I have continued my work with very small (virtually cut off pieces from large plates) the largest one being 5cm x 4 1/2 cms. Today I etched the plates and made test prints on paper. The prints will eventually be made on fabric, and I am hoping to place some in containers and use others to create a textile book of prints.
Lithography with Leighton Bohl was the workshop I attend on Thursday (it was meant to be a two day workshop, and two days is probably needed to learn the process, but work got in the way). The process is interesting, but only being able to learn half of it directly means that I am still not quite able to make a print from the plate I created. Leighton was an excellent tutor and class was very interesting and informative. I’m not sure the process is something I will try in future, but not having printed from my plate, I cannot judge this as yet. The plate itself is beautiful and took an awfully long time to draw out.
After having learnt how to make a collagraph plate in the workshop I have created some more that are relevant to my artistic concerns of memory containers. These plates were quite complicated to make as I had to cut out and stick down many small and fiddly pieces of card to the plate. I believe the finished plate is very much worth the effort involved, but as in a lot of my work I prefer the plate itself to the resulting prints.
Today I made a set of plates that I hope to print from tomorrow. They continue in the memory series and are small card plates each measuring 9 cm x 6 cm. I like the fact that they could be contained in something and carried around. Not sure yet how they are going to be printed ie all together in sets or individually. After I had drawn them I asked people in the print centre how they thought they should be printed (what layout), it was interesting to see the results.
Collagraph using, netting, chunky glitter, separated string threads, fine grade sand paper, fine carborundum, pva, gesso on mountboard.
A print from the plate.
Print From The Plate
A print taken from the soft roller using the hard ink
The second of the workshops attended by the Proof Scholarshipers was Mary Campbell’s Viscosity/Collagraph Printing workshop. This was a very fascinating process. Mary has a very quiet manner, and is an excellent tutor. After helping us build our collagraph plates she illustrated two methods of using the different viscosity inking.
1. Firstly apply the intaglio and produce a test print to ascertain the basic way the plate prints. Then re-apply intaglio, followed firstly by soft ink on a hard roller, applied lightly, then secondly the hard ink on a soft roller using a lot of pressure.
2. Apply the intaglio, then the hard ink on the soft roller with strong pressure, followed by the soft ink on the hard roller with a light touch.
Personally I preferred the second method, as I thought it was more successful for my plate which had a slightly raised collagraph.
I am looking forward to trying this method out further this week and will update with images of my plates and prints from the workshop and any other work I produce using this method.