Workshop

TRACE MONOTYPE

Instructor: Liz Bannish

October 5, from 10AM – 4PM

1-day workshop, Thursday

Class size 4-8, All Levels

$160 Members, $210 Non-members

*Cost includes most needed materials and instruction

Please Register by September 21, 2023

Take your love of drawing to new places using the art of trace monotype! This method of printmaking, which does not require a press of any kind, allows the artist to easily translate their draftsmanship into colorful inks for bold, almost sculptural drawings.

Trace monotype is accessible and very low tech, allowing it to be done in almost any studio. It can be used to create singular works, or repeated to achieve variable editions. In this one-day dive into the medium, artists will learn how to set up a trace monotype assembly, modify their ink, and the other nuances that help this process succeed. We will also demonstrate ways to combine the trace technique with press-based printing, for even more exploration in aesthetic possibilities. This workshop is open to all skill levels, and is a great introduction for new printmakers!

All materials included. Artists may bring their own sketches or photographs to use for reference purposes.

Questions? Please email Workshop Coordinator Toni Miraldi at tmiraldi@contemprints.org

LIZ BANNISH lives and works in Norwalk, CT as Studio Manager and Collaborative Printer for the Center for Contemporary Printmaking. She earned her BFA in Printmaking and Art History from the University of Massachusetts, Amherst in 2011 with her award-winning show of stone lithographs. Afterward, she served as an intern for Zea Mays Printmaking, bringing their research in non-toxic printmaking to SGC San Francisco in 2013. She served as Printmaking and Photo Technician for Smith College in Northampton, MA for five years, running their printmaking studio, letterpress studio, photo darkrooms, and OSHA compliance programs. Liz has trained with masters Barry Moser (Pennyroyal Press), Peter Pettengill (Wingate Studios), and Liz Chalfin (Zea Mays Printmaking). Her personal work spans the media of sustainable and traditional printmaking and includes relief, etching, lithography, and alternative photography. When not getting her hands inky, Liz dives for the local aquarium.