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FESTIVAL  

TALLER 01.jpg
Annette Golaz2
Dulce Delía1
Paula Dornan2
Paula Dornan
Dulce Delía
Virginia Dal Magro
Manuel Limay
Annette Golaz

T36. Botanical Collage
4 HOURS

In this workshop we will experiment with photography and nature, combining them to generate works of art that are both ephemeral and organic. You will learn how to create your own photographs on leaves (chlorophyll prints) and to form compositions that are quite literally full of life, through botanical collages. This is a workshop in which we will explore our memories to generate photographs that emanate vitality and nostalgia.

theoretical part

- I show my projects. Concept and works.

- Botanical collage: how to transplant an image to another support (in this case fabric), types of support and

response of plants to the environment, planting seeds, types of plants and conservation.

- Common debate around the ephemeral. What is the value of an artistic work with an expiration date? Do we live in the empire of the ephemeral (fashion, social networks...)?

Practical part

- I will take the photographs chosen by the participants transferred on cloth (it takes hours to dry, that's why

I have some already transferred from home) and seeds.

- We will carry out the planting of the seeds and we will learn to make our own crop for this seed.

- We will carry out the transfer process for a second collage that you can continue at home.

Please send me a selection of 10 images of memories that you want to work on (family portraits, photos of friends...) as soon as possible. My address is paudorr@gmail.com Thank you!

T41. Chlorotype and botanical collage
8 HOURS

In this workshop we will experiment with photography and nature, combining them and generating ephemeral organic works. You will learn to create your own photographs on leaves (chlorotypes) and to form compositions full of life (literally) through botanical collage. We will also work on alternative processes to integrate plants into your artistic compositions in different ways. A workshop to explore memories to generate works full of vitality and nostalgia.

theoretical part

- Show of my project. Concept and works.

- Chlorotype: how to do it, types of leaves, mode of conservation.

- Botanical Collage: how to transplant an image to another support (in this case fabric), types of support and response of the

plants in the environment, seed planting, types of plants, conservation.

- Debate in common around the ephemeral. What is the value of an artistic work with an expiration date?

Do we live in the empire of the ephemeral (fashion, social networks...)?

Practical part

- I will bring the photographs chosen by the participants transferred on cloth (it takes hours to dry, that's why I already have some

transferred from home) and seeds. We will plant the seeds and create a culture medium to acquire a botanical collage over time.

- We will carry out the Transfer process so that you can make a second collage at home.

- We will prepare a chlorotype sheet.

- We will carry out the process of fixing one of my leaves with sulfated copper and vegetable glycerin

For the workshop, I need you to send in advance a selection of 10 images of memories you want to work with, family portraits, photos of your friends... to the email: paudorr@gmail.com

T08. Gum arabic print:
between reproduction and monotype

4 HOURS

Choosing the right image and show quickly how to modify it in order to have the right contrast and the best result in the printing process. Print the photocopy and prepare it with shellac. How to prepare and use the arabic gum and then using different techniques to put ink and print it.

- 20 minute introduction of the technique showing possible results

- 40 minutes preparing the print matrix with shellac and arabic gum

- 10/15 minute break while waiting for the matrix to dry and explaining the next steps

- 2 hours preparation of the printing ink, show different ways to ink and start printing

- 30 minutes. Conclusion of the workshop comparing the different effects and learning about the possible “mistakes”

Participants must bring: 

- Printed mirrored photocopies or jpg files 

- Supports they want to print on (paper, Wood, canvas, anything flat)

T16. PrintLoop:
Cyanotype, Cliché Verre and Gum Arabic Print

8 HOURS

I'll show how to handprint with gum arabic print the negative for the cyanotype creating a 2 layers print with the cliché verre printing itself with calcographic ink on the paper (or any other support) using a baren or a spoon -pressure- being at the same time the positive and the negative: the ink will print itself and cover the UV rays so it will keep the support unprinted from the cyanotype creating the space for the ink to be printed in and bonding the 2 techniques in one.

How will the cliché transfer the ink? Because calcographic ink is oil-based so on plastic transparent paper (the one used for negatives for cyanotype) it doesn't dry fast. Gum arabic print uses a lot of ink so when printed on the plastic will be able to be transferred once again on the cyanotype (leaving some details behind but that's the fun part).

T02. Red chlorophyll and leaf tincture
8 HOURS

Contents:

- More suitable leaves

- Treatment of leaves

- Acetate design

- Preparation of the plates

- Insolation and light blocking

- Conservation

- Dyeing of leaves

- drying

1st class

choice of sheets

Preparation of the leaves

acetate design

Preparation of the plates

Insolation and light blocking

2nd class

leaf dyeing

Conservation

T17. Chlorotype:
photosensitive stool and painting intervention

8 HOURS

Contents to develop:

- The photosensitivity of plants from the intestinal microbiota of the res

- On the case of the popular Peruvian saint Udilberto

- Photosensitive feces

- Chlorotype

- Preparation of acetates

- Preparation of plates

- Process revealed in feces

- Sunstroke

- Humidity control

- Image lock

- Final results

- Dyeing and intervention of products.

timeline

- Class 1

The photosensitivity of plants from the intestinal microbiota of the res

On the case of the popular Peruvian saint Udilberto, accused of rape

photosensitive stool

Preparation of acetates

Plate Preparation

Revealing process in feces

Insolation

Chlorotype: development of photographs and designs on sheets

Insolation and light blocking

Change of wet supports

- Class 2

Fixed

Conservation Modes

product intervention

product dyeing

drying

T13. Multicolored and Multilayered Cyanotypes
12 HOURS

Participants will learn how to print a tricolor image with a red, a yellow and a blue layer. They can print a tricolor photograph or experiment with multilayered photos or even a combination of negatives and photos. I will bring various materials which work well for photograms (structured Japanese paper, structured acrylic glass, laces, feathers, fabric, plastic material etc).

First session

I will briefly outline the principles of the tricolor cyanotype process. However, participants will get a handout (in English) with detailed information on the entire process including calibrating and printing negatives.)

Participants will plan their project and print the first cyanotype layer which will get toned red the next day.

We bleach this layer with sodium carbonate and dry the layer.

We soak the madder roots so that they are ready for use the next day.

second session

We prepare the toner bath and tone the red layer

In the meantime, I will explain the process in more detail and there is time for questions

We dry the layer

Third session

We print the yellow layer and bleach it with sodium carbonate

We print the last blue layer

Participants must be familiar with the cyanotype process. bring: Those who want to print a tricolor photograph must send their photograph by wetransfer.com (a.golaz@gmx.ch) to me at the latest on Friday, July 8th so that I can print their negatives.

T62. Colorful is the New Blue:
Toning Cyanotypes with Botanicals
4 HOURS

In this workshop, I will focus on toning cyanotypes with botanicals. I will not go into the cyanotype process itself. However, participants will get a handout (in English) with all the information they need to make successful cyanotypes, should they be new to the process, as well as detailed information on toning.

Participants can bring their own cyanotypes (paper size: no larger than 24 x 20 cm) and/or botanical material if they wish, for example, leaves from evergreen plants or kitchen herbs (50 g of each plant they bring). Or they can work with various cyanotypes on different papers and tone them with the botanical material I will provide. The goal is to experiment with as many toners as possible so that the participants get familiar with toning and get an insight into the boundless possibilities that toning with botanicals offers.

I will briefly outline the principles of toning and why and how it works.

Each participant can prepare different toners, starting with the ones that take the longest to tone.

Cyanotypes can be bleached to various degrees before toning if desired (not necessary, but leads to different color outcomes).

Some prints can also go into more than one bath.

Participants must bring:

- If you have, bring your own cyanotypes, 24 x 20 cm max
- Leaves of evergreen plants (50 gr. of each plant)
- Kitchen herbs (50 gr. of each plant)

T64. Cianotipia con papeles reutilizados, objetos y palabras
4 HORAS

En este taller introductorio a la cianotipia, buscaremos inspiración en la forma de pequeños objetos y en palabras sueltas o frases breves, experimentando sobre papeles reutilizados de diversa índole (como hojas de cuadernos escritos, hojas pentagramadas, hojas de libros, papel de diarios o revistas antiguas, entre tantas otras posibilidades), buscando relaciones entre el soporte y las imágenes y palabras a imprimir.

Contenidos y esquema del taller:

1) Presentaciones de lxs participantes.

2) Presentación de la técnica con breve introducción histórica del cianotipo.

3) Riesgos y precauciones en la utilización de los químicos.

4) Cianotipia paso a paso: materiales necesarios y condiciones del espacio; preparado del soporte; preparado de la emulsión; emulsionado; secado; realización de negativos caseros con papel vegetal y tinta; armado de composiciones por contacto con objetos planos y negativos caseros; prensado; exposición solar; revelado; secado final.

5) Visionado de producciones artístico-experimentales que se valen de la cianotipia.

6) Cierre: compartimos y analizamos resultados. Intercambio de cianotipos entre lxs participantes. Propuesta de intervención callejera con cianotipos pequeños.

Los participantes deben traer:
- 2 vidrios transparentes de 10x10
- Bolígrafo para tomar notas.
- Objetos pequeños y planos (hojas pequeñas de árbol, hilos, plumas, puntillas, tejidos pequeños y translúcidos, etc.). Es importante que no midan más que 7x10cm. y que sean lo más delgado posible.
- Una caja para llevarse lo producido en el taller

T29. Cianotipia en vidrio con sustancias veganas y biodegradables
8 HORAS

In this workshop the main objective is to explorethe creative possibilities of two vegan and biodegradable substrates that can be used as a binder alternative to the traditional use of gelatin of animal originfor carrying out chemical photography on non-porous supports, such as glass, metal or plastic. The dynamics of the workshop consists of two meetings. In the first, the two types of substrates will be prepared and left to dry for the next meeting. This first instance requires a stove to obtain the preparations. Each participant will have the opportunity to produce two substrates, one with agar-agar gelatin and the other with homemade vegan bioplastic. In the second meeting, blueprints will be made on the substrates produced in the first meeting, so each participant will have the opportunity to produce two blueprints on these alternative supports. Being part of the artisan production process of the supports itself, one of the objectives is that the participants can discover or test possible links between materiality, form of production and image.
Contents of the meeting No 1:
- Conformation of industrial photographic films and papers.
- Definition of photographic support. Porous and non-porous supports.
- Definition of binder.
- Alternative binders: agar-agar gelatin and homemade vegan bioplastic. Necessary materials. Preparation and application on transparent, colorless glass. drying.
- Analysis of results obtained up to this instance.

Contents of the meeting No 2:
- Emulsion of the supports worked in meeting No 1.
- Drying of the emulsion.
- Assembly of the composition with small flat objects or negatives for cyanotype.
- Pressed.
- Solar exposition.
- Revealed.
- Final drying.
- Analysis of the final results.

Participants must bring:
- Two small glass plates. This glass must be transparent, colorless, smooth, 2 millimeters thick (no greater), and no larger than 10x10 centimeters. If you have a 2mm piece of glass but it is slightly larger than 10x10cm, you can take it on the first day of the workshop so that it can be cut there and thus adapt it to the required size, depending on the number of participants.
- Scissors.
- Birome, pen or dark ink fibers.
- Small and flat objects (small format cyanotype negatives, or small tree leaves; threads; feathers; lace; small and translucent fabrics, etc.). It is important that sayings do not measure more than 7x10cm. and that they are as thin as possible (not very thick).
- Elements to take note if you wish.
- A box in which you can take your productions.

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