Engraving is one of the most ancient of printmaking mediums, essentially unchanged in the last half millennium. It offers an unparalleled clarity and intensity of line, dynamic linear expression, and a refreshingly direct method of working the plate. Intaglio printmakers will find that engraving is a powerful complement to other techniques and can be used to rework and enhance etched images. Newcomers to printmaking will relish the intensity and immediacy of this art form and the linear control it makes possible. Print scholars and collectors will also gain invaluable insight into the material and technical science of engraving.
Participants will learn the fundamentals of burin engraving, with emphasis on tool choice, maintenance, and modification. The course will also address plate preparation and layout, including the use of etching and drypoint, and the importance of optimal working conditions.
DAVID BARTHOLD has been a printmaker since the age of 13, when he studied with Ruth Leaf at her storefront studio in Queens. He took up engraving at the suggestion of Paul Arnold at Oberlin College and later studied with Stanley William Hayter at Atelier 17 in Paris. He also worked briefly as an assistant printer at Styria Studio in New York in the early 1980s.
After a 30-year hiatus, David returned to printmaking in 2011 and produced a series of engravings centered on animals and the natural world. His major project of late has been a monumental engraving of an African black rhinoceros. He maintains a studio at Gowanus Studio Space in Brooklyn and has taught classes at Manhattan Graphic Center. He is currently employed as a high school teacher at Union Square Academy in Manhattan.
David’s engravings can be seen on the website of his edition printer, Overpass Projects. His work is represented at the Allen Art Museum, Wesleyan University, the New York Public Library, and private collections.
Visit David at www.overpassprojects.com
Image: David Barthold, Crab Claws With Various Birds, Engraving
Engraving is an intensely physical undertaking, and the suitability of the tool to the user is critical. Engravers tend to experiment with, accumulate, or discard tools based on their preferences. The recommendations below are based on workshop experience and my personal practice.
The items which are highlighted in bold, or their equivalents, are required. All other items are optional but recommended. Participants who wish to make a commitment to engraving will find the Crocker Sharpener and Bench Stone to be good investments.
Participants should come to the course with examples of their work, and an expectation of how they wish to apply engraving to their art practice.
Feel welcome to bring tools you may already own for engraving. CCP has engraving tools but CAN NOT be guaranteed for every participant.