Cobbles I

by maggie

A couple of weeks ago I was waffling on about my summer printing plans, and here we are. Over the easter Break I made a couple of plates and launched back into term with some experimentation. Some more successful than others.Over the next few weeks there will be a series of posts about that experimentation and where it lead. Cobbles II, III, IV, V

The plate for this first print was ultimately a bit of a disappointment. that’s because I had very clear ideas about the outcome I wanted to achieve and with most things in collograph you can’t guarantee a logical out come. [Or maybe you can and I was being too optimistic.]

The plate is made up of a bit of creased paper that has been cut to make a rock like fracture. It was stuck down with lots of lovely PVA which I hoped would fill the gap between the bits of paper so stopping the ink settling in there. No such luck. You can see on the print  where I’ve tried to clean out the narrow furrows, and this is after i’ve added extra PVA. The plate was inked up in red and then after the last wipe a wipe of black inked scrim was made.

I will probably reuse this plate at some point with less emphasis on the veins, with another plate to make pebbles.

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creased and cut paper, with PVA in the gaps

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grey board cleaved in two, then varnished.

There is a matching plate to this one, with slightly different modelling. Good for a background? This was black ink with a touch of yellow at the end. I’ve been researching colour for this project [going round and using up the coloured inks that other people in the studio no longer need].

The next two prints are also related. They are printed from sheets of fine emery paper. First i spattered painty glue on one sheet and then sandwiched it with the other, you can just about make out some of the marks are related. I’m still trying to find an easy way of reproducing solvent prints, like the ones you can see at the bottom of this post. this method is producing some interesting effects but not quite what I wanted.

The first print is intaglio. maybe it could of with more ink, emery just loves it. it’s got potential. The second print is relief, the ink just sits on top of things. It makes for some curious halo effects.

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Intaglio print, paint on emery paper

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relief print, paint on emery paper

these next set of prints were made on hand made Lokta paper, and one day they might get used as chine collé. The first two prints were screwed up  crumpled to fit on a block about half the size of the paper. The next print is the ghost print of the tree like print. the many layers of the folded paper have picked up more ink than the single layer. The last print is a solvent print. The ink is resolved and blotted away. You can see the blotting print in the next post.

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reverse side, double mono print in black and red

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damp paper collapsed and un furled

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ghost print of previous print

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solvent print

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