Solarplate Workshop

Sheri Tomek gave the first day of a two-day workshop on the new Solar Plates that artists are now using. The former plate technology is no longer available. The class was full weeks before it began -- as many people are interested in this very flexible medium. Images can be transferred onto the plates by using a large Light box in the Two Rivers Printmaking Studio. After this, plates can be further imaged just as any plate can be. 

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It's a brand new year, and if one of your resolutions was to live a more creative life, come join us at Two Rivers Printmaking Studio! New classes have already been scheduled for this winter and there are many more to follow as 2016 progresses. Keep checking our "Workshops" page to see what is coming up, or sign up for automatic emails when new classes are offered. Many fill quickly, so this is the best way to stay up to date! Most of our classes involve non-toxic forms of printmaking, and some can be done at home without a press.

Just a word of warning though, printmaking can be very addicting! I had only made one linoleum block print back in high school before I took a collagraph class at TRPS. I had gone to art school and owned an art gallery, but I knew next to nothing about printmaking, and certainly had no idea what a collagraph was before I signed up for the workshop. But I liked the fact that it was low-tech and involved use of non-toxic materials like mat-board and acrylic gel to make a plate. It only took one weekend workshop to hook me for life! I love that hand-pulled prints can be either traditional edition work or unique pieces that cannot be replicated. 

If you are a practicing artist in another discipline, one of our workshops could push you into new avenues of expression. Who knows where that could lead?

Isn't it time to find out?


Join us on Friday, November 6th, from 6 - 8pm for an opening reception at the studio. We will be showing the work of two women who have been with the studio since its early years.


Elizabeth Mayor began her art practice as a sculptor, so woodcut printmaking was a natural progression when she moved from 3-D to 2-D art making. She says that woodcut "appeals to my strong sense of touch and three dimensions. It is also very process oriented [and] I was trained in it by a very talented person." Lili, as she is known, uses dremels and other power tools as well as traditional woodcut knives to construct her plates. She often uses chine colle to add color to areas of her traditionally black and white prints. She also folds or collages her prints and often sews into her prints, linking elements of the image by hand and moving a two-dimensional image into the third dimension.

Lois Beatty moved from painting, to pulp paper painting at the renowned Rugg Road Studios, to what seemed "like a natural progression into monoprinting" and monotype. Lois has never been interested in producing editioned print work, but is drawn to creating unique prints where color, texture and layering play a central role. She often combines a number of collagraph plates with drypoint on plexiglass or metal plates. She says that she is "drawn to the fluidity and spontaneity of the monoprint. My imagery is seen to fall on the abstract side of whatever that line is, but it is always informed by reality: landscape, still life, and botanical or human forms."

Lois and Lili's new work will hang in the studio for the month of November. Lois will be teaching a monotype workshop at the studio on November 7 & 8. Both artists will be at the opening reception to talk about their work and processes. There will be live music and refreshments. We hope to see you there!