Wood lithography: mokulito workshop

About this course

Participants investigate Mokulito from preparing the wood matrix through processing and printing, using Rochat and Littlejohn presses. The workshop explores gestural marks, non-standard tools, wood grain, frottage, rubbings, stencils, collage, hand burnishing and layered compositions. Practical work is supported by talks, demonstrations, individual tutoring and group discussion. Research into artists working with Mokulito and lithography, along with informal discussion and reflection, informs the development of sustained images and experimental print outcomes.

What you'll learn

• Operate the Rochat and Littlejohn presses with awareness of relevant health and safety procedures.
• Identify characteristic qualities of Mokulito and related printmaking processes.
• Use non-standard tools to investigate different mark-making effects.
• Develop and edit images through additions, collage and other printmaking techniques.
• Apply stencils and layers in printed compositions.
• Assess how printmaking processes can support different marks, scales and subjects.

Is this course right for you?

The course is intended for improvers with good basic drawing skills, which the provider describes as essential for making the most of the workshop. Some printmaking experience is recommended. Learners should be able to follow written and verbal instructions and take part in group discussion alongside practical and individually tutored work.

• Good basic drawing skills are described as essential.
• Some previous printmaking experience is recommended.
• Participation includes group discussion as well as individual practical work.

Before you go

• Bring reference material for prints, such as sketches, photographs, objects or ephemera.
• Basic materials, including inks, solvents and proofing papers, are covered by the course fee.
• Basic equipment is provided. Extra or special tools may be brought if desired.
• A sketchbook and camera, including a phone camera, are useful for documenting proof stages and image development.
• Optional preparation may include cutting stencils or researching artists.
• Lint-free rags and newspapers may be donated for cleaning.