Collagraph Course – Part 2

On the second week of the course, I planned to further experiment with inking my plate and combining it with chine colle.

artist's proof!

artist’s proof

I had experimented with a roll over and rubs in complimentary colours. I wanted to see the effect of a rub in a contrasting colour. I chose a turquoise blue. I wanted to see if I could keep the colours clean or if I would just end up, as I expected, with mud. I wiped the areas I was going to apply the rub to very thoroughly.


The result was better than I feared but not as striking as I hoped. I decided that to add drama to  my print I should explore chine colle.  I have tried this before, but my coloured tissue paper faded very quickly. This time, I painted with acrylic paint onto thin Hosho paper to give a light-fast lightweight paper which is also much easier to handle than tissue. My goddess’s headdress would have been iridescent feather, I think, and I imagine her adorned with gold. I painted the hosho with iridescent blue and some with gold, cut out shapes and preassembled the headdress. These were then painted on the back with pva, and placed glue side up on the inked plate. I had to work very quickly before the glue dried.


I think that this is quite successful. The gold and blue adds to the image. The cut edges of the tissue are too sharp; they would be better torn. The glue dried a bit too fast so the tissue is not absolutely flat on the print. I tried this again, this time tearing the hosho and watering the glue a little to dry slower.


The proportions in this photo are a bit weird because I have tilted the print a little to show the gold. I think the torn tissue works much better, but the looser glue has smeared out at the top of the print. The paper has still not stuck completely flat. This has 17 individual pieces of tissue, so it was perhaps over ambitious. I do enjoy the effect of gold and iridescence on the print; it gives it an extra dimension.

I am pleased at how the plate has stood up to repeated wiping and cleaning. Some of the paper shapes have delicate edges, for instance under the chin, and I feared that these would not survive.

I would like to perfect the chine colle approach, but I might also cut the figure out completely, so that the plate breaks out of the rectangular. With only five afternoons of this course though, I want to try different plates and explore different ways of inking and introducing colour.

About starrybird

I am mature student studying art with The Open College of the Arts. My passion is printmaking.
This entry was posted in Collagraph Course, Part 4 Collagraphs, Printmaking 1 and tagged , , , , , , , . Bookmark the permalink.

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