Guanajuato, Mexico
Printmaking Workshop

July 10 - 17, 2019

Immerse yourself for a 7 day
Printmaking Workshop in Guanajuato, Mexico 


Located in central Mexico, and a city split by a small river and a hilly terrain, Guanajuato is one of Mexico’s famous silver cities, built with the wealth of the colonial mineral mines. The streets of Guanajuato follow the extreme irregularity of the terrain, with small alleyways, plazas and steep staircases up hillsides. Guanajuato is also home to Diego Rivera, and muralist Jose Chavez Morado. It is high in elevation (6,600 feet) with a moderate arid climate averaging 70-80° in June and July.  

Alma del Sol B&B and Hotel Color

Stay at the beautiful colonial Mexican home Alma del Sol Bed & Breakfast or the newly built Hotel Color, both located in the heart of downtown Guanajuato.  Both Alma del Sol and Hotel Color have four suites each with large windows or balconies, and a roof top terrace with a magnificent views. Alma del Sol B&B is around the corner from the University of Guanajuato, several galleries, and a stones throw away from the architectural colonial masterpiece Templo de la Compañia, now celebrating 250 years. Hotel Color B&B is near shops, restaurants and bars, and a block away from the historic neoclassical Teatro Juarez. 


Artists will learn various printmaking techniques (see below), as well as create a small body of work during the five day workshop. All printmaking supplies will be provided, however, personal art materials such as sketchbooks, personal drawing materials, & paints are supplied by the participant. No background in art or printmaking is needed. All levels welcome. 

Mandee Schroer & Hugo Anaya

Mandee is a printmaker & painter who currently lives and works in Portland, Oregon. She teaches Painting and Drawing at Portland State & Clackamas Community College. Mandee has led PSU students and private groups to Italy and Mexico since 2012.

Hugo, a Guanajuato native, is a printmaker, chef and owner/host of Alma del Sol & Hotel Color Bed & Breakfasts in Guanajuato. Hugo studied Fine Arts at Portland State University, and lived in Portland, Oregon for 18 years.  



Mandee Schroer, Relief, 2018

Mandee Schroer, Relief, 2018

Class Monoprints, 2018

Class Monoprints, 2018

Printmaking WORKSHOP

[Sample Itinerary]
Day 1  - Arrive in Guanajuato
Day 2 - Begin Monotype Workshop
Day 3  -  Monotype Workshop
Day 4  -  Drypoint Workshop
Day 5  -  Drypoint Workshop
Day 6  -  Drypoint Workshop
Day 7 - Day Excursion
Day 8 - Trip ends


$1,165 - Cost includes *lodging, breakfast everyday, five day printmaking workshop & studio usage during workshop hours, lunch at the studio, day excursion, Rives BFK printmaking paper, oil based printmaking inks, printmaking plates, and other applicable printmaking materials. *Cost does not include airfare, taxi’s, dinners, a few lunches, travel insurance, & travel documents.

*double occupancy rooms with shared bathrooms are possible for a few participants. Sign up early for a single occupancy suite with private bathroom.



Participants must complete the Registration & Waiver forms before paying. Do not buy plane tickets to Mexico yet. Minimum enrollment must be met for class to run. You'll be notified as soon as registration deadline ends. If the class doesn't run you will receive your full deposit back. $250 deposit due by March 30. Full amount due by May 15. 


Hugo Anaya, Monoprint

Hugo Anaya, Monoprint


A unique print made by pressing paper against a painted or inked surface.  A Monotype implies that the original impression cannot be reused,  “pulled” or printed twice. Both Monotype and Monoprint refer to the production of singular works. In contrast, the monotype allows only one pull of the original followed by a ghost print in some circumstances. The monotype, like painting, is very direct and allows great flexibility as the range of marks that can be obtained. Marks can made using brushes, rags, hands, and found objects. There are many ways to create the image on the printing surface, and the work can be produced quickly and spontaneously or slowly and in great detail, depending on how quickly the ink dries. Impressions can be reworked, corrected, and removed as is possible in painting.

Mandee Schroer, Drypoint on copper, 2017

Mandee Schroer, Drypoint on copper, 2017


A technique in which the image is incised into a metal surface, filled with ink and transferred to paper. The term “Intaglio”, meaning “to engrave” or “cut into,” refers to the process by which an image is created by gouging, biting, or incising lines into the surface of a metal plate. The print is produced by filling the recessed marked and lines in order to transfer the image to damp paper.  In the final piece, the image will print in reverse from the design on the plate and the ink will stand proud of the surface of the paper.

Drypoint uses a hard needle to create a scratch across the plate surface. This action creates a burr and flanges of metal or plastic fold back from the edge of the scratch. It is these flecks of metal that retain the body of ink. The characteristic of a drypoint is softer, more furry line in comparison to the controlled clarity of an engraved or etched line. The drypoint is very fragile and generally does not sustain more than 20 good impressions.