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Workshop Update

I’m enjoying the Spring weather. Yes- even the rain ( see my latest reading list, below). I’m preparing for the Art Students League Summer Art Market, June 11-12, where I’ll be in Booth#98 with fellow monotype artist Taiko Chandler.

In the past, people have stopped by the booth to meet me and ask about Summer workshops I’m offering at the League. Then they go into the office and register right then. I’m not sure that will work this year as the workshops are filling up unusually quickly, and one is already sold out. So if you’d like to know more about the workshops, click here, or send me an email and I’ll try to answer your questions. Then register online to be sure you get the spot you want. If a workshop is full, you can put your name on a waiting list, as there are often cancellations. I’ll offer a new round of workshops in the Fall, too.

Reading List

Assassination Vacation, Sarah Vowell: Is she the queen of the history geeks? Sarah Vowell, of NPR’s This American Life, travels to obscure historical sites, such as the New Jersey beach town where James A. Garfield died after being shot by a deranged office-seeker, to get at the weltanschauung of American political violence. I liked Wordy Shipmates better, for its insightful scope, encompassing the Puritans, English history and the roots of American political thought. Assassination’s a neccessarily uneven tale, in that Lincoln’s death is (still) heartbreaking and consequential; whereas Garfield’s is (by now) stupid and tragically trivial. But it’s a wonderful, funny and amazing read nonetheless, with Robert Todd Lincoln’s bizarre appearances in each of the three stories a reminder of how even the most seemingly inconsequential historical events can be connected in powerful ways.  The last section, on McKinley’s shooting, dovetails nicely with another book I’ve recently read:

Bully Pulpit, Doris Kearns Goodwin: I’ve long-postponed a look into this very intriguing era of unfettered corporate greed, political corruption and progressivism, which speaks not only to the very beginnings of the “American Century”, but to our own era as well. I was not dissappointed. Goodwin links the tales of Teddy Roosevelt, Robert Taft and the Muckrakers of McClure’s magazine in painting a portrait of an era in great flux. The progressive era accomplished much in the way of redeeming the promise of American democracy, then dissipated as conflict over how best to reform fractured the party and opened the door to the inevitable conservative backlash. If this sounds familiar, as it does to me, then it’s a must-read. As they say, one must know it or repeat it.

Murder Me Dead, David Lapham: James M.Cain-like in its violence and bleak picture of doomed romance. Incisive yet lush black and white ink work, in dark puddles or crazed slashes or just haunting and unforgettable, like mascara on a beautiful schemer’s eyes. Lapham has always provided these wholly derivative yet compelling noir tales, because he understands that noir is about the ambience of violence in the harsh light of the extremes of the human soul.

The Best Comics of the Decade, Volumes 1, 2: It’s easy to forget that before the black and white, direct market explosion of the early- to mid 80’s ( where David Lapham, above, first appeared, that truly interesting comics were very hard to find. Many of the artists here pioneered the independent, literary album- or graphic novel-style comics now filling up bookstore shelves ( and providing one of their fastest growing categories). Could easily have been bigger, as inferior stories are included by seminal creators ( Hernandez Brothers, Bill Griffith, Jerry Moriarty), probably to make more artists fit, and others such as Alan Moore, are not represented by their best work because it was done for larger corporate publishers. But a nice return to the days when comics were still struggling to find a place in pop culture, and the corner comic store was where you went to see them grow and succeed.

"Dream Bed", Monotype, 15x11", 2015
“Dream Bed”, Monotype, 15×11″, 2015

The summer has been a cool one with breezes or showers at night for comfortable sleeping. With the Summer Art Market show over and the workshops begun, I’m catching up on postponed tasks, such as paying off credit cards. I’m working a temp job in a bookstore for that, and it makes it hard to get a lot of writing or art done. It’s mostly, go to work then come home and read, with some Women’s World Cup and Gold Cup sprinkled in.

I’d wanted to work on some larger work for gallery and art consultant sales, but instead I’m watching my ideas lay fallow till Fall. It’s too bad, as there is usually a rustiness that sets in when I finally do go back to the studio. But less debt means more cash flow for supplies and frames.

I’ve got two comics posts sitting nearly finished in the can. I’m persnickety about editing, so I won’t rush them, but I hope to post within a few days. I’ll be working a few less hours the next couple weeks, and can devote time to studio and blog work.


Summer’s Here; Time is Right for Printmaking

A Taiko Chandler Monotype, using her characteristic cool secondary colors in multiple transparent  layers. Taiko shows at Space Gallery, and is joining me in Booth 99 for her first Summer Art Market!
A Taiko Chandler Monotype, using her characteristic cool secondary colors in multiple transparent layers. Taiko shows at Space Gallery, and is joining me in Booth 99 for her first Summer Art Market!

I’m spending most of my time working on my Summer Art Market show with monotype artist Taiko Chandler. We’re in Booth 99. Looks like the weather’s finally clearing up; I’ve made quite a bit of new work and Taiko will bring a whole different look with her abstract, very organic work. And filling only half a booth makes my preparation less stressful.

I’ve also got a full load of monotype workshops scheduled. I’ve updated the Workshops page with full details, but here’s a quick summary:

The last free Denver Public Library workshop is at Athmar Park branch on June 17. Full details here. There will be a full Fall schedule, including a couple of new branches, announced here in late summer.

At the League, my workshops vary in length and detail, and come at many price levels. All of them stress creative process and good conversation. It’s a great place to meet new friends and jump start your creativity!

Tuesday, June 16, 4-7 PM. Moxie U: Monotype Graphics This is a new program at the Art Students League that features brief, user friendly sessions at a very low price ($27/33. member/non-member). A good way to dip your toe. Link:

Tuesdays, June 23-August 11, 6:00-9:30 PM: Monotypes for All Ability Levels This is my summer evening full, 8-week workshop. It starts with the very basics of print room procedure and goes gradually into more advanced techniques. ($252/308.)(

Saturday, August 8, 9-4:30 Monotype Sampler This is a moderately detailed full-day workshop that starts with the basic print room procedure and black and white printing in the morning, and advances to color in the afternoon. Moderately priced, too ( $67.50/82.50).

You can register on line by following the links, or come down to the Summer Art Market and see the show, and register there. I’ll be there (in Booth 99), so I can answer any questions for you.

The Summer Art Market itself is June 13-14 west of the school at 2nd and Grant Street (we’ll be near the urban gardens somewhere between 2nd and 3rd on Grant). It features over 200 artists over 4-5 blocks, but is less crowded and more focused on art than most street fairs. I’ll be doing a demo there on Saturday at 1 PM, and the fair is open 10-6 PM. Sunday hours are 10-5.


Guilty Treasures

A slow starting day with gathering clouds- perfect! I did finish up some MoPrint biz earlier this week, and went to studio twice, but I didn’t produce a lot of finished work, mostly thinking and prepping for a final push at the SAM. Here’s another weekend book post:

Next to the bed, I have an unread Teddy Roosevelt bio by Doris Kearns Goodwin that will help fill in many of the gaps in my understanding about the last time the ultra rich were out of control in America. I enjoy stringing related biographies together  in service to the larger picture. I also love Post Modern door-stop type novels. Next to TR is A half-finished David Foster Wallace novel. This contains the usual rabbit’s warren of parenthetical musings, foot-noted speculations and general digression one expects from DFW- all about tax returns! I can here the traditionalists groaning from here. Other weighty volumes within arm’s reach are unfinished Dickinson and Picasso bios. These are what I regard as winter books- best suited for the long dark hours when it would take a legendary party to get me off the couch and out in the cold city. The couch opens its arms for a long stay, bluish dusk cloaks the rare streetside movement.

Now is a time for my warm weather books, easily digestible, pop cultural back porch snacks immune to the distractions of flipping steak on the grill, baseball and soccer shouts from the park. They fit my more hectic schedule, but do tap into my  desire to prove to myself, if no one else, that pop culture is where the repressed soul of  human creativity often leaks out. Lately this means, natch, comics I’ve been catching up on since I started spending a lot of time in the library, those which didn’t fit my limited bookstore budget before. These are almost all guilty pleasures, a concept that we lapsed Catholics recognize as a redundancy.- something considered slightly unsavory that is nonetheless, irresistible. Tawdry fantasy bought with stolen time! Here’s what one thief has been reading when he should be reading something else:


Paul Moves Out: A young couple in contemporary Montreal. I took some older stuff I didn’t want to store down to Kilgore Books and Comics for trade and I got Palookaville #21, and this Michel Rabagliatti confection in return. It’s an agreeable confection, in the style of Depuy and Berberian’s Monsieur Jean series (e.g. Get a Life), a romantic comedy with a lively, Euro graphic sense. Unlike, D &B, it fails to generate even mild dramatic tension. Its emotional conflicts are solved rather early, and it devolves into some amusing situations and minor domestic complications. A triumph of style over substance, but enjoyable for the exquisite brush work.

Miss Don’t Touch Me: A young innocent girl in 30’s Paris attempts to solve her sister’s murder. Another bit of stylish eye candy, with art which hovers quite attractively between Herge’s classic  Ligne Claire style, and a retro, Milt Gross gestural style. Unlike Paul Moves Out, there is plot conflict and tension aplenty, but it mostly derives from lurid, somewhat hackneyed  plot devices such as the virgin in the whore house, the psychopathic S&M enthusiast, the gay dandy dominated by his rich mother. This is apparently a series of shorter episodes stitched together into album format, so its superficialities are no surprise, and nicely balanced by its period-piece charm. It’s good, fluffy fun. 

Book of Genesis: Illustrated word-for-word by underground comics pioneer R. Crumb.  I had declined to use limited funds and shelf space to obtain it, so hurray for a progressive library. This is the most thought provoking of the three. The last time I spent this much time with the Old Testament was in sunday school, where the nuns were understandably reluctant to delve into its many bizarre aspects. Not so R. Crumb! He generally plays it straight in the telling, though, and lets the book speak for itself. He does provide some notes at the end, and like Crumb, many of us are dying to know why- in three separate chapters- men tell wives to pose as their sisters. A question we’d’ve gotten our knuckles rapped for as kids. His take, influenced by other readings, is that these tales must be taken in the context of co-existing matriarchal hierarchies in Sumerian culture. I can’t speak to that, but it does provide a possible explanation for why Abraham might pimp his wife to the Pharoah. I predict further reading on biblical historiography will stem from this.

Punk RockAn Oral History: This one clearly deserves, and will get- a full review, which  I’ve already started writing. I’ve alluded to Punk’s influence on comics and politics, two other cultural areas that get regular attention here. Like most Americans, I came to it late (1978) but it had a revolutionary influence in my own life, and anyone honest about pop culture will recognize its influence as the equal to the flappers and the hippies. I’m glad I read this collection of often conflicting accounts from the actual players before I embarked on a more “proper” history, and a visit to iTunes for some early-to mid career Stranglers, Public Image Limited, Magazine, and The Damned has already happened.

Careless People: Murder, Mayhem and the Invention of The Great Gatsby: I picked it up, devoured half of it, put it down again. I’ll finish it in a burst with a Martini or Manhattan beside me, I’m sure. Another guilty pleasure- it’s got literary shenanigans, though Scott and Zelda actually DO quit drinking and staying up till dawn for about a whole week early in this account. It takes place around the time F. Scott was starting The Great Gatsby, the same time a sensationalized murder hit the nation’s press, which Sarah Churchwell is itching to prove informed Fitzgerald’s masterpiece. It’s got crazed youth in a post war America that had decided to give women the vote and Prohibition a try. Both 18th and 19th Amendments, incidentally, spearheaded by many of the same activist women. It’s like a Vanity Fair article stretched out to novel length- delicious!

 I’ll still do the women in comics post, too- I’m up to #15 (from 40) on the wait list for Jill LePore’s The Secret History of Wonder Woman, a character which I consider essential to that subject.

Everything’s a Work in Progress

What I have worked on this winter is a small series of work intended to develop organically from sketchbook ideas on up through experiments in different sized paper and eventually to a large, significant, and fully realized work. Especially as I transition to new methods of working such as stencilling, etc, I’ve tended to have smaller works that experiment in formal ways, but don’t have a refined narrative. Here is a small sketch for a project I’d intended to call Bed Dream with Poppies. Most of these are not very good photos, but most are studies or unfinished experiments.

"Bed Dream with Poppies", 7 1/2" x 10", a small monotype intended as a sketch for a larger project.
“Bed Dream with Poppies”, 7 1/2″ x 10″, a small monotype intended as a sketch for a larger project.

The best way to produce a relatively large set of meaningful work, Ive found is to explore variants of one idea of a few related ideas, and cherry pick the best ones as finished, exhibited work. I’m inviting you  to view the sketches and trial runs, the not neccessarily ready for prime-time pieces that would sometimes be offered to the public, sometimes not. Yes, I  do have large amounts of work that never see the light of day. Here is a larger variation on the theme, with poppies dispensed with and replaced by a sort of pod-like chine colle’ element and a somewhat organic dark field in the background. A somewhat distressed blackness creeps up behind the bed:

Untitled Monotype w/ Chine Colle'. 13x20".
Untitled Monotype w/ Chine Colle’. 13×20″.

I’m already seeing more content, symbolic narrative, and meaning in the work. I intended to leave landscape (a narrative of earth and time) and try more interiors ( as it implies, a narrative of internal life, or the soul). Jumping to a new subject can often jog the creative machinery, and I hope to see fresh approaches. Here’s another experiment that adds in more pod-like or thought-balloon-like shapes above the bed.

Untitled Monotype w/ Chine Colle', 13x20 "
Untitled Monotype w/ Chine Colle’, 13×20 “

Sometimes you have to execute a finished piece, and in this case, I had a deadline to meet for a show. So I tried a larger piece, with more color. I left the poppies out to further explore the pods, and instead placed some layered fauna where the darkness had been behind the headboard. I wanted something more abstract on the left, but added an Icarus-like figure to focus it. It still seems more like a study than a finished piece, and I’ll return to the studio this week after working a temp job to pay some bills. I’ll go back to the poppies, I’m sure, but I’ve also seen the Miro show at the DAM in the interim, I’m sure that will have its effect, too.

"Bed Dream 29", Monotype, 20x26".
“Bed Dream 29″, Monotype, 20×26”.

Let’s Talk Monotypes

This monotype debuted in a gallery show in 2013 as "1/2 Place". The deal was, one could buy the 1/2 completed version for half price, then accompany me to finish it. No takers then, so I completed it myself, adding the chimerical creature on the left, and another layer of fanciful foliage. 22x30"
This monotype debuted in a gallery show in 2013 as “1/2 Place”. The deal was, one could buy the 1/2 completed version for half price, then accompany me to finish it. No takers then, so I completed it myself, adding the chimerical creature on the left, and another layer of fanciful foliage. 22×30″

I do have two longer posts in the works. One is a photo album and discussion of a progression of monotypes I’ve been working on, the other is book and media related. I’ll edit them, add photos and catch up with the back log soon.

In the meanwhile here is an interview I did with Terry Talty of the Limitless Idea Project during the 2014 Month of Printmaking exhibition. The talk touches on some of the process I’m using right now as I produce the larger works I’ll be discussing.  I’m on the committee that is already beginning work on 2016 MoPrint.

More news: I’ll be teaching a free monotype workshop at the new Rodolfo “Corky” Gonzales branch of Denver Public Library on March 17. I’ve updated the “Workshops” page to reflect that and will add time info when I get it, as well as another 8 or so workshops planned at other branches between now and June. These are all open to the public, with non-toxic supplies and materials included.

“Whaam”, “Blam”, Thank You, Ma’am

Roy Lichtenstein's "Blam" which along with other Pop Art paintings by Rosenquist, Warhol, et al, introduced the idea of appropiation into modern art.
Roy Lichtenstein’s “Blam” which along with other Pop Art paintings by Rosenquist, Warhol, et al, introduced the idea of appropiation into modern art.

I’m done teaching workshops till January. I’m mostly done showing work this year, too, though I am available for appointments, just click “Contact”.

I am also sending some images to G44 Gallery, where they will be available for online purchase soon. I’ll link to the site when it’s up. My own online sales gallery is coming, but slowly- after Christmas looks like a good bet.

I’m also trying to keep up with routine tasks and especially, sketching, but mostly right now, ’tis the season for relaxing with friends or reading. In order to keep this blog somewhat timely and diverse, I’ll be posting about books and comics for a while, until the art happenings ramp back up. I love comics, and I make art. I often considered comics as a career, and have dabbled in comics over the years. But it’s a labor-intensive and lonely career. I’ve always loved the social aspect of fine art.

Here’s a subject that struck my fancy. It combines the two loves- one of the classic Silver Age comics artists who was “reinterpreted” for Roy Lichtenstein’s Pop Art masterpieces, such as “Blam”. It struck others’ fancy, too. When I googled “Russ Heath on Roy Lichtenstein”, it turned out there was quite a bit of commentary. Most of which was inspired by Heath’s own views, expressed humorously and in typically stylish fashion in this one page comic about his experience, which oddly depicts “Whaam”, a Lichtenstein appropriation of a different artist’s illo from the same comic. It’s a plug for Hero Initiative, a non-profit which aids comics artists, like Heath, who toiled during the days when publishers and the reading public treated them like hacks, and the medium like infantile tripe. Non-profits are work horses in the arts, for the simple reason that most artists- in any medium- have stories more similar to Heath’s than to Lichtenstein’s.

Heath, in the lingo of comics artists, would have called Lichtenstein’s use of his image a “swipe”. Lichtenstein, in the slightly more “elevated” lingo of Pop Art, said: “I am nominally copying, but I am really restating the copied thing in other terms.” Either way, the purpose of Lichtenstein’s use of Heath’s illustration was to ask questions about what constitutes “art”. However, neither Lichtenstein nor his estate has never recognized Heath’s work as anything except anonymous, generic source material. When I googled “Roy Lichtenstein on Russ Heath” I found no unique quotes. In other words, it was a one-way conversation.

This panel, from DC Comics' All American Men of War No. 89, is by Russ Heath.
This panel, from DC Comics’ All American Men of War No. 89, is by Russ Heath.

I enjoyed a lot of Heath’s work as a kid reading war comics. Even now I still admire his contribution to the sublimely surreal Western/War/Romance/50’s Ruiz bondage comics mash-up (with writer Michael O’Donahue) “Cowgirls at War” in National Lampoon. His turn of the century comics forebears launched mass market newspapers and gave voice to a new demographic in American cities, but his own generation of creators was subject to crass commercialization and censorship in the xenophobic 50’s. As his modern successors find success in movies, The New Yorker, and mainstream book publishing, his is an interesting tale that mirrors comics’ struggle for respect as an art form.

Russ Heath did this strip about his experience with "Blam" and Hero Initiative, a non-profit that aids Comics Artists. For some reason, the strip features "Wham", also appropriated from All American Men of War #89, but by Irv Novick.
Russ Heath did this strip about his experience with “Blam” and Hero Initiative, a non-profit that aids Comics Artists. For some reason, the strip features “Wham”, also appropriated from All American Men of War #89, but by Irv Novick.

Ice Cold Ice

I wanted to try a homage to the Japanese Edo period printmakers with their airy minimal landscapes. I got inspired one cold day, by this scene outside my window., though I took out 26th Ave, some tennis courts , light poles and several trees.
I wanted to try a homage to the Japanese Edo period printmakers with their airy minimal landscapes. I got inspired one cold day by this scene outside my window, though I took out 26th Ave, some tennis courts, light poles and several trees.

I took the week off from printing when a frigid cold front came through. Not the workshops, though, my timing is great as I’m due at Athmar Branch for what will be a record cold night. Not expecting a big crowd for that, but the show must go on!

I’ve posted a last free Denver Public Library workshop for Ford-Warren branch on Dec. 4, though. It should at least be warmer by then, shouldn’t it?

The title is from one of my favorite Husker Du songs “Ice Cold Ice.”

We sit and pray together that they might change the weather
My love for you will never die, if I sound distant that’s because
Shouldn’t see me cry in ice cold ice
Shouldn’t see me cry in ice cold ice

Read more: Husker Du – Ice Cold Ice Lyrics | MetroLyrics

Which in turn, always makes me think of  the scene in that Bugs Bunny cartoon where Bugs takes the Penguin home to Antarctica, tries to leave him there, and the Penguin begins to cry… ice cubes. A strange thought progression, yes. I think my synapses may be frozen.

Read Flag!

I found this image on Tumblr. I recognize the contradiction of a visual artist using someone else's image without proper credit. If anyone has a source, or needs it taken down, please contact me.
I found this image on Tumblr. It’s very cool! I recognize the contradiction of a visual artist using someone else’s image without proper credit. If anyone has a source, or needs it taken down, please contact me.

It’s Banned Books Week. 

Though it’s been a busy Summer, I’ve gotten quite a bit of reading in. Evenings and mornings have mostly been spent catching up on my reading on the back porch, thankfully relatively cool this summer.

Here is what I’ve been reading. Rather than compile a comprehensive entry, which I’ve identified as a reason I have trouble posting regularly, I’ll make it a two-parter, leading up to an update on comics and other media.  Does anyone else have this problem? I’m hoping that splitting up the posts will lead to more (and more fluid) posts. I’m also updating the page on Monotype Workshops with new info on the free Denver Public Library/ Art Students League drop-in workshops I’m leading. Come down and try a monotype!

First, some books:

Bleeding Edge, Thomas Pynchon. Another “detective” story from Pynchon, actually a private Certified Fraud Investigator tale. Maxine smells a rat when a shady “Silicon Alley” corporation starts buying up failing dot coms to use as shell companies. Set in NYC in the 9/11 era, so you know all the expected Pynchonian paranoia is here. But unlike his last door-stop novel Against The Day, or his surf-hippie noir, Inherent Vice, the plot is one of his most straightforward, which helps with this type of genre pastiche. It’s no Gravity’s Rainbow, but it’s a fun read.

The Complete Beatles Recording Sessions, Mark Lewisohn. Sounds geeky, and I guess it is, as there is technical data on each session given, but the commentaries are compelling reading, in the same way that the Beatles Anthology discs, and Tim Riley’s Tell Me Why are indispensable: they get you into the same studio as, and into the heads of, the Fabs at each juncture of their amazing creative journey. Matter of fact, just buy all three, and some beer or Blue Sapphire gin, and your reading/listening is all set. Thank me later.

Women, Art and Society, Whitney Chadwick. Not exactly a page turner, as this sort of thing usually needs to cater to the freshman text trade, and pay respects to the academic/feminist/cultural studies tenure track convo as well, but relatively free of post-modernist jargon. As such, it’s a tidy little overview of some of the issues and societal shifts that have kept all but the least well-behaved (and most talented) women out of the history books. Also: not likely to, nor intended to, make you proud to carry a Y chromosome.

Soccernomics, Simon Kuper and Stefan Szymanski. Been meaning to read this forever, so rather than sit and day-drink between WC games one day, I walked down to the Tattered Cover and finally picked it up. Short, essay-sized chapters on topics that footy fans expound on with great certainty, that these guys (one a football scribe, the other an economist) put to the test. Which side to go during PKs. Why soccer teams don’t, and shouldn’t make money. Do coaches make a difference? Buy this,The Ball is Round, some beer or gin, and the MLSLive package, and watch soccer become a favorite American sport. Thank me later.

A whole big stack of Atlantic magazines that I didn’t have time for in the winter/spring, but which I refuse to recycle till I’ve read them because when the Atlantic publishes on a given topic one month, it becomes a major topic in the mainstream media and parties the next 2-3 months, every single time. Why Big Oil isn’t going away ( Technology makes it ever cheaper and easier to find and extract). Why the foodies’ anti-processed food crusade is wrong (it can easily be retooled for healthy eating for poorer Americans, unlike organic, GMO-free “natural” foods). Why the Beatles’ creative style fits the “team of rivals” mode more than the popular “two solitary geniuses” model ( John’s interjection “It couldn’t get no worse” to Paul’s “It’s Getting Better” lyrics exemplifies how they completed each other in making unique, complex pop.) You should subscribe. It’s cheaper than beer or good gin. Thank me later.

A whole big stack of McSweeney’s Quarterly Concern, the quirky and irresistibly stylish journal of fiction, non fiction and publishing design gimmickry. I buy every 3rd or 4th one and keep them on the shelf in the bedroom, and I can pull one out when I need something to read at night. Often I’ve read barely half of a given issue anyway, but I often return to past favorites as well. Such as: ‘Hadrian’s Wall’ by Jim Shepherd, in #14, in which we meet one centurion who did not share in the glory of Rome. ‘The Stepfather’ by Chris Adrian in #18, where we encounter a family more preposterous and absurd than even our own. And ‘Fox 8’ in # 33 by George Saunders, in which we meet, then say farewell to, a creature who knows us better than we know ourselves. Each features a dark, insinuating humor that stays with you.




Free Workshops This Fall

I’m doing a series of free workshops at the Denver Public Library again this Fall. They’re short, drop-in style intros to the basics of monotypes. If you are considering my upcoming full, 8-week workshop at the Art Students League, which starts September 16, then why not come down to Byers Branch, 675 Santa Fe Dr, and see if it’s something you might benefit from? A full schedule will be posted under the “Workshops” tab soon. I added info on the first two already.