Chris Snedden

 

Itinerary for a Two day workshop with Chris Snedden on

The Slip Decorated Surface and Image Transfer

 

Day 1:

◦ Subjects covered: Expanded slip. Creating a solid ground of colour, brushwork, finger painting with slip. Scrafitto, Mishima, Hakeme, various layered slip techniques, Wet ground work including marbeling, feathering, and mocha diffusion.

·      the mono printing process: using a random image drawn from a newspaper, trace the picture and back paint it to add colour to the composition. Have everyone try making a smaller flat tile piece. This will familiarize everyone with the transfer process and help the participants gain a sensitivity to when to remove the covering paper from the monoprint, avoid air bubbles that disrupt the image, and how to fix them if they do occur.

·       a good time to introduce the use of formal elements and principles of design and how they can be used to improve composition on one's pieces and create interest in the work.

 

Day Two:

·      creating repeat prints using rubber stamps, or “block printing” with slip. We will go over tips and tricks to make your prints viable for the transfer process and how to tell if the slip is the correct consistency to “daub” onto the printing block. We will practice this process to make sure everyone has it under their belt, and use some maybe on the flat piece that we created the day before.

·      an explanation and demonstration of how to make silk screens. How, using Photoshop, to convert images to the high contrast black and white necessary to make the transparencies used to “burn” the photo silk screens.  Note: Everyone will receive handouts and product lists so they know what products to use for this process. I will describe how to coat the silk screen with the photo sensitive emulsion and “burn” a screen, washing out the soft bits to create the screen. While that screen dries we will use some prints from the “morgue” of prints I will bring with me.

·      next the participants will explore using their silkscreen prints in combination with paper resist, and all the other techniques demonstrated, to create depth on the surface of their pieces. Cutting out their prints with scissors and using them in their compositions, maybe in combination with block prints and mono-prints, learning how to make them opaque or transparent to show the background through an image and how to burnish the images on to the leather hard ware.

·      Gather the works created together for a critque and problem solving session given time.

 

Learning outcome: At the end of the workshop participants will have a greater knowledge of how to use traditional techniques on their work, create their own slip transfers, using various methods, and have some ideas about using them to create either abstract pattern, custom presentation pieces, or subjective narrative or expressive effects on their work.  

Materials list for participants to bring:

Mandatory:
- a tile any size or shape but at least as large as your hand splayed out,
- a cylindrical object like a vase (handles can be added after decorating)
 -2 plates in the leather hard state, in the clay that they use in their own practice, for slip decorating. Hand built or thrown is the makers choice, but the surface needs to be dead smooth.
- A metal spoon or burnishing tool.
- A rubber rib (the yellow Mudtools one is the one I use, but don't go out and buy it specially.)
- Scissors.
 -An interesting picture, or two, taken from a newspaper not a magazine.


Nice to have if you've got it:
-Slip trailer

-brushes

-any rubber stamps you have around (make sure your name is labelled on them so you get them back)

-slips and/or under glazes.