Fundació Miró




 


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NEW WORKSHOP: DIVERSE SCREEN PRINTING. FROM 10th NOVEMBER



T.4
DIVERSE SCREEN PRINTING.
Given by Cecilia Segura.
Friday 10th, 17th, 24th and Saturday 11th, 18th, 25th of November
.

Timetable: Friday 10th, 17th, 24th November: 4 p.m. to 8 p.m. Saturday 11th, 18th, 25th November: 10 a.m. to 3 p.m.
Price: €190.
Limited places.

Screen printing is one of the most versatile, attractive contemporary printmaking techniques. It stands out particularly for the ease with which colour can be used and also for the simplicity of the process, on a multitude of different materials. In addition, it can easily be adapted to individual needs.

This workshop is aimed at artists, designers, illustrators, art teachers and students, and people with creative interests who want to work on an artistic screen printing project.

 

Related Links

Tony Velonis: Serigrafía y experimentación gráfica


WORKSHOP INFORMATION 334 KB

Registration form 88 KB



THE THINKING HAND: CALLIGRAPHY AND BOOKBINDING. SEPTEMBER 4th



T.3 THE THINKING HAND: CALLIGRAPHY AND BOOKBINDING

Given by Paz Alomar.
September 4th to 9th 2017


No. of students: 12
Price: €190
Timetable: Monday to Friday: 4 p.m. to 8 p.m. Saturday: 10 a.m. to 3 p.m.


OBJECTIVES:

The aim of this course is to introduce the participants to the potential offered by contemporary calligraphy and to allow them to experiment with it, starting out from a study of tradi tional calligraphy. By exploring the discipline’s technical basis, the participants will be able to seek and find a personal style of writing so that they can use calligraphy as a creative tool.
The main focus of the workshop is to provide an insight into written letters and their creative potential, using the work that is done throughout the course to make a book.

PAZ ALOMAR. MALLORCA, 1963
A professional bookbinder who has had her own studio in Palma since 1989, Paz Alomar trained under different experts in Europe. She has worked with calligraphy since 2000, incorporating this discipline into her teaching activities and creative work. Since 2006, she has exhibited her pictorial/ calligraphic work in Mallorca and Barcelona. In 2013, she founded the independent publishing house pazalomar edicions, uniting two passions - bookbinding and poetry -, where content and form are treated equally lovingly and images and words find a shared space.

Further information:
https://www.facebook.com/tallerpazalomar/

 




JOAN MIRÓ'S PRINTMAKING WORKSHOPS 2017



T.1
MONOTYPES, CARBORUNDUM
AND DIRECT TECHNIQUES


Given by Jordi Rosés.
July 10th to 21st 2017

No. of students: 12
Price: €225
Timetable: 9 a.m. to 3 p.m.

T.2
CERAMIC WORKSHOP.
HAND-COILED POTTERY. MAKING
LARGE CERAMICS


Given by Toni Vich.
August 7th to 12th 2017

No. of students: 8
Price: €190
Timetable: 9 a.m. to 3 p.m.

T.3
THE THINKING HAND:
CALLIGRAPHY AND BOOKBINDING


Given by Paz Alomar.
September 4th to 9th 2017

No. of students: 12
Price: €190
Timetable: Monday to Friday: 4 p.m. to 8 p.m.
Saturday: 10 a.m. to 3 p.m.

T.4
DIVERSE SCREEN PRINTING


Given by Cecilia Segura.
Friday 10th, 17th, 24th and Saturday
11th, 18th, 25th of November 2017

No. of students: 10
Price: €190
Timetable: Friday 10th, 17th, 24th November: 4
p.m. to 8 p.m. Saturday

 


JOAN MIRÓ'S PRINTMAKING WORKSHOPS 2017 2739 KB



T.2 CERAMIC WORKSHOP. HAND-COILED POTTERY. MAKING LARGE CERAMICS



T.2
CERAMIC WORKSHOP.
HAND-COILED POTTERY.
MAKING LARGE CERAMICS

Given by Toni Vich
August 7th to 12th 2017


No. of students: 8
Price: 190 €
Timetable: 9 a.m. to 3 p.m.

The hand-coiling technique was developed
so that large pots could be made to store wine.
These large earthenware jars could be huge, standing
up to 4 metres high.

Given the need to create these big recipients,
the coilingtechnique was perfected to make it
quicker and more effective.The Spanish term
urdir means to sew and this is the type of movement
that is made, sewing one coil to the previous
one without adding barbotine or going back
over the seam later.

This traditional technique is also used to make
large ceramics not only of a utilitarian type
but also sculptural or personal ones.

REQUERIMENTS

This course is aimed at plastic artists and potters wishing to
explore this technique in depth.

OBJECTIVES

The purpose is to teach the participants the technique and
skills needed to make large-format ceramics, whether they
are conventional in shape or sculptural. To take part in the
workshop, no pottery experience is needed.

During the workshop, each student will make two ceramics,
one traditional pot and another sculptural one, in order to
gain a close insight into the skills that are needed to overcome
certain problems that might be encountered during
the process.

PROGRAMME

- Preparing the clay, mixing powdered clay with grog and water,
spreading a thin layer of the mix on the ground to help it
to dry, gathering and kneading it with your feet.

- The first day, we will start work on the ceramics and on subsequent
days they will gradually dry out so that they can be
built up and worked on further.

- Techniques like pulling, paddling, scratching, burnishing and
making handles and necks will be taught as the course progresses.

TONI VICH BOTA. PÒRTOL, MARRATXÍ. 1970

A ceramicist from the fourth generation of a family of potters,
Toni Vich took over the family business, Can Vich Pottery,
in Pòrtol, Marratxí, in 1994. He completed his training
at Marratxí Municipal School of Ceramics and Ramon Fort
School & Studio (Girona), where he studied coiling, use of the
wheel and murals.

Since 2004, he has given monographic courses in coiling
and how to make pottery musical instruments at Marratxí
Municipal School of Ceramics, Vic Art School, Ramon Fort
School & Studio and Whurthbruner in Switzerland.

He currently teaches how to use the wheel at Marratxí
Municipal School of Ceramics and he is in charge of Marratxí
Ceramics Museum.

Further information: http://www.ceramiquescanvich.blogspot.com

 



T.1 MONOTYPES, CARBORUNDUM AND DIRECT TECHNIQUES



T.1
MONOTYPES, CARBORUNDUM
AND DIRECT TECHNIQUES


Given by Jordi Rosés.
July 10th to 21st 2017


No. of students: 12
Price:€225
Timetable: 9 a.m. to 3 p.m.

Within the field of intaglio printing, increasing numbers of artists
are becoming interested in less toxic, more eco-friendly
techniques that are less hazardous for their health.

Jordi Rosés will introduce the participants to what are regarded
as alternative non-toxic methods of traditional printmaking, such as the creation of monotypes, the use of additive techniques on plastic plates, like carborundum or collagraph prints, their combination with direct techniques on plastic, and the application of different printing methods to conclude the process.

OBJECTIVES

The aim of this course is to help all the participants to explore
new opportunities for plastic expression in their work.

It will take a customized approach, trying to advise the artists
on the techniques that best fit in with each one’s individual
work.

-Printed images will be produced, combining the plastic
qualities of a monoprint with plates made with additive, direct
or carborundum printing techniques.
-Printing in colour with multiple plates and collages.

PROGRAMME

A monotype is a printmaking technique where one single
copy is made, as opposed to limited editions or multiple ones.

-Monotypes on plastic plates
-An introduction to monoprints.
-The materials most commonly used as matrices in the creation
of images.
-Media and solvents.
-Tools, rollers, paint brushes. Papers as a support or complement
in images.
-Preliminary tasks. Basic techniques for making monotypes.
-Making the plates. Drawing directly on the plates. The subtractive
method using various different utensils.
-Direct monotypes, with one ink or several inks. Colour separation.
-Monotypes with watercolours. Preparing the plate, ghost
prints.
-Creating an image with stencils. Printing monotypes. Using
collage as a plastic feature. Multiple plates. Combining
monoprints with other techniques. Cleaning the plates.

CARBORUNDUM / COLLAGRAPH PRINTS
AND DIRECT TECHNIQUES ON PLASTIC


Carborundum and collagraphy are additive techniques in intaglio
printing. They can be combined with direct techniques
because they complement one another.

-The history of additive techniques. The creation of collagraph
and carborundum plates.
-Backup materials. A description of the materials to be used.
Handling the plates.
-The carborundum process and ways of applying it. Direct
techniques on plastic for creating drawings.
-Using hand and mechanical tools. The papers, glues and
collage papers.
-The printing process and printing materials. The main peculiarities
of carborundum printing. Cleaning the plates.

REQUIREMENTS

A basic knowledge of intaglio printing.
The participants
should bring drawings, notes or a sketch of a project to work
on.
They should also bring examples of their work so that
guidance can be offered on the techniques that best fit in
with the type of work they do.

JORDI ROSÉS. BARCELONA, 1958

Jordi Rosés is a printmaker who has collaborated with
innumerable artists. He currently heads the printmaking
studio Murtra Edicions and a residence for artists called Art
Print Residence in Arenys de Munt.

He is the author of the guides to printmaking El Gravat and Prova d’estat. Rosés was commissioned by the Spanish Ministry of Labour to
develop the "Certificate of Professionalism in Gravure and Wood Engraving".

Together with Claudia Lloret, he founded the International
Printmaking Summer School at Calella and coordinated it
for 10 years. For the last 14 years, he has given printmaking
courses for the Mataró Cultural Department.

He has taught courses at various different international
workshops, like El Lavoratorio Piranesi de grabado in Sermoneta,
Italy; Beyond the Etched Plate in Whitehorse, Canada,
at the Yukon Arts Society; and at the Joan Miró Foundation
with the engraver Joan Barbarà.

Further information: http://artprintresidence.com/courses/