Over the weekend, I went along to another printmaking session at Ropewalk Gallery in Barton on Humber. As with previous sessions, the results were mixed, but still very encouraging. I had intended to print a large abstract plate, but (silly me) the large size paper I had ordered was not long enough for the plate. So I’ll have to order some more and print it next time.
Instead, I printed a couple of other plates, one of which I had printed previously, but wasn’t happy with the result. The interesting (and useful) thing about the kind of abstract images I’ve been printing is that each printing of a plate produces different results, depending on how it is inked up. Also, the bandages I used, which were stretched and torn apart before being glued to the cardboard surface, are slightly dislodged with each printing. All of this means that these collagraph plates give me a truly limited edition set in which no two prints are the same.
Now I seem to have the basic principle of collagraphs sorted (rough areas will print dark and smooth areas light), it’s just a question of experimentation, which is the interesting and fun part of the process.
1. The Collagraph printing plate. Glasspaper glued to card, to form the base (rough areas). ‘Magic Tape or Sellotape and varnish drops on top (smooth areas).
The Collagraph printing plate. Bandages glued to card. The bandages are rougher in texture and become hard when thoroughly sealed with coats of French Polish. The bandages print dark whilst the smooth card surface prints light.
The resulting print.
Another print variation, with coloured tissue paper added.