Saturday March 21st 9am-12pm| Hartson Gallery (Upstairs)
Newburyport Art
65 Water St
Newburyport, MA 01950
Trace monotype is a way to free yourself from perfection. You may not feel confident in your drawing skills but this technique helps free you to explore mark making and textures. It can provide a starting point for collage, more drawing and layering. The fuzzy lines, smudges and accidents can surprise you leading to new approaches and letting go of “ I can’t draw or be an artist”
You will learn how to do this process at home using non toxic inks and soap/water cleanup. NO press is required.
The session will take place in the second-floor Hartson Gallery at 65 Water St, Newburyport, MA 01950. Please note that this workshop space is accessible only by stairs. If you anticipate this being a problem for you, please email us at education@newburyportart.org.
Materials to bring:
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Drawing paper/ Sketchbook paper - Strathmore and Canson are very affordable brands-at least 9X12 or 11X14 size.
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Newsprint pad - at least the size of your drawing paper. You will be using it to protect your prints.
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Blue masking tape
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Glue stick
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Drawing materials- various pens , pencils you already have on hand. Brushes - no need for fancy ones- whatever you might have on hand.
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Inspiration - your photos,sketches, and photo copies that are not precious.
*We will be using washable ink, gloves for your hands and an apron are always good to have.
Cost:
- NAA Members: $75
- Non-members: $95
- 10% discount offered to seniors (ages 65+)
Teacher Bio
Chris Robinson is an artist and printmaker.
https://www.chrisrobinsonart.net/
Instagram- @chrisrobinsonart
Artists Statement: As a printmaker of all sorts—etchings, silkscreen, woodcuts, and beyond—I find myself drawn to the quiet beauty of nature. Walking with my dog, Eddie, I am surrounded by simple, passing scenes that fuel my imagery: a bird in flight, the play of sunlight across the marsh, or the quiet space that allows my mind to wander and observe. These moments bring clarity and focus, feeding my work with subtle narratives and patterns I might otherwise overlook. Printmaking provides the perfect framework for me to transform these inspirations into art. Each piece begins with planning—deciding on the number of plates, choosing methods, carving, and drawing. Yet, as carefully as I prepare, the process still surprises me. The act of inking a plate and rolling it through the press brings a thrill that never fades. Every print reveals something unexpected, and while some results may surprise in ways that don't meet my intentions, others offer something beautifully unforeseen, a reminder of the unpredictability that makes printmaking so rewarding.