Great lesson. I love how your emphasis is on the image and and the pleasure of the eventual visual outcome rather than any slavish adoption to purism. Thanks for sharing, well done.
I learned so much about the technical aspects of collagraph printing because of your struggles with this print. Very helpful video! Thanks for sharing.
I really like the brayer marks on this. Especially around the white triangle at the bottom of the image. Thank you for sharing so much of your process.
Hi Marta love your videos, so inspirational. Another thing you can try with very thick many layered plates is using foam (soft furniture foam is best) as padding in addition or instead of some of your blankets.
This is a labour of love. I am about to do a basic printmaking course without a press and your video has given me lots of ideas including buying a press. Thank you for your video. More please!
What a lovely and instructive video. Learned a lot and was amazed when I saw the working of the viscosity difference of the ink. May I be so bold to say that I like the print much better upside down with the darkest parts at the bottom.. Thanks a lot Marta. The last print looked so fresh with just a little bit of white in it.
You could check out using a latex foam blanket instead of your felts. This helps with with very deep plates. Daniel Smith in Seattle used to sell them, not sure who sells them now. I expect you could use a latex foam carpet underlay and a thin felt blanket. Also filling the cavity you made for the carborundum with a coat of matte medium or water based varathane will help to fill those 90 degree angle voids which are almost impossible to fill in since you run the risk of adding too much ink and having it all split out under the pressure from the press. I use varathane instead of shellac since you can mix it with acrylic and it dries waterproof and alcohol proof. Hope this helps! Cheers Tony
Another thing I always proof the in inked plate as a blind emboss to determine plate depth and and detect any sharp points or areas that could puncture the paper.
I almost can't find the words for how beautiful that looks.. Sooooooo how many prints were you able to make before it finally disintegrated? How inspiring! What I love about collagraphs is applying ink to different depths. A lot of variation is possible with embossing folders that press really deep. Here's one for you: I apply first with a soft roller, but let the paint seep into it first then rub off the upper layer. Finally I I apply a second shade to the soft roller. When I pass it over one of the sides of the embossing folder, The edges which rear up out of the paper make contact with the inner side of the soft roller meaning I'm rolling out two colours at the same time! Took me ages to work out how I was doing this.
Very interesting video thank you, it's taught me a lot. Out of interest, because of the pen work, would this piece be classed as mixed media? Congratulations on the finished art it's stunning. ❤
@@gr8fng thank you. Actually it’s quite common for printmakers to print in black and white and add colour in watercolours afterwards. I guess you would then call it a monoprint
In your description you write that the thicker ink is applied to the raised areas. I understand that it was the thinner ink on the raised, and the thicker ink on the recessed areas. ?
Before the second print, did you repeat the whole inking process or just add it in places? (And I wouldn't call it a cheat--all's fair in love and art! 🙂)
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Great lesson. I love how your emphasis is on the image and and the pleasure of the eventual visual outcome rather than any slavish adoption to purism. Thanks for sharing, well done.
@@chrisriddles9460 thank you for watching and your kind comment. You are welcome 🤗
I learned so much about the technical aspects of collagraph printing because of your struggles with this print. Very helpful video! Thanks for sharing.
You are welcome and thank you for watching 🤗
I really like the brayer marks on this. Especially around the white triangle at the bottom of the image. Thank you for sharing so much of your process.
Thank you and you are welcome 🤗
Hi Marta love your videos, so inspirational. Another thing you can try with very thick many layered plates is using foam (soft furniture foam is best) as padding in addition or instead of some of your blankets.
Thank you 🙏 that’s so interesting. I must try that
This is a labour of love. I am about to do a basic printmaking course without a press and your video has given me lots of ideas including buying a press. Thank you for your video. More please!
That’s great news, once you get hooked you’ll never look back, the possibilities are endless. Enjoy 😊
What a lovely and instructive video. Learned a lot and was amazed when I saw the working of the viscosity difference of the ink. May I be so bold to say that I like the print much better upside down with the darkest parts at the bottom.. Thanks a lot Marta. The last print looked so fresh with just a little bit of white in it.
Thank you Marijke, I think you might be right about it looking better upside down 😁
You could check out using a latex foam blanket instead of your felts. This helps with with very deep plates. Daniel Smith in Seattle used to sell them, not sure who sells them now. I expect you could use a latex foam carpet underlay and a thin felt blanket. Also filling the cavity you made for the carborundum with a coat of matte medium or water based varathane will help to fill those 90 degree angle voids which are almost impossible to fill in since you run the risk of adding too much ink and having it all split out under the pressure from the press. I use varathane instead of shellac since you can mix it with acrylic and it dries waterproof and alcohol proof. Hope this helps! Cheers Tony
Thank you Tony that’s really interesting. Never heard of varathane here in UK, is it a DIY thing?
Another thing I always proof the in inked plate as a blind emboss to determine plate depth and and detect any sharp points or areas that could puncture the paper.
That should read un inked plate …sorry!
Blind emboss is definitely a good idea before inking up
That was really well done! Thank you! Honestly, I do not understand why you don't have hundreds of likes for your videos.
Thank you so much for your kind comments! So nice to hear 🤗
Great lesson! Can you please add the type of matrix (plate) used in the demonstration. Thx
Thank you. It’s called enviromount
I almost can't find the words for how beautiful that looks.. Sooooooo how many prints were you able to make before it finally disintegrated? How inspiring! What I love about collagraphs is applying ink to different depths. A lot of variation is possible with embossing folders that press really deep. Here's one for you: I apply first with a soft roller, but let the paint seep into it first then rub off the upper layer. Finally I I apply a second shade to the soft roller. When I pass it over one of the sides of the embossing folder, The edges which rear up out of the paper make contact with the inner side of the soft roller meaning I'm rolling out two colours at the same time! Took me ages to work out how I was doing this.
Thank you so much Zachary, love your interesting input on viscosity printing, I must try it out!
Very interesting video thank you, it's taught me a lot. Out of interest, because of the pen work, would this piece be classed as mixed media? Congratulations on the finished art it's stunning. ❤
@@gr8fng thank you. Actually it’s quite common for printmakers to print in black and white and add colour in watercolours afterwards. I guess you would then call it a monoprint
Could you use masking tape to pick up the extra carborundum that might be resting on the surrounding material?
@@hartmanartsource that’s a great idea 🤗🙌
Great job! I like the way you corrected the image. White colored pencil drawing on top could be an additional layer? Thanks for your videos!
Thank you and love the white pencil idea!
Why did the light pink repel the red?
Pink ink is looser, diluted with linseed oil
In your description you write that the thicker ink is applied to the raised areas. I understand that it was the thinner ink on the raised, and the thicker ink on the recessed areas. ?
Yea you are correct, the looser in is in the raised areas, I must check my description, thank you 🙏
Etching or relief ink? Also, assuming it's oil based?
Etching ink oil based
I don’t see it as cheating. I bet most artists do it at some time 😊
I think you are probably right. Still felt a bit naughty!
Before the second print, did you repeat the whole inking process or just add it in places? (And I wouldn't call it a cheat--all's fair in love and art! 🙂)
Yes I did repeat the inking process as there wouldn’t be enough left over in the second run