![]() (By the way, you can enroll in my online art classes at – for free right here. These are going to be the darker areas of my design. In the photo above, I’m peeling a shallow cut out of the uppermost layer of mat board to leave a textured shape in a slightly recessed “well” that will hold ink. Wait for it to dry completely before you start carving. This will give you a map to remind you where you want slightly recessed areas to hold ink.īefore you begin to carve the lines from your design, seal the plate top, bottom and edges with Acrylic Gloss Medium and Varnish with two or three coats applied smoothly. Now, back on your mat board plate, use your pencil to shade in the same dark areas of your drawn design so it matches the darks in your reference image. Light and Dark in Your Collagraph DesignĪfter your collagraph design is sketched on the rear face of the mat board, look back at your reference photo and squint your eyes till the image dissolves into areas of light and dark shapes – no details. The back is generally smoother than the face of the mat board, so you can wipe the ink away easier when you want the option to lighten areas in your print design. a light pencil drawing of your collagraph design on the *back* of the mat board. ![]() ![]() ![]() Not to be reproduced without their permission. Reprinted with the permission of The Japanese Paper Place. Image provided by The Japanese Paper Place "Magical Secrets about Chine Colle" by Brian Shure, Kozo papers with a crisp, smooth surface work very well tootryĬontemporary Artists Printing Intaglio on Washi Yamagampi is pearly-surfaced and deluxe (click here to learn more)Ĭonservation Gampi is popular for chine collé, but may also be used on its own then pull washi from plate (newsprint and washi can be difficult to separate wrinkle-free if peeled apart after removing from plate together)Īny gampi papers are ideal because their smooth surface has the ability to show very fine detailĬlassic Kitakata is warm-toned and economical (click here to learn more).if backing sheet and printing paper are sticking when lifting print from plate remove newsprint first.ink can also go right through thinner papers when printing so print with several layers of newsprint behind to protect blankets.thinner papers dry out quickly – use newsprint backing sheets and print with first layer of newsprint dampened subsequent newsprint layers should be dry to protect blankets from getting soggy.dampen paper by misting or placing between layers of dampened newsprint in a damp pack.with absorbent paper, the ink will often show through on the back side and so the print can become two-sided, with the back showing a ‘veiled’ image that can again be printed on creating added depth.an absorbent paper holds the ink such that ink and paper appear as one element rather than the ink sitting on the surface.It can be printed as chine collé but is strong enough to be printed on it's own Washi's absorbent nature works beautifully with intaglio printing as it readily picks up detail and plate tone. Information abounds on the various ways in which images can be created using intaglio techniques, yet there is precious little about the substrate on which they are printed.Įven so, paper can have as much influence on a print as any of the other elements used to make it.
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