PRESENTATION OF THE WORKSHOP
Intaglio engraving (or engraving on metal plates) involves different techniques, of which drypoint and etching are two of the most basic and important.
In this workshop, held in conjunction with the Museo Picasso Málaga, students will be able to experiment with both techniques, learning to use different tools and to deploy all their creativity through the technique of engraving.
The workshop is divided into two days, each of 4 hours of work (from 11.00 to 15.oo hrs. each day), where the following topics will be developed:
. Drypoint. Tools and their characteristics
. Etching. Hard varnish .
. Acids . Non-toxic composition
. Printing. Inking techniques . Dye knife. Roller.
To carry out the work, the student will have 2 metal plates (1 of copper and 1 of zinc) of 12.5 x 16.5 cm format and 1 mm thick).
&nbsp;
<img loading="lazy" class="wp-image-10202 size-full alignleft" src="https://gravura.es/wp-content/uploads/2016/02/plancha-detalle1-1.jpg" alt="" width="425" height="319" /> 
<img loading="lazy" class="wp-image-10203 alignleft" src="https://gravura.es/wp-content/uploads/2016/02/paco-cepillo-1.jpg" alt="" width="304" height="228" /> 
<img loading="lazy" class="wp-image-10205 alignleft" src="https://gravura.es/wp-content/uploads/2016/02/curro1-1.jpg" alt="" width="316" height="237" /> 
<img loading="lazy" class="wp-image-10207 alignnone" src="https://gravura.es/wp-content/uploads/2016/02/paco-con-plancha-1.jpg" alt="" width="304" height="228" />

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WORKSHOP FOR BEGINNERS IN INTAGLIO ENGRAVING

<H3>INTRODUCTION TO THE WORKSHOP</h3>
The workshop is aimed both at people who are new to printmaking and those who have already made some incursion into this discipline. We will open the course with a study of the graphic possibilities of the line in drypoint and we will deal with the meeting points that this direct and primordial technique has with drawing. Aquatint will be used as an additional process to create backgrounds or tonal planes, in the same matrix or in a complementary matrix.
We intend to focus the development of the course from the dynamics of a printmaking workshop so that it will be an example for future initiatives of the participants, in this sense, they will participate in the whole process necessary for the elaboration of the work in an autonomous way.
The participants will have 4 plates of 12.5 x 16.5 cm format (1 copper, 2 zinc and 1 methacrylate).
<div id="attachment_10456" style="width: 810px" class="wp-caption aligncenter"><a href="https://gravura.es/wp-content/uploads/2016/10/PAISAJE-NORDICO-I-.jpg"><img aria-describedby="caption-attachment-10456" loading="lazy" class="size-full wp-image-18363" src="https://gravura.es/wp-content/uploads/2016/10/PAISAJE-NORDICO-I-.jpg" alt="NORTHERN LANDSCAPE I 2001 Aquatint, drypoint Plates Copper (2) Zinc (1) 200 x 490 mm. Paper Velin Cuve BFK Rives 390 x 650 mm. 3 Inks Edition 60 /60 PA VI / VI Edited in El Taller Gravura, Malaga." width="800" height="313" srcset="https://gravura.es/wp-content/uploads/2016/10/PAISAJE-NORDICO-I-.jpg 800w, https://gravura.es/wp-content/uploads/2016/10/PAISAJE-NORDICO-I--540x211.jpg 540w, https://gravura.es/wp-content/uploads/2016/10/PAISAJE-NORDICO-I--550x215.jpg 550w" sizes="(max-width: 800px) 100vw, 800px" /></a>Paco Aguilar/ 2001/ Aquatint, drypoint/ Nordic Landscape I
</div>
&nbsp;
<h3>CONTENTS</h3>
<ol>
<li>PRESENTATION</li>
</ol>
. Introduction to the development of the workshop. Method of work .
. Materials and tools.
<ol start="2">
<li>PROCESOS</li>
</ol>
. The plate. Polishing and bevelling
. Matching points between the drawing and the drypoint .
. Characteristics of the drypoint line
. Reference method of visualisation .
. Tonal gradation of the drypoint to deep black .
. Correction and removal of areas to suit
. Application of the burin to define shapes. Retouching
. Aquatint . The resin
. Creation of second planes
. Acids . Composition .
. Tonal gradation . Time scale .
. Inking . 
. Cleaning processes .
. Printing. Stamping with two dies. Registration .
. The paper. The types. The grammage
. Drying, cleaning and conservation of the finished print.
. Signature and numbering
<ol start="3">
<li>SHARING, DOCUMENTATION</li>
</ol>

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DRY POINT and AGUATINTA CALLIGRAPHIC ENGRAVING WORKSHOP

The basic aim of the workshop will be to review the different techniques of intaglio engraving and their combination, being open to experimentation throughout the work process.
In the indirect procedures we will deal with the graphic possibilities of line and relief etching, the varieties of aquatint and soft varnish. We will also practise with the different alternatives in direct incision, perforations, die-cutting or cutting and reconstruction of the matrix.
In printing, we will apply different forms of inking, ways of reporting images and collage with one or several matrices.
The interests of each participant will be taken into account, encouraging the adaptation of the different techniques to their own work.
1. PROGRAMME
<ol>
<li>PROCESSES</li>
</ol>
<ul>
<li>The plate. Polishing and bevelling</li>
<li>Tools and their characteristics</li>
<li>Line etching</li>
<li>Soft base varnish. Texture registration</li>
<li>Box and manual</li>
<li>Sugar aquatint</li>
<li>Drypoint. Characteristics</li>
<li>Referential method of visualisation during the process.</li>
<li>The squeegee. Correction and elimination of areas to be agreed</li>
<li>The berceau. Tonal gradation, black way</li>
<li>Other alternative methods and tools in direct processing</li>
</ul>
2. LA ESTAMPACIÓN
<ul>
<li>. Printing methods</li>
<li>. Image report and collage</li>
<li>. The paper. Types of paper. The grammage</li>
<li>. Drying, cleaning and conservation of the finished print.</li>
<li>. Signature and numbering</li>
</ul>
<ol start="3">
<li>SHARING. DOCUMENTATION</li>
</ol>
<img src="https://gravura.es/wp-content/uploads/2016/11/7-de-julio-002-1024x664.jpg" />
<img src="https://gravura.es/wp-content/uploads/2016/11/8-DE-JULIO-042-1024x768.jpg" />

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WORKSHOP ON INITIATION AND EXPERIMENTATION IN INTAGLIO ENGRAVING

The aim of the workshop is to learn the technique of intaglio and relief engraving on polymer plates already prepared with photosensitive emulsion. With these processes we will be able to obtain prints from various processed photopolymer plates, from drawings, gouache, line, stroke, digital image to relief, the latter on different photolithographs with the use of various materials. The participants will have 3 plates of 15 x 20 cm, one for direct method, one for photo and one for relief.
DEVELOPMENT OF THE WORKSHOP
<ol>
<li>Contact with photopolymer. Sample examples and work.</li>
<li>Direct method. Washes, strokes, lines&#8230; on opaque polyester.</li>
</ol>
Obtaining of the photolith, insolation, developing and printing.
<ol start="3">
<li>Indirect method &#8211; digital image on transparency.</li>
</ol>
Obtención de fotolito, intervención manual (o no ), insolación,
revelado y estampación
<ol start="4">
<li>Relieve – gofrado, entintado, o no, a rodillo</li>
</ol>
Obtaining photolithography, manual intervention (or not), exposure to sunlight,
developing and printing.
<ol start="5">
<li>Documentation</li>
</ol>

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PHOTOPOLYMER workshop with photosensitive emulsion plate

&nbsp;
ORGANISED BY THE PROVINCIAL GOVERNMENT OF MALAGA AND THE GRAVURA ENGRAVING WORKSHOP
<img loading="lazy" class="size-medium wp-image-20713 aligncenter" src="https://gravura.es/wp-content/uploads/2020/11/Sin-titulo-2-550x344.jpg" alt="" width="550" height="344" />
The workshop aims to learn how to process the digital image in order to transfer it to a physical support, which can be inked and printed. We will learn how to generate different types of positives, the procedure for transferring them to photopolymer film and the process for obtaining the finished matrix for the final print.
The development of the course will be focused on the dynamics of a printmaking workshop, so that the participant learns how it works and participates in the whole process necessary to produce the graphic work independently. In this sense, we will set up the place defining the different printmaking areas, so that it can serve as a model for subsequent initiatives.
The participants will have three 15 x 20 cm format matrices to develop their work.
<img loading="lazy" class="size-medium wp-image-20715 aligncenter" src="https://gravura.es/wp-content/uploads/2020/11/Sin-titulo-1-550x367.jpg" alt="" width="550" height="367" />
<h1></h1>
CONTENTS
<ol>
<li style="list-style-type: none;">
<ol>
<li style="list-style-type: none;">
<ol>
<li>PRESENTATION</li>
</ol>
</li>
</ol>
</li>
</ol>
. Introduction to the development of the workshop.
. Introduction to photopolymer.
. Equipment, materials and tools.
<ol>
<li style="list-style-type: none;">
<ol>
<li style="list-style-type: none;">
<ol start="2">
<li>PROCESSES</li>
</ol>
</li>
</ol>
</li>
</ol>
. Direct method. Washes, strokes, lines&#8230; on opaque polyester.
. Indirect method. Digital image on transparency.
. Manual intervention (or not)
. Generation of digital positives
. Image processing
. Image transfer method
. Insolation, development and fixation
. Printing techniques
<ol>
<li style="list-style-type: none;">
<ol>
<li style="list-style-type: none;">
<ol start="3">
<li>SHARING, DOCUMENTATION</li>
</ol>
</li>
</ol>
</li>
</ol>
&nbsp;
STRUCTURE
PLACE: CENTRO CULTURAL MVA
DATE: 13 to 16 October 2020
HOURS: from 17.00 to 20.30 hours
No. of STUDENTS: Maximum 12
PARTICIPANT PROFILE: artists, BBAA students, teachers and in general anyone interested in graphic art. (Brief curriculum vitae)
MATERIALS: Included. Students must bring a laptop computer.
REGISTRATION: <a href="https://www.malaga.es/agenda/com1_md3_cd-29503/taller-de-fotograbado-de-la-imagen-digital-al-grabado">https://www.malaga.es/agenda/com1_md3_cd-29503/taller-de-fotograbado-de-la-imagen-digital-al-grabado</a>

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PHOTOENGRAVING WORKSHOP. From digital image to engraving

<img loading="lazy" class="size-medium wp-image-20721 aligncenter" src="https://gravura.es/wp-content/uploads/2020/11/Sin-titulo-1-1-550x303.jpg" alt="" width="550" height="303" />
The workshop aims to learn how to process the digital image in order to transfer it to a physical support, which can be inked and printed. We will learn how to generate different types of positives, the procedure for transferring them to photopolymer film and the process for obtaining the finished matrix for the final print.
The participants will have three 15 x 20 cm format matrices to develop their work.
The development of the course will be focused on the dynamics of a printmaking workshop, so that the participant learns how it works and participates in the whole process necessary to produce the graphic work independently. In this sense, we will set up the place defining the different printmaking areas, so that it can serve as a model for subsequent initiatives.
<img loading="lazy" class="size-medium wp-image-20723 aligncenter" src="https://gravura.es/wp-content/uploads/2020/11/Sin-titulo-2-1-382x500.jpg" alt="" width="382" height="500" />
&nbsp;
<ol>
<li style="list-style-type: none;">
<ol>
<li style="list-style-type: none;">
<ol>
<li>PRESENTATION</li>
</ol>
</li>
</ol>
</li>
</ol>
. Introduction to the development of the workshop.
. Introduction to photopolymer.
. Equipment, materials and tools.
<ol>
<li style="list-style-type: none;">
<ol>
<li style="list-style-type: none;">
<ol start="2">
<li>PROCESSES</li>
</ol>
</li>
</ol>
</li>
</ol>
. Common basic principles of photoengraving.
. Indirect method. Digital image on transparency.
. Generation of digital positives.
. Image processing.
. Image transfer method.
. Insolating, developing and fixing the image.
. Printing techniques.
3. SHARING, DOCUMENTATION
&nbsp;
STRUCTURE AND DEVELOPMENT
PLACE: <a href="https://sites.google.com/view/lacasadelescultor/">HOUSE OF THE SCULPTOR / CASAR DE PERIEDO/ CANTABRIA</a>
DATE: from 18 to 20 November 2020
SCHEDULE: from 10.30 a.m. to 1.30 p.m. and from 5 p.m. to 8 p.m.
Nº of PUPILS: Maximum 6
TUITION FEE: 330 €.
PARTICIPANT PROFILE:  Artists, students of Fine Arts, teachers and in general anyone interested in graphic art.
MATERIALS: Tuition includes all materials.
* It is advisable for each participant to bring a laptop computer, preferably with Adobe Photoshop CS6 or later installed.
&nbsp;
ORGANIZA:
Casa del Escultor &amp; Gravura Printmaking Workshop Gallery
Contact and reservations
Tel. 952 21 01 41 / 696580873 / 639339139.
<a href="mailto:galeriatallergravura@gmail.com">galeriatallergravura@gmail.com</a> / <a href="mailto:fcuestaruiz@gmail.com">fcuestaruiz@gmail.com</a>

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Photoengraving, as a technical process of intaglio engraving, allows us to transfer an image to photopolymer film, whether it is a drawing, photograph, gouache or digitally treated image. The transfer will be carried out by means of insolating, developing and fixing this film so that it can then be used as an engraved matrix for stamping or as a reserve for etching metal with traditional intaglio techniques.
We will use copper as a support for the photopolymer film. The participants will have 3 copper matrices for the development of their work (2 of 12.5 x 16.5 cm and one of 25 x 16.5 cm).
<h3 style="padding-left: 30px;">CONTENTS</h3>
<ol>
<li>PRESENTATION</li>
</ol>
&nbsp;. Photopolymers. Characteristics
&nbsp;. Equipment, materials and tools
<ol start="2">
<li>PROCESOS</li>
</ol>
&nbsp;. Preparation of the matrix. Lamination
&nbsp;. Photography, digital imaging. Generation of digital positives
&nbsp;. Printing of the photolithograph
&nbsp;. Transfer method. Insolating, developing, fixing and printing.
&nbsp;. Gouache, stroke and line. Printing, developing, fixing and printing.
&nbsp;. Application of traditional techniques
&nbsp;. Inking. Printmaking. Collage
<ol start="3">
<li>SHARING, DOCUMENTATION</li>
</ol>
&nbsp;<img loading="lazy" class="aligncenter wp-image-18935 size-full" src="https://gravura.es/wp-content/uploads/2018/04/curso-2018.jpg" alt="" width="1452" height="236" srcset="https://gravura.es/wp-content/uploads/2018/04/curso-2018.jpg 1452w, https://gravura.es/wp-content/uploads/2018/04/curso-2018-540x88.jpg 540w, https://gravura.es/wp-content/uploads/2018/04/curso-2018-550x89.jpg 550w, https://gravura.es/wp-content/uploads/2018/04/curso-2018-1024x166.jpg 1024w, https://gravura.es/wp-content/uploads/2018/04/curso-2018-820x133.jpg 820w" sizes="(max-width: 1452px) 100vw, 1452px" />
&nbsp;<img loading="lazy" class="aligncenter wp-image-18936 " src="https://gravura.es/wp-content/uploads/2018/04/Ccurso-campo-2.jpg" alt="" width="1145" height="210" srcset="https://gravura.es/wp-content/uploads/2018/04/Ccurso-campo-2.jpg 987w, https://gravura.es/wp-content/uploads/2018/04/Ccurso-campo-2-540x99.jpg 540w, https://gravura.es/wp-content/uploads/2018/04/Ccurso-campo-2-550x101.jpg 550w, https://gravura.es/wp-content/uploads/2018/04/Ccurso-campo-2-820x150.jpg 820w" sizes="(max-width: 1145px) 100vw, 1145px" />

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PHOTO ENGRAVING WORKSHOP with photopolymer film on copper

<img loading="lazy" class="size-medium wp-image-20699 aligncenter" src="https://gravura.es/wp-content/uploads/2020/11/PABLO-REODRIGUEZ-GUY-499x500.jpg" alt="" width="499" height="500" srcset="https://gravura.es/wp-content/uploads/2020/11/PABLO-REODRIGUEZ-GUY-499x500.jpg 499w, https://gravura.es/wp-content/uploads/2020/11/PABLO-REODRIGUEZ-GUY-1021x1024.jpg 1021w, https://gravura.es/wp-content/uploads/2020/11/PABLO-REODRIGUEZ-GUY-330x330.jpg 330w, https://gravura.es/wp-content/uploads/2020/11/PABLO-REODRIGUEZ-GUY-540x541.jpg 540w, https://gravura.es/wp-content/uploads/2020/11/PABLO-REODRIGUEZ-GUY-100x100.jpg 100w, https://gravura.es/wp-content/uploads/2020/11/PABLO-REODRIGUEZ-GUY-419x420.jpg 419w, https://gravura.es/wp-content/uploads/2020/11/PABLO-REODRIGUEZ-GUY.jpg 1198w" sizes="(max-width: 499px) 100vw, 499px" />
<h6 style="text-align: center;">Pablo Rodríguez Guy. «The game of life I». Intaglio/relief. 2006</h6>
In the last decades of the 19th century, the first experiments that incorporated relief into graphic work were introduced into engraving. It was the historical avant-gardes of the beginning of the last century that promoted matter as the subject of the work, influencing and driving the transformation of engraving, which absorbed these approaches and translated them into experiments such as Collagraph or Colagraphy. From the 1950s onwards, with the appearance of new acrylic materials, the development of additive techniques in printmaking reached its peak.
Collagraph or collagraphy is an additive technique of engraving and, to a lesser extent, subtractive, as we can also work by removing matter. Another characteristic that differentiates it from traditional processes is that it does not require the action of acids; adhesives are the basic materials for the construction of the matrix. In this workshop we will replace the traditional metal matrices with others made of cardboard, wood or plastic. On these matrices we will incorporate different elements in the form of a collage, being able to continue later with traditional engraving techniques or using other methods, such as pastes that allow them to be moulded during the drying phase.
<img loading="lazy" class="size-medium wp-image-20701 aligncenter" src="https://gravura.es/wp-content/uploads/2020/11/CASA-CAMPO-477x500.jpg" alt="" width="477" height="500" srcset="https://gravura.es/wp-content/uploads/2020/11/CASA-CAMPO-477x500.jpg 477w, https://gravura.es/wp-content/uploads/2020/11/CASA-CAMPO-977x1024.jpg 977w, https://gravura.es/wp-content/uploads/2020/11/CASA-CAMPO-540x566.jpg 540w, https://gravura.es/wp-content/uploads/2020/11/CASA-CAMPO-401x420.jpg 401w, https://gravura.es/wp-content/uploads/2020/11/CASA-CAMPO.jpg 1143w" sizes="(max-width: 477px) 100vw, 477px" />
<h6 style="text-align: center;">  Rural gravel. Place of Arroyo Coche, Almogía, Málaga.</h6>
&nbsp;
CONTENTS
<ol>
<li style="list-style-type: none;">
<ol>
<li style="list-style-type: none;">
<ol>
<li style="list-style-type: none;">
<ol>
<li>PRESENTATION</li>
</ol>
</li>
</ol>
</li>
</ol>
</li>
</ol>
. Historical background. Relief in engraving.
. Introduction to Collagraph or Collagraphy.
. Description of the development of the workshop. Methods of work.
. Details of the materials to be used.
<ol>
<li style="list-style-type: none;">
<ol>
<li style="list-style-type: none;">
<ol>
<li style="list-style-type: none;">
<ol start="2">
<li>PROCESSES</li>
</ol>
</li>
</ol>
</li>
</ol>
</li>
</ol>
. Choice and preparation of the matrix.
. Matrices in high and low relief.
. Inorganic materials Organic materials.
. Acrylic gesso. Textured flat areas.
. Liquid plastics.
. Synthetic fixing resins.
. Plate lamination.
. Embossing or dry etching.
. Traditional poupeé printing.
. Simultaneous embossing and relief printing.
. Types of paper.
. Justification of the print run.
. Numbering and signature of the print.
<ol>
<li style="list-style-type: none;">
<ol>
<li style="list-style-type: none;">
<ol>
<li style="list-style-type: none;">
<ol start="3">
<li style="text-align: left;">SHARING AND DOCUMENTATION</li>
</ol>
</li>
</ol>
</li>
</ol>
</li>
</ol>
<img loading="lazy" class="wp-image-20703 aligncenter" src="https://gravura.es/wp-content/uploads/2020/11/curso-campo-3-550x101.jpg" alt="" width="648" height="119" srcset="https://gravura.es/wp-content/uploads/2020/11/curso-campo-3-550x101.jpg 550w, https://gravura.es/wp-content/uploads/2020/11/curso-campo-3-540x100.jpg 540w, https://gravura.es/wp-content/uploads/2020/11/curso-campo-3-820x151.jpg 820w, https://gravura.es/wp-content/uploads/2020/11/curso-campo-3.jpg 992w" sizes="(max-width: 648px) 100vw, 648px" />
&nbsp;
DATE: From 20 to 24 July 2020
PLACE:<a href="https://www.google.es/maps/place/36%C2%B053'10.3%22N+4%C2%B030'32.6%22W/@36.8861944,-4.5090556,15z/data=!3m1!4b1!4m2!3m1!1s0x0:0x0"> Workshop / House Los Villares. Lugar Arroyo Coche, 4, 29239 Almogía, Málaga</a>
WORKSHOP HOURS: from 10.30 to 14.00 and from 18.30 to 20.30. (Friday until 14h)
PARTICIPANT PROFILE: Artists, students, teachers and anyone interested in learning printmaking techniques.
No. of PLACES: Maximum 10
COURSE REGISTRATION: 300€. Includes the materials necessary for the development of the workshop.
ACCOMMODATION: Rural house <a href="https://www.google.es/maps/place/Cortijo+Mata+del+Esparragal/@36.882545,-4.51161,3a,75y,107.75h,90t/data=!3m4!1e1!3m2!1s9ggEyzIUcebbnFo1_-1csQ!2e0!4m2!3m1!1s0xd728cdb2b084ff5:0xe5c334a817ccd664">Cortijo Mata del Esparragal</a>. Entrance on Sunday 19th from 19.00 h until Friday 24th (5 nights 75€). Homemade lunch at noon in Bar Balalla (10 € menu). Breakfast at the accommodation and dinner will be organised by all of us.
<img loading="lazy" class="wp-image-20705 aligncenter" src="https://gravura.es/wp-content/uploads/2020/11/curso-campo-1-550x101.jpg" alt="" width="620" height="114" srcset="https://gravura.es/wp-content/uploads/2020/11/curso-campo-1-550x101.jpg 550w, https://gravura.es/wp-content/uploads/2020/11/curso-campo-1-540x99.jpg 540w, https://gravura.es/wp-content/uploads/2020/11/curso-campo-1-820x151.jpg 820w, https://gravura.es/wp-content/uploads/2020/11/curso-campo-1.jpg 986w" sizes="(max-width: 620px) 100vw, 620px" />
&nbsp;
More information:
Tel. 952 21 01 41 &#8211; Marian: 696 58 08 73
<a href="mailto:galer%C3%ADatallergravura@gravura.es">galeríatallergravura@gravura.es</a>
To register send an email with your details and brief information about yourself.

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COLLAGRAPH WORKSHOP

In this workshop, we will explore the different processes of construction (rituals), their evolution and their execution from the sign to the expressive lettering.
We will also learn about the tool and explore its scope, the consecutive rhythmic structure between the line, the mark and the texture. Special attention will be given to the movement and personal style of each participant.
During the course, you will be provided with pens and all the other necessary material. The pen used will be given to the participant to keep.

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EXPRESSIVE CALLIGRAPHY WORKSHOP

Since we started this programme six years ago, we have implemented a different approach to drawing through micro-workshops, with a great diversity of themes to facilitate more comprehensive learning of drawing as compared to the classic succession of exercises.
Objectives: To develop a broad knowledge of drawing, to learn to see, think of drawing as part of a process and a tool of knowledge, to foster a critical attitude, with the ultimate goal of opening numerous avenues of exploration for the students who, as a result, will be equipped with more tools in the evolution of their personal artistic expression through drawing.
The experience is further enhanced in a great working environment that is conducive to the exchange of ideas, focused on extensive learning and surrounded with art, i.e. the Gravura print studio and gallery.

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DRAWING SESSIONS

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WORKSHOP OVERVIEW/p>
Cartapesta is the technique in which strips or pieces of paper are intertwined in several layers, with the use of an adhesive, to obtain a hard and strong material once it has dried. Papier-mâché, on the other hand, means mashed paper, this paper paste or pulp is also combined with an adhesive to make a hard material. The two techniques are closely related and, therefore, often used together in the creation of a piece, or one is used as a base for the other.
Con ambas técnicas se pueden realizar una gran diversidad de trabajos gracias a la plasticidad del papel y la multitud de acabados que permite. Nosotros nos vamos a centrar en pequeñas esculturas realizadas con estructura de alambre, encapado posterior, modelado con la pasta de papel y pintado de la pieza. Las obras a construir serán orientadas desde el trabajo personal de cada participante.
This workshop is further enriched by the special collaboration of artist CHEMA LUMBRERAS.He will share his experience by guiding us, during the first day of the workshop, on the development of creative work. This first day will be a full-day workshop (about 8 hours, divided into morning and evening sessions) and will offer open registration for people who are not enrolled in the full course.
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<h3>COURSE CONTENT</h3>
<ol>
<li>PRESENTATION</li>
</ol>
. Introduction to the course. Approach and structure.
. Materials and tools.
<ol start="2">
<li>PROCESSES</li>
</ol>
. Design of the figure to be created. Ideas.
. Assembling the structure.
. Base wrapping of the framework.
. Preparing paper pulp.
. Application of paper pulp.
. Modelling of the piece.
. Drying process.
. Finishing touches.
. Painting the piece.
    3.  IDEA SHARING AND DOCUMENTATION
WORKSHOP SESSION: CHEMA LUMBRERAS (20 July): €60 for participants not enrolled in the full course. Maximum 12 participants
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<h4 style="padding-left: 30px;">Welcome dinner on Sunday, 19 July at the cottage.</h4>
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Paper and Wire: Cartapesta and Papier-mâché Course

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Intaglio Printmaking Workshop: SOFT-GROUND ETCHING and its combination with other techniques

Photogravure, as a technical intaglio printmaking process, allows us to transfer an image onto the photopolymer film; it can be a drawing, photograph, gouache or a digitally processed image. The transfer will be carried out by exposing, developing and adhering this film so that it can later be used as an engraved matrix for printing or as a reserve for metal biting with traditional intaglio techniques.
In this workshop, we will use metal and stone matrices, taking into account that the result of the stone engraving will always be a singular work, without the possibility of printing other than serialised images. The participants will get 3 matrices to produce their work: two copper plates of 12.5&#215;16 cm each and one stone matrix of 23&#215;17 cm.

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Course-Workshop: Intaglio and Photogravure on metal and stone

This course is designed for understanding the technical intricacies of transferring a digital image to a physical surface so that it can be inked and printed. We will learn how to create different types of film positives (digital, manual and analogues), the procedure for their exposure onto the photopolymer film and the process to get the finished matrix for the final printing. Participants will get 2 matrices to produce their work: two copper plates measuring 16.5&#215;12.5 cm and 25&#215;16.5 cm.
COURSE CONTENT
1. PRESENTATION
. Introduction to the workshop. Approach and structure. 
. Photopolymers. Characteristics and properties. 
. Equipment, materials and tools.
2. PROCESSES
. Making digital positives. 
. Image processing. Printing. 
. Preparing the matrices. 
. Lamination. 
. Image transfer process. Exposing, developing and adhering. 
. Printmaking techniques. 
. Analogue positives. Materials and. printing surfaces. 
. A brief introduction to the combination of traditional techniques and photogravure.
3. IDEA SHARING AND DOCUMENTATION

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Photogravure course: from digital image to intaglio print

These classes are designed for the understanding of all the intaglio printmaking techniques adapted to the individual artistic expression of each participant. The objective is to engage the participant in the entire process necessary for the production of graphic artwork so that they can learn to work independently.
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PRINTMAKING CLASSES: CONTINUOUS LEARNING

Workshops

WORKSHOP FOR BEGINNERS IN INTAGLIO ENGRAVING

DRY POINT and AGUATINTA CALLIGRAPHIC ENGRAVING WORKSHOP

WORKSHOP ON INITIATION AND EXPERIMENTATION IN INTAGLIO ENGRAVING

PHOTOPOLYMER workshop with photosensitive emulsion plate

PHOTOENGRAVING WORKSHOP. From digital image to engraving

PHOTOENGRAVING WORKSHOP. From digital image to engraving

PHOTO ENGRAVING WORKSHOP with photopolymer film on copper

COLLAGRAPH WORKSHOP

EXPRESSIVE CALLIGRAPHY WORKSHOP

DRAWING SESSIONS

Paper and Wire: Cartapesta and Papier-mâché Course

Intaglio Printmaking Workshop: SOFT-GROUND ETCHING and its combination with other techniques

Course-Workshop: Intaglio and Photogravure on metal and stone

Photogravure course: from digital image to intaglio print

PRINTMAKING CLASSES: CONTINUOUS LEARNING