with Mayra Biajante
with Kimberly Hayburton
con Mariana Mizarela
with Ella Morton
with Lost Processes
with Guilherme Maranhão
con Felicita Russo
with Mayra Biajante
The course is an invitation to carry out interventions in photographs printed with embroidery. By applying this ancient and powerful technique to existing images, a personal dialogue is generated, containing the memory and personal experience of those who do it. With threads and needles, it is possible to express ideas in different ways and create unique objects. The course presents basic embroidery stitches applied on photographic paper, visual references and tools that help experiment with the technique in an artistic and poetic way.
Optional materials to prepare:
- Printed photographs (it can be any paper, but the smaller the grammage, the easier it is for the paper to tear).
- Embroidery threads: the most common are those that come in skeins (mouliné) or in rolls (perlé). But you can work with what you find at home, including sewing thread.
- Embroidery needles: thin needle to work with few threads (number 26 or 24) or thicker to work with several threads (number 22 or smaller). - pins with head or punch tool
- A piece of cardboard a little bigger than the photographs - pencil, eraser, ruler, compass.
Friday July 21, 16hs (Spain time) - Live!
Collage: Body and Landscape
with Mariana Mizarela
For this workshop, I propose you to develop a collage with the theme body and landscape. Humans throughout their existence have moulded the earth and modified the world to suit them. We can think from agricultural fields to urban landscapes. We are conditioned by our environment and, at the same time, we transform it. The landscape is a field of experimentation for the human being and the body is the tool. How do we behave and how our body interacts with its environment? Why do we walk the streets? Are many of our behaviours truly ours? Through the collage technique, with images of the human body, we will introduce human representation in different types of landscapes. How do we join the forms of the body in natural or artificial structures?
Optional materials to prepare: Magazines, photographs (landscape, faces, bodies, and other subjects), scissors, scalpel (optional), glue stick, A4 base paper, 80g (optional), ruler, pencil, and cutter.
We go to the origins of cinema and animated analogue films transforming a sequence of photographs into an animated clip that combines real images and analogue animation through the intervention of photographs. In the workshop, we will create a small clip in stop motion, frame by frame, from instant photographs taken with a thermal printing camera intervened with coloured markers, we will use our mobile devices to record and edit the video. We will also learn some tips for experimenting with our own thermal cameras.
Optional material to prepare:
- Thermal printing camera (or any other instant camera) with paper (or film) to print a minimum of 30 photos.
- Coloured acrylic markers (Poscas type) or conventional markers
- Other materials to intervene in the image, such as coloured wax, glitter, rubber bands, paint, embroidery thread...
Ferric Gum Printing: an Alternative to Bichromated Gum from Rusty Objects
Saturday, July 22, 4:00 p.m. (Spain time) - Live!
Lost Processes is a group of three people who jointly investigate rare and poorly documented processes, straying a little from the best-known historical techniques. The group is made up of Javier Piñana, Marta Peris and Laura Pallarés.
The first process we investigated was the Ferric Gum Process, which was invented in the 1970s by Michael Andrews. Iron gum is an unusual method of making photographic prints. It could easily have been invented in the 19th century because everything needed was readily available at that time. However, as far as I know, it wasn't invented until the 1970s. You could say it's a process invented after its time! It is a process that is still little known and little developed, so it still has some bugs and plenty of room for improvement. This technique is a great, much more ecological alternative to bichromated gum. Without using the toxic potassium bichromate, in this case, the photosensitive emulsion is made with ferric chloride, which in our case, as we like to complicate ourselves, we manufacture ourselves starting from rusty screws. The development of this process opens a very interesting way to find alternatives to other pigment processes that also use potassium dichromate.
Creating Cameras from Scanners: Scanography
You are able to make a digital camera by taking apart and recombining pieces from a flatbed scanner. I will tell you about slit photography and how that evolved into the scanners we have today. You will be able to familiarize yourself with the inside of a scanner while I'll explain how it works. I'll show you how to take it apart safely and also which software to use. We will go through the basic steps to capture images with the scanner-camera, along with the three main types of situations you can use this contraption in.
List of materials for the participants:
- One flatbed scanner, a standalone unit that connects via USB and that requires an external power cord, for example, HP 2200c works very well, anything similar should work - (can't be one that is attached to a printer or those very slim ones, the cheaper the better, check the recycle station in your neighbourhood).
- Vuescan third-party scanner software installed on your computer (trial version should be enough for this workshop)
- Screwdrivers (Phillips #0 and #1 should be enough for most scanners)
- Xacto knife
- Black adhesive tape
- Hot melt glue
Sunday, July 23 - Prerecorded
with Felicita Russo
A Polaroid Adventure
In this workshop, Felicita Russo will introduce you to the magic of light painting. Light is the main subject of photography: besides being used to illuminate an object. Light can be used to draw in the darkness, creating all sorts of different images that generate many different stories. Although Felicita started in light painting with digital photography, Polaroid has now become her preferred expressive medium.
- History of light painting.
- Some examples of different kinds of light painting.
- Description of the most common tools.
- Light painting in Polaroid, challenges and benefits.
- Demonstration of the process that led to some of her images.
- Inspirations and suggestions.
Suggested materials: Polaroid Now+ or Polaroid Onestep+ camera. Any kind of led flashlight. If you don't use Polaroid, you are going to learn a lot of valuable things you can easily apply to any kind of photography.
In this workshop, each participant will learn to make cyanotypes on absorbent, non-absorbent and volume supports, mainly using paper, cloth, sea shells and other materials that will be previously prepared. A cyanotype sample and its uses will be made, we will prepare the surfaces, and then emulsify the support and expose it to UV light using botanical elements and photographic images.
Optional materials to prepare:
- 1 cyanotype kit 50 ml or more (Ferric Ammonium Citrate and Potassium Ferricyanide)
- 30 gr Gelatin without flavour and without colour or Agar agar 20gr
- Corn starch Images printed on transparency/photolitho
- Botanical elements such as leaves with interesting silhouettes or pressed flowers
- Sponge brush Fine synthetic hair brush
- Masking tape
- Contact press 20x25 cm app or photo frame and clipboard
- Available sunlight or UV light table
- Tray with water where the supports fit
Recommended mixed surfaces:
- Watercolor paper 18x25cm 300 gr, 60% or 100% cotton
- Pieces of fabric 18x25cm Create or poplin, 60% or 100% cotton
- Light colored sea shells, with a smooth surface and microporosity
- Smooth and light colored stones
- Pieces of glass or mirror with sanded edges for greater safety.
- Other similar surfaces that you want to try.
Friday July 21 - Prerecorded
Introduction to Mordançage: Black and White Prints
with Ella Morton
This workshop will introduce participants to the fundamentals of mordançage. Mordançage is an obscure darkroom technique developed in the 1970s by French photographer Jean-Pierre Sudre, which evolved from the 19th-century process of bleach-etching. After producing silver gelatin prints in the darkroom, we will learn how to add veils and textures to each print with mordançage chemistry. We will discuss the components of the chemistry, the steps of bleaching and redeveloping, and emulsion manipulation techniques. Participants will learn the nuances of this haunting process and will leave the workshop with the knowledge to create fully-realized mordançage prints.