I have been working on a set of collagraphs, recently. When I attended the Leicester Print Workshop ‘Introduction to Print’ evening class (see here for next class), my attempt at a collagraph was rather a disaster.
We worked on mountboard card. Nichola showed us how to make dark lines by scoring into the card (using craft knifes) and how to add texture by removing the top section of the mountboard to expose the slightly fluffy card below (middle grade shading), adding carborundum (heavy shading) or just adding PVA glue (light shading, near white-out).
My attempt was to try and create a shaded version of a photograph of my daughter sitting on a bench in Sherwood Forest. I got the lines pretty much in the right place and some of the shading looked ok but the image overall was, frankly, crap. That’s why I didn’t post about that class. The medium did not lend itself to representation imaging — not at my level of expertise, anyway.
I was determined to learn more about what I could do with collagraphs. I had the excellent book, Collagraphs and Mixed Media Printmaking by Brenda Hartill & Richard Clarke (one of the brilliant Printmaking Handbook series from A & C Black) and wanted to try all the techniques described.
I had bought a stack of offcut mountboard from Ferrers Frames, picked out five that arranged pretty well on an A3 sheet, and thought about what to do. I originally started with the idea of a series based on landscapes from our recent trip to NZ and did pretty much keep to that theme. I also tried several techniques. One plate had most of it lifted out and filled with polyfiller which I sculpted and tried to make into landscape-y shapes. With another, I took a photograph of windswept trees, laid it over the plate and cut through photograph and plate: it was interesting when bits of the photograph fell away as I was cutting so I could not use it as a guide any more. Another plate had bits of corrugated card (from an Amazon delivery — something we have plenty of), ripped paper and cotton threads glued to it. One long one, I cut on the coarse side of the mountboard to retain that texture. A fifth and final piece was simply built from geometric shapes. I added texture to the images using some fine sand since I’d been unable to get any carborundum (it cost more for the shipping than for the grit itself).
I varnished all the plates and they were ready only a day before I was due to go into the workshop (I planned to go in on a Wednesday as the workshop is open late so I would be sure to have enough time to get at least one print looking right).
I inked the plates up, laid them out on a piece of newsprint to which I had transferred the plate locations and printed onto a sheet of proof paper. It was a complete mess. I had not removed anywhere near enough ink and passing it through the rollers squeezed ink all over the paper. I was able to run a second sheet through and get a complete image without any re-inking. But I wasn’t satisfied with the results. I got on with a second print that I’d made — see below — and worked on that through until the early afternoon when I had that one right.
Then, even though I was knackered, I decided to have one last go at the 5-plate print again. I spent more time inking and wiping down this time. And it paid off. The print was much better. Still not brilliant, though. The top left plate was too dark so that the lines did not show — I ought to have wiped the surface down much more but had only put one coat of varnish on because of the thin lines and I think the ink had seeped into the plate. The corrugated card had made a nice shape but the carved polyfiller was a bit naff. The geometric shapes plate was okay but the vertical water flow one did not really work though I liked the texture of the reverse surface. Not a good set of plates but I learned a lot from making them.
I had made another, completely different, plate on the day before going in to the workshop. I just had in mind the image of a crow standing on a desert floor with a huge sun in the background. I couldn’t find an image of a bird I liked but did find one of a bird flying away from the camera. I created this one differently as well. I painted the mountboard with a couple of coats of acrylic gesso to provide a nicely toothed surface then used a drypoint needle to scratch the sun and outline of the bird into the plate. I liked the rough way the needle scratched into the surface: not making a clean line but a jagged, coarse one. I laid down some sand and glue into the image for more texture.
I managed to get a really good colour mix with this image, printed it and, again, had the ink run. This time from the bird where I again had too much sand embedded so that it was impossible to remove enough ink. I scrubbed the plate clean of ink, re-inked all the areas around the bird and asked Nichola how I might ink the bird to avoid making another mess. We looked at the plate and it seemed, even after all the cleaning that there was a lot of ink left so I ran the plate through. This image printed well but I didn’t like the colours.
I spent a long time on the third inking, trying to get the colours to blend and work together. I also rubbed the bird down quite a lot, even using cotton buds to remove ink from in the sand. I was very nervous wen lifting the paper but it turned out pretty good. All the hard work had paid off. Not perfect, but encouraging.
Overall, I was very pleased with the day, especially with the bird image. I may just have another go at collagraphs!