Reading and research: Collagraph Techniques

I decided to do a bit more research on collagraph techniques so I read chapter 6 of "Printmaking: A complete guide" (1) and made notes in my 'techniques' notebook. 

This provided a good summary of collagraph techniques. There was a useful table comparing the properties of different base plate materials and the advantages and disadvantages of each. There were also examples of various collage materials; both wet and dry, which can be employed. 

The key to being successful with collagraph seems to be the ability to understand how each selected material will hold ink and release it onto the paper. In the chapter, there are detailed explanations of various types of collage materials and how to get the best out of them. I will not go into detailed explanations in this review but I have made lots of notes to refer to during the remainder of the course. 

The chapter also describes the use of carborundum to create dark areas and the use of 'maniere noir' (silk collagraph or silk aquatint) which I would like to this try in order to create a range of tonal values. It also describes the use of photo collagraph which uses light sensitive screen printing emulsion - this is an interesting technique which I will keep to one side for future reference but is beyond the scope of my current studies. 

I had seen this book (2) recommended on collagraph printmaking groups on social media: 

This is very old book which has been out of print for decades. I had seen it in online bookstores for a ridiculous price (Over £100) and I didn't have access to a local library to borrow it. However, I then had a stroke of luck. I saw a rather battered copy on a website for £35 is I ordered it. After a month of waiting it still hadn't arrived and I had given up hope of ever seeing it. I emailed the bookstore who were very apologetic and refunded my money. They also said that if it did arrive, that I could keep it free of charge as they didn't have another copy they could send me. I was very excited when it finally arrived a week later!!!!

Despite being an old book, it is extremely useful. I read it from cover to cover within 24 hours of receiving it and made copious notes in my techniques book. I will scan or photograph my notes and post them as a separate post rather than re-type them here. 

I was enthused and inspired by this book and came away with a very long list of techniques I would like to try as follows: 

• silk collagraph/silk aquatint and blending a tonal gradation
• using acrylic gloss medium and holding paste
• blind embossing
• making impressions of found objects in moulding medium
• techniques for making lines with media/tape/thread/blade
• spraying/spattering media
• using stencils
• marbling acrylic media
• using incompatible fluids
• burning/blistering the plate
• freezing the plate before media are dry to create cracks
• colour dragging
• jigsaw plate
• overprinting plates
• partial rollup or stencilled/masked rollup
• multiple colour rollup
• roll-on, roll-off
• viscosity printing
• multiple image print
• auxiliary plates

I think this shows how versatile collagraph printmaking is. I really want to experiment further with this but as I have limited time to complete this section of the course, some of my experimentation will have to be carried over into part 5 (and afterwards). I'm excited to get started!

I particularly like the fact that collagraph uses recycled materials and found objects. Although I would like to try using the acrylic media mentioned in the text books, for the time being, I can't afford to buy any new materials so I will have to make do with what I have in my studio: Various types of cardboard and hardboard, PVA glue, acrylic paint, gesso, thin shellac and spray on clear acrylic lacquer. 

References:

(1) Fick, B. and Grabowski, B. (2015). Printmaking. A complete guide to materials & process. Rev. ed. 2nd ed. London: Laurence King, p.142 - 158
(2)Stoltenberg, D. and MacKenzie, R. (1975). Collagraph printmaking. Worcester, Mass: Davis Publications.