Collagraphs: An Explanation and How-To Guide - Part 1.
Country Lanes II | Collagraph Print 40 x 40 cm
Collagraph is one of the print media with which I work.
Updated May 2023
You will find the collagraph basics here. All printmakers have their individual approaches to the medium. These are mine. Nothing replaces the workshop situation where you can pick up hints and tips in real-time.
What is a collagraph?
I create a collagraph plate by sticking, glueing and painting textured materials onto a flat substrate to make a relief plate with a wide range of surfaces and textures.
Collagraph print coming hot off the etching press.
Once the collaged elements are dry, you need to seal the plate. You can do this with a varnish or acrylic medium. I use a good quality waterproof PVA. This process can take several hours. This depends on the wet materials you use. There are pros and cons to all options.
Collagraph plate sealed with shellac over gesso with plants are pressed and incised into the surface.
Shellac is quick drying. Make it as thick or as thin as you need it to control the light and dark areas on the plate.
Pledge floor wax (which replaced Johnson & Johnson Klear) is also quick drying. If you apply it too vigourously you get a soapy texture which can be interesting but not necessarily what you want.
Water-based yacht varnish.
Waterproof PVA glue.
The reasons for sealing the plate:
To extend the life of the plate
To protect the surface and prevent ink from soaking into the substrate.
To control the levels of tone in the image.
To prevent the paper from sticking to the plate when it goes through the press. This is a possibility if you use a sealant that is not waterproof.
What does the term 'Intaglio' mean?
When you ink up a plate Intaglio, you push the ink into the grooves on the plate. You do this by applying the ink using card offcuts or a stiff bristle brush, e.g., hog hair. You then wipe away the excess ink using scrim. I use scrap cotton sheeting. I find it is absorbent and has less of a tendency to get caught in the rough surface of the plate or to leave fluff behind. The ink in the lower reaches of the plate is released under pressure of the etching press onto the paper. The raised areas print lighter.
What about relief printmaking?
You can also ink up a collagraph plate for relief printing. In this instance, you apply the ink to the surfaces that stand proud of the plate surface. You can achieve some interesting results when you use both inking methods together. Even more interesting results come from working with inks of differing viscosities.
Printing the plate
Place the plate on a flatbed intaglio press, cover it in damp paper and run it through the press.
The materials you use, influence how many prints you can achieve from a collagraph plate.
You can play with overprinting many plates, one on top of the other, one colour at a time to get different results.
The effect can give the print a lot of depth, in particular when you use a lot of transparency in the ink.
Each plate has a different design. The colour from each previous plate builds to give you a multi-coloured result.
The Collagraph Plate Construction:
The DOs
You can use
.8mm wood ply. The advantages are not only the robust nature of wood ply, you also pick up the wood grain texture.
Mount board. Your local framer may let you have their offcuts for nothing. My framer chucks out his scrap in the skip. I came to an arrangement that is a win win for us both. I get free mount board. He doesn't have to pay to put it in landfill. Mount board comes with smooth or textured surfaces that print very well.
Mylar, like steel or aluminium, polishes back for great smooth surfaces. You can also scratch that surface (drypoint) to produce fine lines.
Sheet metal like steel or aluminium.
Depending on the ‘matrix’ you use, you can also cut, carve and scratch into the surface of the plate.
The DON’Ts
Avoid using the coloured side of the mount board. You will create difficulties for yourself when you ink up. The coloured surface will stop you from being able to see what you are doing.
Use card or wood ply that is less than 5mm thick. It causes problems if it's thicker once you add your textured materials.
Avoid applying the collaged materials too thickly to the surface. Also avoid sharp materials with high edges. Do you want to damage the paper and/or press blankets? That could be costly, especially if the press is not yours!
The variety of different effects and variation in texture is infinite. It depends entirely on what materials you use. The materials you apply to the plate will determine the tone and strength of the ink.
You might have to ink up and print a plate several times when you use very absorbent materials. For example, if you use textiles or carborundum. It can take a couple of goes before the full impression comes through. The sealant you use and the number of coats you apply can also determine the tone and strength of the ink. If you add more than one coat of sealant in specific places, you can bring out more contrast in texture and tones on the plate.
Textured material examples:
You can rip, cut, scrunch, or glue tissue, crepe paper, or Japanese paper for example, or press it into wet materials like texture paste.
You can incise mount board lifting off the top layer (do not cut too deep). For a rough edge nick the surface and pull off a layer.
You can glue lace, cotton, canvas, or any textured fabric or wallpaper to the surface. The trick is not to leave folds that can move and allow ink to get trapped underneath. Everything must end up in contact with the surface of the plate. Splodges will result otherwise.
Acrylic paints and acrylic textures. Glosspaint and varnish. Different brush strokes will create a variation of texture. You can also use palette knives and sponges.
Texture paste, tile grout, etc., hold the marks of brushes or palette knives etc. You can also press leaves or grasses or fabric into them. Try leaving them there or lifting them to see what kind of impression they leave behind. That is something I have experimented with. I found wetting the item in advance or using a damp sponge so the item does not stick to the surface very successful. Texture paste is excellent for this. There are cheaper alternatives. They all have their own characteristics.
Carborundum is a good choice if you would like to print deep dark matt colours.
Other materials include string, thread, leaves, maskingtape, and parcel tape.
My final tip! It comes with a health & safety warning. I sometimes take a blow torch - like the small kitchen ones you use for caramelising the sugar. You can burn the plate edges and surfaces. Please take great care if you are going to do this. I work outdoors with fire bricks to support the plate. I use heavy-duty gloves to hold it; a mask to avoid breathing in potentially harmful fumes. You achieve fabulous textures by burning texture paste and PVA glue while they are still wet. They bubble up and do strange things.
