Radal

Our fully equipped studio offers local artists an ideal environment to get started in different techniques through short workshops on demand. We also have open access for those who wish to work independently on their own projects.

Where time stops

The studio

The printmaking studio is located on the ground floor and occupies an area of ​​13 m2. On the upper floor is the drawing, sketching and design studio, which has a floor plan of 13 m2. It's provided with armchairs, stools and high desks of 60 x 80 cm.
We provide artists with tools to carry out relief and intaglio techniques and basic supplies for these processes. Paper and plates are not included but can be purchased at cost.

Radal, printmaking studio and Artist Residence

Studio

Tools and supplies

Brayers

Rollers

→ Kolar intaglio press with 6" diameter steel rollers (force reduction 4 to 1) and a 50 x 70 cm steel plate.

→ Workbench covered with 8mm thick glass measuring 90 x 140 cm.

Rubber rollers and brayers for ink:
→ 1 of 8 cm wide x 6 cm diameter
→ 2 of 12 cm wide x 6 cm diameter
→ 1 of 22 cm wide by 6 cm in diameter
→ several 4 cm diameter brayers of different widths

→ Graphic ink
→ Water-based inks for etching and linoleum.
→ Spatulas
→ Oil-based cleaning elements
→ Trays to soak paper
→ Ferric chloride based etching for copper plates
→ Copper sulfate based etching for iron plates

→ Assorted varnishes
→ Supplies for lithography on polyester or pronto plate

→ Cyanotype supplies

→ We also have an art library with books and magazines, and specific one with printmaking material.

Convocatoria abierta Cierre: 11 / 10 / 25

Huellas de lo mínimo: narrativas gráficas desde lo cotidiano

Curso intensivo de grabado menos tóxico.
Sábado 11 de octubre de 10 a 14hs
Con cupo e inscripción previa.
ACTIVIDAD DEL MES DEL GRABADO 2025

Descripción: Este taller propone una introducción a técnicas del grabado menos tóxicas (grabado sobre tetrapack, matrices recicladas), enfocadas en la producción de viñetas o pequeñas escenas gráficas inspiradas en objetos, hábitos y consumos cotidianos. Se trabajará a partir de ejercicios de observación, boceto y transferencia, con materiales accesibles y reutilizables.
Además de explorar lo técnico, el taller ofrece un espacio para pensar el grabado como lenguaje narrativo, crítico y poético: ¿Qué decimos cuando grabamos? ¿Qué podemos narrar desde lo cotidiano? ¿Qué imágenes heredamos y repetimos?

Rosa de Río en su estudio.

Rosa de Río realizando una punta seca.

Detalle de una obra de Rosa de Río.

Realización de un miniprint en punta seca.

Convocatoria abierta Cierre: 18 / 10 / 25

Curso intensivo: Monotipo a Color Simultáneo

Sábado 18 de octubre de 10 a 16hs
Con cupo e inscripción previa.
ACTIVIDAD DEL MES DEL GRABADO 2025

Descripción: En este taller, exploramos el monotipo a color simultáneo, técnica de grabado que da como resultado una estampa única e irrepetible, creando imágenes a color mediante la carga y descarga de la tinta sobre la matriz, generando múltiples variaciones a partir de las impresiones fantasma utilizando diversos materiales recolectados o reciclados. Es un método creativo que invita a la experimentación y a una actitud lúdica, dando resultados sorprendentes e impredecibles.

María Gabriela Agüero en su taller.

María Gabriela Agüero trabajando.

Detalle de la obra de M. Gabriela Agüero.

Entintado de monotipos.

Convocatoria abierta Cierre: 25 / 10 / 25

Curso intensivo: Mokulito, litografía en madera

Sábado 25 de octubre de 10 a 17hs
Con cupo e inscripción previa.
ACTIVIDAD DEL MES DEL GRABADO 2025

Descripción: En este taller exploraremos la técnica del Mokulito, una forma alternativa a la litografía que reemplaza la piedra caliza por madera, permitiendo generar imágenes de gran formato de manera accesible y menos tóxica, sin necesidad de prensa litográfica. Es una técnica que permite la realización de trazos y gestos espontáneos. Aprenderemos a preparar la matriz, entintar y estampar a partir de la imagen de cada participante.

Laura Pires retratada por Clara Nerone.

Detalle de una obra de Laura Pires.

Técnica de mokulito, grabado en superficie sobre madera.

Matriz y estampa realiza en la técnica de mokulito.

Convocatoria cerrada

JAPÓN GRÁFICO. AGOSTO EN TALLER RADAL

Tradition and innovation in less toxic graphic techniques
In the month of August, Taller Radal offers you the opportunity to approach the world of engraving and Japanese paper art through different activities:
• Friday, August 1st. 4 PM. Japanese engraving: Ukiyo-e and Mokuhanga. Talk and demonstration. With limited spots and prior registration. Free.
• Friday, August 8th. 4 PM. Experiences with paper: The world of Washi. Talk and demonstration. With limited spots and prior registration. Free.
• Friday, August 15th. from 3 to 6 PM. Suminagashi: the marbling technique. Workshop. With limited spots and prior registration. Fee required.
• Saturday, August 16th. from 10 AM to 1 PM and from 2 to 5 PM. Mokuhanga workshop, woodblock carving printmaking with water-based pigments. Workshop. With limited spots and prior registration. Fee required.

Ukiyo-e (浮世絵) —translated from Japanese as "paintings of the floating world"— or Japanese print, is a genre of decorative images made using the woodblock printing technique and colored with water-based pigments, produced in Japan between the 17th and 20th centuries. Ukiyo-e was fundamental in shaping the Western perception of Japanese art in the late 19th century, particularly in relation to the landscapes of Hokusai and Hiroshige.
Mokuhanga (木版画) -translated from Japanese as "woodblock with drawing"- or woodblock printmaking. A technique developed in China, later adopted in Japan to disseminate images that then became popular through Ukiyo-e. This technique uses water-based inks. These inks allow for a wide range of vibrant colors with transparency. Another characteristic that makes this technique special is its printing process; after inking, the matrix is printed with a baren. This method of manual printing offers a wide variety of textures.

Convocatoria cerrada

Curso de Litografía sobre poliester

Lithography on polyester, lithopolyester or “pronto plate lithography” is a less toxic printmaking technique that, unlike traditional lithography, does not require the use of a stone and is printed with an intaglio press.

Led by Marta di Bitetti

The workshop is designed for visual artists, art teachers, printmakers, designers, photographers, artisans and anyone interested in these printmaking techniques.

Lithography on polyester, Litopolyester or Pronto Plate is a less toxic printmaking technique that, unlike traditional lithography, does not require the use of stone or a lithographic press. A polyester plate is used to prepare the matrix and is printed with an intaglio press. This polyester plate can be worked on directly with pens or markers, which makes it a very attractive technique for artists and illustrators seeking to multiply their images on paper.

In the case of photolithography on polyester we can transfer a photograph to the matrix to achieve very attractive results by analog means, combining this option with direct drawing on the plate. These variants are very interesting for those who are venturing into hybrid photography and the incorporation of photographic processes in their graphic productions.