We have the exciting opportunity to learn from Jon George about his Castprinting technique in a workshop running over four afternoons (24th-28th September not including Sunday) at the gallery. The workshop will be along the lines of the workshops he runs regularly from his London studio.
The Castprinting Technique
Castprinting is a new block printing method, which Jon developed when wanting to ‘reinvent woodcut with brushes.’ In most relief printing methods the image is carved in the block. However, in the Castprint block it is derived from painting – not cutting.
The three basic stages of Castprinting are:
Making artwork on a plate of glass.
From the artwork a plaster block is cast.
Print impressions are then taken from the block.
In our case the timetable is 2-5pm each day, as follows:
Saturday 24th and Monday 26th Sept will be making the artwork on the plate of glass.
Tuesday 27th Sept artwork to plaster block.
Wednesday 28th Sept print impressions from the block.
Character of Castprinting
Castprinting is a successful form of printing. People of all kinds love its simplicity and find working with gesso as a painting medium appealing. While the final results in the print faithfully render the brushwork in surprising and unusual ways. Castprints share those qualities expected of block printing, such as solid deposits of ink and colour that one wants to touch.
It has a tonal quality
Due to a subtlety of relief depth in the Castprint block, a wide variety of ink deposit creates the equivalent of tonal variation in the final print. This is new to relief printing.
Mirror imaging is solved
A typical relief print produces a mirror image, as it has but two phases A-B. But the three phases of Castprint: painting, casting and printing make it an A-B-A process and so the print emerges right-handed.
It is a viable printing method
The hard plaster of the printing blocks, make them capable of producing any number of prints.
The workshop will be fun and can be experimental
Castprinting courses are always interesting and challenging and different groups have brought new approaches leading to innovations. An example of this was with some art students in Morocco who insisted on using toothbrushes to flick the gesso to get a textural half tone effect. Jon said it probably would not work – but it did and their work was lovely.
Workshop fees, materials and equipment.
The cost of the full course is £60 plus £5 for materials which will be provided. It would be best to try to come to all 4 sessions to have the chance to see and try out all steps in the process and produce your own art work with the technique. But if you are only able to come to one the cost is £15 for each plus materials used. Please wear appropriate clothing for getting messy.
Here is a video about the technique, of a workshop at Jon’s London studio. This workshop will be taking place at St John’s Hall Gallery Barmouth, which is a different set up.