 22”x30” — 2 sheets

-Ink Knife — (1) or more

-Ink Brayer - (1) or more

-Etching Needles (1) or more

-Shop Towels for clean up

-Tarlatan

-Tjanting Tool (OPTIONAL)

About Elise Wagner

Originally from the New York area, Wagner has been a working artist based in Portland, Oregon for over 30 years. Since 1993, Wagner has been both an oil painter and an encaustic painter. With a penchant to push the boundary of her chosen encaustic medium, Wagner pioneered the encaus8c collagraph printmaking technique which marries techniques specific to encaus8c with that of intaglio and collagraph printmaking.

*REFUND POLICY:

A minimum of 5 participants is required for this workshop to run. Participants will be notified one week in advance of cancellation of workshop and receive a full refund. Participant cancellations less than 48hrs before workshop will not be refunded. Credit for future workshops will be given instead.

Participants who hold an existing BBP Workshop credit must inform Burning Bones Press prior to attending workshop for available spots in workshop.

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Additional Info

Encaustic Collagraph Monotype

Instructor: Elise Wagner

Course Fee: $365.00*

Materials Fee: $15.00 Check payable to Elise Wagner

*REFUND POLICY:

A minimum of 5 participants is required for this workshop to run. Participants will be notified one week in advance of cancellation of workshop and receive a full refund. Participant cancellations less than 48hrs before workshop will not be refunded. Credit for future workshops will be given instead.

Participants who hold an existing BBP Workshop credit must inform Burning Bones Press prior to attending workshop for available spots in workshop.

Dates: Saturday, January 18, 2020 9:00 AM - 5:00 PM

Sunday, January 19, 2020 9:00 AM –5:00 PM

Open to all levels.

6-10 Participants

Combining monotype with encaustic’s textural elements is a process that explodes beyond the boundaries of printmaking! With this technique, encaustic wax is applied to a plexiglas printing plate rather than a traditional painting panel. Equally, collagraphs, which are traditionally made with collage materials printed from a plate or matrix, in this instance, the wax becomes the collage material and is used to build up for relief or intaglio printing. 

The collagraph technique, pioneered by Wagner, allows artists to “break all the rules” of encaustic and reuse the plate again and again. The non-toxic soy and honey based Akua© ink applied onto the collagraph merges with encaustic's natural resistance to moisture making it ideal for printmaking. We will be using a wax writer and incising tools to create line and a tacking iron to emboss various textures into the encaustic plate.  Incising the surface employs methods of intaglio printing and dry point etching, building such a wax surface and combining it with the inks offers a variety of exploitable textures. 

Day 1: Elise will tell the story behind how she came to develop this technique and demonstrate all phases of the process by first creating a plate on plexiglas using her handmade Wagner Encaustics Collagraph White along with various hand and heated encaustic tools. Students will be guided through the multitude of possibilities that exist by combining encaustic texture with printmaking. The application of wax to the plate, why we use white, paper types and how to apply and wipe the ink into the plate will be among the many things covered. The demo will end with Elise pulling a print from the collagraph she makes. Then, students will experiment with various textures they bring to class and use the etching, mark making and incising techniques common to both encaustic and intaglio printing. 

Day 2:  The second day becomes more about ink and less about wax. We will choose and mix inks and apply them to the plates. We will produce mono prints from the encaustic plates. You will learn about Akua Intagio Inks, creating a monotype background and ghost printing. You will also have the option to create a second collagraph and/or combine two collagraphs, turning or rotating your plate to create endless compositional options. Different paper types will be discussed as well as the importance of soaking the paper, tearing it down and registering it to the press for printing. We will spend the remainder of the day printing from your plates!

Participants must provide:

-BFK Rives Paper; 22”x30” — 2 sheets

-Ink Knife — (1) or more

-Ink Brayer - (1) or more

-Etching Needles (1) or more

-Shop Towels for clean up

-Tarlatan

-Tjanting Tool (OPTIONAL)

About Elise Wagner

b. 1966, Jersey City, NJ

Originally from the New York area, Wagner has been a working artist based in Portland, Oregon for over 30 years. Since 1993, Wagner has been both an oil painter and an encaustic painter. With a penchant to push the boundary of her chosen encaustic medium, Wagner pioneered the encaustic collagraph printmaking technique which marries techniques specific to encaustic with that of intaglio and collagraph printmaking. She is a Pollock Krasner Founda8on Grant Recipient and has been published in Encaus'c Art: Crea'ng Fine Art With Wax, Lissa Rankin, Watson Gup8ll and Mixed Media Workshop, Jean Pederson, Northlight Books. Wagner has twice presented at the Interna8onal Encaus8c Conference in Provincetown, MA and at Southern Graphics Council Interna8onal (SGCI). She has taught and demonstrated encaustic collagraph monotype at many ins8tu8ons throughout the country and in Mexico including Center for Contemporary Printmaking in Norwalk, Robert Blackburn in New York, Truro Center for the Arts Cape Cod, MA, Metchosin Summer School of Art in Victoria, BC and Piramidal Grafika in Guanajuato, Mexico. Wagner shows her work in Houston at Gremillion Fine Art, Susan Calloway Fine Art in DC, Frederick Holmes & Company in Sea\le and Imogen Gallery in Astoria, Oregon. Her work is among private and corporate collec8ons throughout the United States and was most recently published in The Art of Encaus'c Pain'ng, Schiffer Publishing.