Expand the possibilities of contemporary mokuhanga through experimental approaches to Japanese-style water-based woodblock printing. This workshop introduces alternative methods such as no-cut woodblock printing, white-line woodcut, printing with natural pigments, and other inventive processes. Participants are encouraged to explore unconventional materials and experimental image-building processes that can complement traditional mokuhanga. Through demonstrations, discussions, and studio experimentation, students investigate how this non-toxic and press-free process continues to evolve as a dynamic form of creative expression, connecting tradition and innovation while offering endless possibilities for artists.

In this experimental and playful printmaking class, students explore exciting chine collé techniques — affectionately dubbed the “potato chip” method — learning to inlay one printed image inside another, and experiment with dynamic collage techniques in combination with drypoint. Beginning with drypoint techniques on plexiglass, printmakers explore new ways to breathe life into their work through innovative methods. Students are also invited to experiment with plates, papers, and prints from previous projects. All print media work well with these techniques and skills learned in this class can be applied to your practice in a multitude of ways.

Dive into the compelling printmaking process of reduction linocut printed by hand on Japanese paper. The reduction method is a relief printmaking technique for making multi-color prints from one block of wood, or, in this class, linoleum. With each layer of carving and impression, students discover the transformation and complexity of their image, adding depth, color, and dynamism. The process results in a rich, textured print with layered detail specific to this unique medium. Students learn to prepare paper and blocks for printing using registration tabs and pins. Blend rolls and stencils are introduced as a means to add further detail and richness.

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

This rigorous, engaging, printmaking workshop explores color monoprint and woodcut processes using hand and laser-cut stencils and blocks to create one-of-a-kind and editioned prints. We begin with observational studies from the natural world and explore monotype with stencils and multiple plates. We then use the laser cutter to cut woodblocks and combine these puzzle block prints with hand carved marks, alternating between structure and improvisation. This back-and-forth serves as the format for the course as we combine multiple matrices in many ways.

Students explore a wide range of traditional and experimental screen printing techniques, examining the expressive potential of digital and mechanical mark-making, richly layered color, and dynamic variable editions. Processes covered include drawing fluid and screen-filler stencils, photo-chemical stencils created from both hand-drawn and digital imagery, monoprints/monotypes, and the integration of found collage materials — all paired with hybrid approaches that merge analog and digitally produced images.

Students learn to use the screen printing process to transform their own imagery into unique works of art. In this exciting workshop, designed specifically for teens, students design and print their own t-shirts, posters, and original works on paper. This course covers a variety of screen printing techniques including multiple-color registration and split fountain printing. Budding young screen printing experts learn to make their own screen prints at home, as well as create a series of prints for a developing portfolio.

Students investigate the current trends of print media in contemporary culture and get the tools they need to make artistic statements using screen printing. This workshop focuses on water-based, photo screen printing techniques as well as low-tech stencil printing methods. Technical demonstrations cover beginning photo screen printing processes, one- and two-color registration, hand dyeing, draw back into, manipulation of the surface, water-soluble markers, and hand-cut and photo stencil methods. Each student creates experimental, unique prints and comes away from this workshop with a toolbox of new printmaking techniques.

Explore the process of translating imagery into the dynamic mark-making intrinsic to the medium of woodblock printmaking and collage. We embark on combining elements of woodblock printmaking, drawing, cut paper, and other collage materials to produce complex and compelling imagery. Students add to their practice with a whole new toolbox of methods as well as new conceptual approaches to the woodblock medium. While the primary tenets of traditional block printing are covered, printmaking operates as a means to facilitate the student’s concept. Students gain knowledge of the fundamentals of woodblock printmaking: carving, reproduction, registration, inking, etc. and various collage applications to produce a multilayered surface.

Explore the exciting process of copper plate intaglio through the creation of small-scale matrices to depict a narrative. Students are introduced to various etching processes, chine colle, jewelry techniques to shape plates, and hand painting methods. Printing techniques specific to shaped plate copper are practiced, introducing new formats for considering the borders of images. Participants produce a small suite of unique prints from plates that emboss the paper in dynamic ways, and tell a story.

This immersive workshop invites participants to delve into the art of handmade papermaking and the alternative photographic process of cyanotype. Participants explore the natural world as a source of both materials and inspiration, emphasizing the inherently place-based nature of these techniques. The first part of the workshop focuses on collecting and processing local plant materials, including invasive species, to create handmade paper. Participants learn essential papermaking techniques, such as fiber preparation, pulping, sheet formation, and drying, while discovering which plants are best suited for papermaking. In the second phase, participants investigate photographic imagery through the lens of place and connection. Using cyanotype—a historic photographic process known for its vivid blue tones—participants design image-based compositions that integrate seamlessly with their handmade paper. By merging organic materials with photographic imagery, the workshop creates a unique opportunity to explore the intersection of craft, nature, and storytelling. Ideal for artists and creatives interested in sustainable practices, alternative photography, and the expressive potential of handmade paper, this workshop fosters innovation and a deep appreciation for place-based artmaking.

Explore the dynamic intersection of screen printing and collage through unhinged silkscreens, layered imagery, and texture. Participants begin by creating bold screen printed works using hand-drawn or photo-based methods. Prints are then transformed through cutting, tearing, and pasting onto new substrates such as paper, vinyl, or found materials. This hands-on workshop welcomes all skill levels and emphasizes intuitive play, composition, and storytelling through composition and negative space. Demonstrations, open studio time, group critique, and one-on-one guidance support students in developing unique works that merge screen print and collage into vibrant hybrid artworks.

This five-day course investigates the possibilities of handmade paper. Focusing on techniques working with cotton fiber of various lengths, students learn basic sheet forming and its science and history, two-dimensional applications of additive wet paper pulp techniques, developing layered imagery through cut stencils and hand applied pulp, blowout techniques, and pigmenting. Students learn to apply this knowledge in combination with traditional printmaking techniques, such as combining wet paper pulp imagery with watercolor monoprints. Students also learn basic laminate casting potentials.

Explore a playful approach to making layered, hand-pulled monoprints through this fun, experimental workshop. We learn various ways to bring technology into our art-making practice, using the laser cutter as a flexible tool throughout the process. We discover how to turn drawings into laser-cut paper stencils, which we then use both in the printing process and as collage elements. We conclude by cutting our plexi plates into jigsaw-style pieces for more printing options. Our goals are to increase skills, exchange ideas, and expand our creative practices.

Clay printing, also known as clay monoprinting or printing with colored clay, offers a unique way to use clay—not by firing slabs, but by transforming them into richly detailed printing plates. Using pigments made from clay slips and universal tints, participants layer colors, textures, and patterns onto a slab of leather-hard clay to create one-of-a-kind imagery. Once the design is ready, special canvas is placed on top and hand-rolled, capturing the clay's intricate surface in a vibrant monoprint. The workshop combines clear instruction with playful experimentation, making it ideal for artists and enthusiasts eager to explore a new approach. Students leave with a collection of unique two-dimensional works on canvas.

This versatile and dynamic monoprint workshop utilizes both water-based and oil-based media, printing from collagraph plates and stencils. Participants create textured plates by building up varied surfaces with acrylic mediums and more traditional, drypoint Plexiglas plates, combined with collage materials and Duralar stencil shapes. These inspiring techniques work well with both abstract and representational imagery, adding new methods and visual effects to the printmaking practice. Each student is guided individually by the instructor, and offers group demos daily.

Master Class In this two-week workshop, advanced printmakers explore direct mark-making on ball-grained aluminum plates as well as photographic and hand-drawn imagery with film positives on pre-sensitized photo plates. Developing an understanding of efficient methods for processing and printing are the foundation to producing consistent lithographic editions. Prior background in lithography or extensive work in other printmaking media will serve as the basis for image preparation, plate processing and printing techniques. This workshop does not require that students be proficient in lithography, but they must have significant experience in the field of printmaking.