Printmaking

Discover the exciting possibilities of this historically rooted medium. Our Printmaking program fosters a supportive studio atmosphere where artists of all levels have the freedom to experiment and learn new techniques. Summer printmaking workshops, taught by accomplished artists and educators, offer a fresh take on the medium, mixing traditional processes with experimental attitudes.

Anderson Ranch’s Patton Printmaking Studio is clean, spacious, and outfitted with a variety of presses and equipment to accommodate screen printing, relief, intaglio, monoprinting, bookmaking, mokuhanga and lithography. Students have access to individual work tables, wall space, palettes, rags, hand tools, power tools, computers with Adobe software, wi-fi, printing, scanning, and projection capabilities.

At Anderson Ranch, the process of printmaking honors tradition, innovation, community and collaboration. We invite you to explore, experiment and expand your visual expression in this captivating environment.

Anderson Ranch is happy to extend a 20% tuition discount* in summer one- or two-week adult workshops for SGC International members. Please register online and then email [email protected] with your membership information and we will make the adjustment once you are in the system. You are also welcome to call 970-924-5089 to register. *Please note that the SGC discount cannot be combined with any other discount, scholarship or special offer. 

Liz Ferrill

Artistic Director of Painting, Drawing & Printmaking; Artists-in-Residence Program; Critical Dialogue Program

Elizabeth Ferrill received her MFA from the Rhode Island School of Design. She has had solo exhibitions nationally and internationally, including in Aspen, CO; Nashville, TN; Omaha, NE; New York; and Berlin, Germany. Liz is the Artistic Director of Painting, Drawing and Printmaking at Anderson Ranch.

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Brian Shure

Master Printer-in-Residence

Brian Shure is represented by Planthouse Gallery in New York, where he curated the 2018 show Bathing. He has taught at RISD, Brown and Cornell and conducted classes in China, Japan, Mexico & Germany. He is Master Printer, Director of Anderson Ranch Editions at Anderson Ranch.

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Anderson Ranch Campus

Upcoming Workshops

  • IV

    Level IV

    Students have advanced skill and knowledge of the printmaking fields. Students are highly motivated and self­-directed, have a minimum of five years experience in their field, and have multiple portfolios of their artwork. Portfolio review is required for admittance to some Level IV classes.

Jun 17 - 21, 2024
9AM - 5PM

Master Class: Advanced Printmaking: Topics and Techniques

Meleko Mokgosi, Brian Shure

Tuition $1,300
Code R0303-24

This unique opportunity for advanced printmakers creates a forum for dialog on curating practice to give strong direction to artistic work. Artists are invited to work on self-directed projects in the printmaking area of their choosing while receiving technical support in tandem with critical feedback. Opportunities for technical demonstrations, group critique, and one-on-one mentorship make up the structure of this master class. *Brian Shure will be present for the entire duration of the workshop; Meleko Mokgosi will join daily from 9am - 3pm.   Portfolios will be accepted on a rolling basis. Instructions on how to submit your portfolio are as follows: Submit digital images of your work in one single PDF (as opposed to individual JPG attachments) via email directly to Lindsey Yeager, Studio Coordinator of Painting, Drawing & Printmaking, at [email protected] The single PDF must be less than 10 MB to be considered. Include 5-10 images of your work with image identification that lists the title, media, dimensions and year of each image. While not required, it is helpful to see an artist statement addressing the images you send. Include “Advanced Portfolio Review” in the subject line of your email, as well as the title of the workshop for which you are applying. Please provide a phone number where you can be reached and a link to your website. Submissions that do not follow the requested directions will not be reviewed. If you are accepted, a deposit of $650 will be required within one week of notification of acceptance to hold your place. Housing will be assigned on a space-available basis upon enrollment.

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  • II

    Level II

    Students have a basic understanding of press operation, tools common to printmaking, paper preparation and basic principles of registration.

  • III

    Level III

    Students have significant experience in the print medium that is the subject of the workshop.

Jun 24 - 28, 2024
9AM - 5PM

Layering Color and Light: Woodcut and Monoprint

Jean Gumpper

Tuition $1,160
Code R0404-24

This rigorous, engaging printmaking workshop focuses on monoprint and woodcut methods with an emphasis on layering color to produce luminous results. It begins with observational studies from the natural world, and explores trace, stencil, painterly, and multiple plate monotype methods. Woodcut techniques are then added to layer transparent and opaque colors to create a radiant sense of space. Students make both editioned and unique prints, alternating between structure and improvisation. This back-and-forth serves as the format for the course, combining printing using a woodcut matrix with a variety of monoprint methods.

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  • II

    Level II

    Students have a basic understanding of press operation, tools common to printmaking, paper preparation and basic principles of registration.

  • III

    Level III

    Students have significant experience in the print medium that is the subject of the workshop.

Jul 1 - 5, 2024
9AM - 5PM

Woodcut and Monoprint with Digital Applications

Jean Gumpper

Tuition $1,160
Code R0505-24

This rigorous, engaging printmaking workshop combines monoprint and woodcut processes with a digital component. Students incorporate laser-cut stencils and wood blocks with painterly and carved marks to create images. The class begins with observational studies from the natural world and explores multiple plate monotype methods. Woodcut techniques, including laser cut blocks, are then added to layer transparent and opaque colors. Students make both editioned and unique prints, alternating between structure and improvisation. This back-and-forth serves as the format for the course, combining multiple matrices in many ways.

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