Work and Exhibit in Venice
Masterclass Residency in Sustainable Printmaking
February 3 – 13, 2025
A program for in-depth study and independent work with a final exhibition
The Scuola Internazionale di Grafica is at the forefront of promoting printmaking processes with sustainable methods→
Artists from all over the world→ work in our print studio to learn or refine these innovative techniques, which allow for surprising results without the use of traditional, highly toxic materials such as acids, solvents, and rosin.
For this program, we have selected a period of low tourist activity to allow our artists to enjoy the most authentic aspects of a quiet winter Venice.
Masterclass Residency in Sustainable Printmaking
The Workshops
This Masterclass Residency, open to a maximum of 8 participants, includes a program of five 4-hour workshops, dedicated to sustainable printmaking processes, alternating with individual work, with a final group exhibition.
The 5 Workshops
- Drypoint
- Monotype
- Hardground Etching
- Aquatint
- Phototransfer with BIG ground
Masterclass Residency in Sustainable Printmaking
The Work in the Printshop
Our resident artists receive the keys to the Scuola and have free access to the studios, where they can work independently from 8:30 AM to 8:30 PM, including Saturdays and Sundays.
On the days of the workshops, in the afternoons and all day on the following days, the artists will focus on independent work, creating the pieces that will be exhibited in our exhibition spaces, SG Gallery and SG Square Space→ for the final show.
The works on display will be created using the techniques learned during the 5 workshops.
Masterclass Residency in Sustainable Printmaking
Exhibition: "The Invincible Cities"
Drawing inspiration from “Invisible Cities” by Italo Calvino, the theme of the Exhibition and Artist Residency focuses on the impact of mass tourism on historic city centers and the resilience of the residents.
The Scuola has always offered an alternative model to ‘hit-and-run’ tourism, inviting artists and enthusiasts to experience the city in a meaningful way.
By staying in Venice and creating art, our resident artists form an authentic bond with the city and its inhabitants, which over the years has led many of them to consider it their city of the heart.
The exhibition “Invincible Cities” will be open from February 12 to 28, 2025. A catalog will be produced, with 10 copies sent to each artist.
After sunset, on the terraces of the palace, Marco Polo would present to the emperor the results of his embassies. It was customary for the Great Khan to end his evenings savoring these tales with his eyes half-closed, until his first yawn signaled the pages to light the torches and guide the sovereign to the Pavilion of the August Sleep. But this time, Kublai did not seem inclined to succumb to fatigue.
“Tell me about another city,” he insisted.
“… From there, the man departs and rides for three days between Greek and Levant…” Marco resumed, listing names, customs, and trades of a great number of lands. His repertoire seemed inexhaustible, but now it was his turn to surrender. It was dawn when he said, “Sire, I have told you of all the cities I know.”
“One remains that you never speak of.”
Marco Polo lowered his head.
“Venice,” said the Khan.
Marco smiled. “And what else did you think I was telling you about?”
The emperor did not blink. “Yet I have never heard you mention its name.”
And Polo: “Every time I describe a city, I say something about Venice.”
“When I ask you about other cities, I want to hear about them. And Venice, when I ask you about Venice.”
“To distinguish the qualities of the others, I must start from a first city that remains implicit. For me, that city is Venice.”
“Then you should begin each tale of your travels from the start, describing Venice just as it is, completely, without omitting anything you remember of it.”
The water of the lake was barely rippled; the coppery reflection of the ancient palace of the Sung was shattered into sparkling ripples like floating leaves.
“The images of memory, once fixed in words, are erased,” said Polo. “Perhaps I fear losing Venice all at once, if I speak of it. Or perhaps, by speaking of other cities, I have already lost it little by little.”
Program Schedule, Costs and Information
9:30 AM – 12:00 PM
Welcome to the Scuola, orientation session, presentation of the Residency.
“Venice is the Lagoon.” A brief conversation about Venice with Lorenzo de Castro, Director of the Scuola.
2:00 PM – 6:00 PM
Drypoint
4-hour Workshop
Drypoint is the most direct of the intaglio engraving techniques. In its simplicity it allows you to create impressive prints.
During this workshop we will discover the traditional materials of drypoint and some more experimental possibilities. We will engrave plexiglass matrices and print them with sustainable inks and the use of the intaglio press.
Drypoint lends itself very well to irregular inking, allowing us to create very expressive “monoprints”. In fact, during the printing phase we will explore the possibilities of the variable edition, making each print a unique copy with different inks.
Afternoon
Independent work.
9:00AM – 1:30PM
Monotype
4-hour Workshop
The monotype technique combines the printing process with the spontaneity of painting. It consists in the direct application of ink on matrices which can be of various materials and which must be smooth, not engraved. The rapid and versatile procedure allows you to create a unique print with the use of the chalcographic press.
Trace Monotype is a technique that can be realized without a press. The quality of the line is blurred and the process is gestural and expressive.
During the workshop the instructor will show examples of monotype printing, as well as materials and tools suitable for the technique and its expressive possibilitie. Students will be guided in the creation of their own matrices and will make unique and unrepeatable prints.
Afternoon
Independent work.
9:30AM – 1:30PM
Hardground Etching
4-hour Workshop
Etching is among the most famous and fascinating indirect engraving techniques, created with the use of mordants to generate engraved signs. This workshop aims to present this ancient process in a contemporary and sustainable perspective.
The sustainable approach, based on continuous research on more eco-friendly and less toxic materials, enables us to complete hardground etching and prints without using solvents, acids, and other products that harm the environment.
Our instructor will guide students to process the copper plates, from the polishing and bevelling to the application of the BIG paint, and finally, the completion of the hardground etch and print. Students will complete the etching with a blue stone, utilise a mordant classified as less toxic, and complete a small print on Fabriano printing paper with washable soy-based inks.
Afternoon
Independent work.
9:30AM – 1:30PM
Aquatint
4-hour workshop
The aquatint technique is an important chalcographic technique that allows the creation of areas with different tones in the engraving. It can be achieved in various ways: during the workshop we will explore three solutions to perform this technique with a more sustainable approach than the traditional one.
We will engrave zinc and aluminum plates and we’ll evaluate the results and differences in the printing phase. Each participant will work on their own matrix followed step by step by the teacher. To conclude the work with the intaglio printing press, we’ll be using the latest generation Akua sustainable inks.
Afternoon
Independent work.
9:30AM – 1:30PM
Phototransfer con vernice BIG
4-hour Workshop
BIG (Baldwin’s Intaglio Ground) ground is a sustainable substitute for traditional etching or soft-ground inks. In addition to acting as a substitute, however, the Big ground opens up printmaking to new technical possibilities. One of the most interesting is Photoetching, passing through a transfer process.
In this workshop we will use photocopies from which we will transfer the images on metal plates, without using the ultraviolet light characteristic of photoengraving or additional products other than the simple BIG. The plates will then be engraved with copper sulphate, further processed with other techniques and printed as many times as we wish. The possibilities of this method are vast and range from the aesthetics of a pen drawing, to the reproduction of quick brush strokes, to the photographic image.
Afternoon
Independent work.
8:30AM – 8:30PM
Independent work in the printshop.
9:30AM – 1:30PM
Group critique and installation of the exhibition with:
- Déirdre Kelly, SG Gallery Curator
- Matilde Dolcetti, Scuola’s Arts Director
5:30PM
Exhibition Opening.
Roberta Feoli De Lucia
Engraver, printer, teacher, Feoli specialized in Printmaking at the Academy of Fine Arts in Urbino. She experimented with managing a print shop during her Erasmus at the Faculty of Fine Arts Alonso Cano in Granada and continued her studies at the IScuola Internazionale di Grafica in Venice, where she later became the print shop manager for about ten years. In 2018, she was a Guest Artist in the USA for Mixit Print Studio and Boston Printmakers, who invited her to give lectures to American universities and print shops. She also became the first Italian printmaker to obtain a specialization in less toxic printmaking techniques at Zea Mays Printmaking→ in Florence (Northampton), Massachusetts. She currently collaborates and serves as an external consultant for the Shepherd & Maudsleigh Studio in West Newton, Massachusetts.
In 2023, she partnered with Silvana Gaspari on the project “Charta picta – Opificio d’arte 2023,” an artist residency, traveling exhibition, and workshops related to the Vas Paper Mill. A member of the “People of Print” community, she is an active supporter of respectful and sustainable printing, organizing courses and conferences on the subject for years.
Alessia De Bortoli
Engraver, printer, and book artist, De Bortoli graduated from the Academy of Fine Arts in Venice, where she obtained a bachelor’s degree in Printmaking. She continued her studies at the Scuola Internazionale di Grafica, following the teachings of the Scuola’s Masters: Matilde Dolcetti, Roberta Feoli, Franco Vecchiet, Loretta Cappanera, and international artists periodically present at the institution. Since 2019, she has been working in the print shop of the Scuola, initially as an assistant, then as the print shop manager and teacher of courses.
From 2018, she has participated in group exhibitions in Italy and abroad. Since 2019, she has particiipated in artist residencies in Germany at the Kloster Bentlage→ in collaboration with Münsterland Festival→.
Subsequently, in 2022, she completed a residency in the USA at the Zea Mays Printmaking studio, where she earned the “Green Printmaking certificate” for sustainable intaglio engraving methods.
She has taken part in various group exhibitions, including the VI Biennial of Engraving and Contemporary Graphics at the Civic Museums of Bassano del Grappa, the exhibition “Water – Works on Paper” at the Artery Cooperative in Northcote, Australia, and “Changing Landscapes – Paesaggi che cambiano,” organized by DARS for GrabGroup space in Pordenone.
– The maximum number of participants allowed is 8.
– If the minimum number of participants is not reached, the Masterclass Residency may be cancelled. In that case, those enrolled will receive a full refund of the fees already paid.
– The Scuola Internazionale di Grafica is a School and Studio for Artists. All our participants are expected to abide by the rules that are provided at the beginning of the program.
– The Scuola is not responsible for any injuries that may occur due to unauthorized use of machineries and failure to follow the safety rules provided by our staff.
– For educational and organizational reasons, dates may change. In such cases, those enrolled who are unable to change their schedule will be refunded the amounts already paid. Teachers may be replaced by other teachers, however, who possess the necessary qualifications to teach sustainable printmaking techniques.
MATERIALS
– The Scuola Internazionale di Grafica provides all materials and tools needed for the Workshop. Materials used for independent work must be purchased separately by participants.
CANCELLATION POLICY
The registration fee is non-refundable. Cancellations received within 20 days of the Masterclass Residency start date will be required to pay 50 percent of the attendance fee.
Application Form
(* Required field)