Proofing & Experimenting

I finally had a chance to proof the plates I had been working on. My original idea was to create a print that had some dimension to it by folding the finished print in such a way that it added to the image. This is the first proof; the base plate is a collagraph and the intaglio was created on solarplate.

Collagraph Underway

This morning I began working on a collagraph plate for the next print in my laced series. For those of you who are not familiar with collagraphs, they are prints created from plates that have been built up using collage materials. They can have very rich surface textures and the finished prints display an embossed quality. Papers with a lot of surface texture, like sandpaper, print dark and smoother papers and surfaces print light. Of course you can achieve all sorts of in between values by varying surface textures and adhesives. I like to use gesso, modeling past, and acrylic mediums to adhere my elements to the plate and as a means to modify values. I seal the plate before printing with a thin coat of acrylic gloss medium. In this instance, I'm using 4 ply matte board as my base. Any sturdy surface will do but for larger prints I use Masonite as a plate base.

I love the tactile quality of building the plate and the unpredictability of the outcome. The often unexpected results you can achieve when printing can be a welcome surprise. As you can see, it gets pretty messy when you get down to business and I end up with my tools covered in gesso. This is where I really appreciate my granite work surface; I know I'll be able to scrape off the adhesives when I'm done.


This is what I have so far. I'm going to give this a chance to dry before I continue. With collagraphs, it's vital that you really, really glue things down well so the plate holds up during the printing process.

Collagraphs can be printed without ink (as embossings), just surfaced rolled and printed as a relief, inked and wiped as an intaglio plate or a combination of intaglio inking with a surface roll over the higher areas. Lots of options provide a wide range of creative exploration.

Tear, Tear

Didn't get a lot done in the studio this past week. I was slightly derailed by a physical discovery on Monday morning, which lead to various appointments and records gathering. Sometimes things just crop up out of the blue and everything else takes a back seat. As I was organizing some work, to keep busy, I came across a piece I did the last time nature threw me a curve ball. Fortunately all turned out well then and I'm convinced that it will be the same this time.

I titled this print Tear, Tear. It's two plates, a collagraph and a photo intaglio, with chine colle and thread. I loved the fact that the same word "tear" had two different meanings but those definitions seemed to be so linked and appropriate at the time.

Laced

Oh the things we do; fingers laced and tummy in place. Just finished carefully punching holes and adding ribbon to today's print; "Laced".

The print was created using two plates that were inked up separately, stacked together, and then run through the press as one unit. The main plate is a collagraph with the smaller inset image created on copper using ImagON photopolymer film. I used a bookbinding hole punch to create perfect openings for the ribbon and included a couple of small metal eyelets. A pale pink watercolor wash was added to the girdle.