I am an experienced intaglio printer using copper plates. I now work at home for many reasons so I am very interested in finding other print methods. Your video was really elegant and clear and you are a marvelous teacher!
Hi Anne, I know that feeling of transferring to art-making at home, without the use of a press and copper plate cutters, and acid baths, etc. I'm happy to help in any way I can. I hope your experiments with intaglio using at-home supplies bear lovely fruit. Thank you for the compliments!
Having made collographs before, watching your video inspires me to return to the process. As others have stated, your instructions are clear and concise. You don’t waste the viewer’s time with unnecessary chatter. I have seen another of your videos and am happy I subscribed then to be able catch this one.
Belinda, you are a brilliant tutor - clear and concise delivery of all the processes. You were well organised and it was a delight watching this tutorial. I wish there more people like you on TH-cam. Thank you Ian
Hello Ian! Thanks so much for your kind encouragement! I really appreciate that you took the time to leave such a big-hearted note of feedback. Thank YOU!
I’ve just joined a Printmaking Cooperative, but I’m still fairly inexperienced in some areas. I’ve just found your channel, and you are a great teacher. Your commentary is simple and straightforward, and enormously helpful. Thank you!
Hello Diane! Thanks so much for your kind feedback, and welcome to a deeper dive into printmaking! I hope your experiments are adventurous and fruitful! Let me know if you have any questions. :)
I love the alternatives with collograph. You can print relief as well as intaglio & with a press! I have build up lines with cardboard (the reverse of incising), this is such a fab way to print intaglio eco without acid. Thanks for confidence giving tutorial. Very clear instruction & tips on products. Happy Printing Everybody!
Hi Denise! Thanks for your visit! I hope your collagraph ideas are blooming, and your plans for printmaking experiments are penciled in on your schedule. Keep carving, inking and printing!
Hi Christine - thanks for the generous feedback! I’m glad you enjoyed the demo, and I hope your collagraph printmaking adventures are fun and fruitful!
Thank you very much! I was told repeatedly by a teacher for Collagraphs, that, even if I would drive over a finished plate, ready to print, the pressure wouldn't be enough to print !!! I was always looking for a way , how to print Collagraphs without an expensive press. Using the softer paper makes all the difference! Thanks again for a very precise, instructional video !
Yeah paper makes a huge difference, as does ink. Also when inking your print the difference between a hard rubber brayer and a soft rubber brayer makes a HUGE DIFFERENCE in the outcome of your print, as much as pressure does. THAT simple trick I didnt learn until I had been printmaking for 2 years. No one EVER told me that.
The pressure a car puts on the ground is remarkably low. You get a higher pressure by stepping on the paper with your weight on one heel. It is probably even higher using a wooden spoon.
I really, really enjoyed watching these clear concise tutorials. You have an excellent way of making art techniques more accessible to the hobbyist and demonstrating how things work well (by also demonstrating what happens when they don't - great visual aids!). Thank you for your time on this.
Gabriele Smolarz - Yes, you can absolutely print a collagraph without a press. You'll have to experiment with ink thickness and paper and pressure, but it *can* be done! Good luck with your printmaking adventure, and thanks for stopping by!
Hi hallobaaaby - Yes, it definitely is like engraving, only it's done with easier to work with & muuuuch less expensive/hard to source supplies! Happy carving to you!
Belinda, THANK YOU! This is awesome, I have been searching for an intaglio type printing technique that is "greener" than the traditional method. Even better I don't have to bevel file the edges of copper beforehand! Looking forward to trying this. Thanks again for sharing.
Hi Leah Robertson - thanks so much for the feedback - I really appreciate it. If you need mat board, I've got a couple of 5x7 pieces ready to go. Email me an address, and I'll send you one. After you print, please post it so we can all rah-rah & applaud your efforts. :)
My friend and I are having a printing play day in my workshop on Wednesday, trying out your method and one or two other things too..... well that is the plan. Wish us luck.
Buckets of luck to you for a festive and fun art day that will lead to more of them soon! If you're printing by hand, make your mat board cuts narrow and very shallow... that's probably the number one challenge I hear from first timers. Small and shallow cuts, thinner paper for a hand transfer, and simple design to start so you have success. Go gettum!
Hi Jean, I’m glad that was helpful! Paper to ink relations makes a huge difference when you’re printing without a press. I hope you find just the right paper for your collagraph! Thanks for the feedback!
Thanks Belinda. This is very helpful to me as a beginner. I shall accumulate some supplies and give this a go. Might take a while until I have any results to share but I am keen to have a play.
Hi Leigh-Ann, Oh good, I’m glad you want to give collagraph a twirl! Keep your first design 1) small 2) simple 3) and make your cuts shallow and skinny (not wide or deep). Have so much fun!
Excellent. Very clear instructions. Had a day of failures yesterday trying to print a collaged plate. Today I will be cutting. I have a press and I am hoping the Fabriano paper I have will be flexible enough to pick up the ink in the grooves.
Hi Linda, Good luck with your cutting. Don't go too deep. If you're using Fabriano Artistico, you may have to soak it briefly & blot before printing to loosen & broaden the fibers. I hope the results are excellent and you're encouraged to soldier on. :)
Belinda Del Pesco Thanks for getting back to me Belinda. Today's efforts were slightly better but still not good. I have been soaking the Fabriano. I probably have cut the card too deep. I managed to get the finger cutters here in the UK from Hobbycraft but not too expert with these yet. However I am determined to get there.
Hi Linda - Printing collagraphs has sooo many variables- with the depth, sealing medium and texture of the plate, the paper, the inks, the wiping and the press, among others. Do stay with it, and be encouraged... the prints will tell you what to do next to get to where you want to go. And if you have more trouble, leave a comment here and I'll help if I can.
Hi Anne, Thanks so much for that! I'm really glad you're inspired, and I hope your creative adventures bear the kind of happy fruit that keeps you going in the studio!
This is an amazing video! I had never heard of a line collagraph before and can't wait to try one. Thanks for sharing your awesome work. You are an excellent teacher!
I did a workshop and I thought I had to have a press to make a collagraph. The workshop was great, but I'm looking forward to trying your method - that is awesome!!
Hi Geni! I'm glad you found the tutorial helpful. Bear in mind that hand printing/transferring will be affected by your paper choice, and the thickness/height of your layers on the collagraph plate. Keep things shallow - both in your cutting away, and your building up. It doesn't take more than a paper's thickness to create lovely curbs that hold ink and bear shapes in the print. Have fun with it!
Belinda: Your videos and artwork are fantastic. I am learning so much valuable information. My goal is to print my own holiday card this year. Regarding supplies: If you have a business relationship with Amazon, I understand your need to refer to them for most of the supplies needed. I would suggest providing a few alternative suppliers, especially independent art stores that are getting hammered by the large online distributors. Shopping local when possible helps communities thrive. My background is in museum administration where I created an archive of art materials for scientific research that will help restore artworks. I also paint in oils, both studio and plain air paintings. I love your work.
Hi Michael, thanks for your feedback, compliments and suggestions. I hope your holiday card project is already underway. 👍🏽 Regarding regional, independent art supplies… I agree they’re in need of shoppers. My audience is global, and a good portion of them have no local art supply outlet to shop from. (I include myself in that category.) I find Amazon to be hugely helpful in procuring the supplies I can’t get locally, so I feel pretty comfortable supporting the mom and pop shops that have opened Amazon stores. I’m glad you have lots of options around you for local supply gathering. That sounds lovely! Happy printing to you.🤓🌻
Belinda, I just saw your blog; it is really, really great and I'm going to enjoy looking at it in more detail! *Note, however, that I'd officially like to learn how to NOT create so much art. I can't help myself. I'm a sponge for inspiration and I have to restrict myself from looking at too much stuff to avoid being influenced too much. I say this with a wide grin after reading your comment "would you like to create more art". Soooooooooo how do I create far less ha ha ha ha
@@bdelpesco *Even if I did want to, I wouldn't be able to; it's only good when it doesn't interfere with doing things like eating and sleeping. Oh damnation! It does!! *This comment was more my response to the comment on your blog "would you like to create more art".
@@bdelpesco I actually haven't seen anyone else doing your technique exactly the way you do it here; and I've been looking at quite a lot of films about collagraphy. I'm trying the following variation on your matt board technique - I haven't tried it yet, but I'm curious if it will work. The idea is to avoid using a blade: [1] I'll print an image onto an A4 label. [2] I'll stick the label to the board. [3] Then I'll use one of the tiniest little dental heads for the rotary multitool that is so small it can cut paper quite precisely without tearing it. [4] Similar to what I saw you do, I'll cut away the paper along the lines at an angle, only cutting into the paper (not the board). [5] Finally I'll apply a gel medium/varnish to the surface... I mean, it might work!
Hi Jackie Radford - You're so welcome. I hope you get to build, carve, ink & print to your heart's content! And share the results with us on social media! :)
...and I've since made about 20 different collagraphs; experimenting with lamination to create a 'mylar-like' quality which is perfectly engravable. I also found a knife which is almost exactly like the one you have that fits on your finger... but I'm still using the fine dental tips of the dremel rotatry multitool!
@@bdelpesco **...and I since broke my self-imposed rules and went to an expensive art store to get engraving ink which I haven't had much luck in making myself yet... I found a piece of plastic and asked the shop owner if it was Mylar, you know the one made by the notorious Du Pont company who murder people and farm animals for fun... I think they must have thought I was genuinely insane. They'd never heard of Mylar!
I'm blessed to currently have access to an etching/intaglio press at as a University staff member in a non-art department, the art prof's love the outside interest I guess. But, the cost of metal plates for a lot of techniques is an inhibitor. I'm really excited by what you are doing with with less expensive materials like drafting film and mat boards and plexiglas.
Fr. Mark Lichtenstein thanks for the note. I share your excitement about using these alternative plate materials. Each one offers subtle beauty and tone specific to the composition of the plate’s ingredients, and most of the time, using them is an exercise in recycling! Other people’s cast offs transformed into printmaking goodness! Have fun! ☺️
Ugh tell me about it! I want to do etchings/gravure but can't afford/no access to a press & the tools for it are just not withing my price range. I could save up and spri g for a metal plate, but when it comes to tool you have to get the good ones, and a good set would end up being like $1100.00. Yeesh. Looks like I'm sticking to the soft printmaking like wood, polymers and papers for now. But hey printmaking is such a wide field with so many variations I can keep myself content with that for now. Doing multi color block prints has been so intense it has kept me occupied for a while now
Caroline - if you mean adding soft pastel to your collagraph print after the ink is dry, yes! This method works beautifully! And if you want to make prints from pastel coated plates, I’d recommend the book Pastel Innovations by Dawn Emerson for great tips and techniques: amzn.to/3HkgcVH
I mostly paint, but do enjoy making monoprints occasionally. I've used a real press before, but don't have access to one now, so your mat board collagraph is very tempting. floradoehler.ca/2017/06/07/monoprinting-with-acrylics/
Flora, Your monoprints are GORGEOUS! And I love that you've decided that adding pigments to the finished prints is not only okay, but totally fun! I also believe that enhancing prints helps train the brain to see "what's missing" - which then informs our painting process. Great work, and thanks for leaving the link. I hope visitors to my channel will take a peak and visit your blog. :)
Thank you Belinda! I had so much fun making them. They were assignments from an online class I took with Jane Davies about working on a gel plate with acrylics. It really opened another facet of monoprintings for me. :) janedavies-collagejourneys.blogspot.ca/search?q=monoprint
Hi Flora, Thanks for sharing the links. It looks colorful and fun, and it was clearly inspiring to you, because the work you created afterwards is so festive. How nice to find a workshop that fires your furnace, so to speak. I wish everyone had an annual week of art workshopping on the calendar. It's so very good to draw from the tips and tricks and inspiration all year long.
Thanks for the video- it’s very clear and original technique. Can you put the video with close caption because many people speak other language and they are learning English. Thank you for everything
Hello again Luisa - I explored closed captioning in English, and I’ll start adding it to the videos as I have time. I hope the text helps new English language learners understand the tutorials. Thank you for suggesting it!
Hi, this is actually an intaglio printing method, not a collagraph. Incising cardboard instead of a metal plate is a wonderful money saving idea! Your work is beautiful & your instructions are great! (A collograph is basically a collage used as a printing plate).
Hi there Mary Kate McKinley ! I refer to the plate as a collagraph, and the method of printing it demonstrated in the video is intaglio, so it's both! Printmaking nomenclature mash ups will keep our brain cells stimulated, right? I've also top-rolled this plate and printed it relief-style, and it came out looking like a white-line woodcut. The fun is never-ending. :) Happy printing and thanks again for the compliments!
Hi Richard, Thanks for the feedback. For thinner printmaking papers, like Mulberry and BFK Rives thin 115 gsm paper, I use a spritzer to atomize a fine mist of cool water and then blot - rather than soak.
@@bdelpesco Thank you so much for your speedy reply. Just one more question: How do you use the Akua Transparent Base with the Akua inks when printing on mulberry paper? Thanks again. I am so excited to try this printing technique!
@@richardmorison4077 hi Richard - the transparent base is used exactly the same way across all printmaking papers. Think of it as another jar of ink, minus the pigments (that’s what it is). Use it to make your colors sheer enough to get illuminated by the white of your paper underneath the pigments, much like watercolors. Sheer colors overlapped in your printing sequences will also result in new colors (a light transparent ultramarine blue layered over a sheer, hansa yellow will result in a lovely green, so you get three colors with two inks, etc. I hope you have so much fun!
Fab demontration, I think I need to play around with paper thickness and soaking time, as my Zerkall 145g paper did not pick up the ink in the cut away lines, also the ink was very sticky so might try a more water based ink next time.
Thanks, +Sam Lelong ! I bet your ink is fine (sticky is good) but your paper is a little thick. Change one thing at a time so you'll know which element is the culprit on a less-than-desired print. If you don't have success with a thinner, more pliable paper, try thinning your oil based ink just a *tiny* bit with burnt plate oil (linseed), and try again. Good luck!
I took a woodblock print making class in college and hated it lol. It was so tedious and difficult for me without a final product that I enjoyed. This seems a little easier though
Was your tedious woodcut project really complex or large? If you make a mat board collagraph, start small, and keep your line work simple. This sort of art-making (like all printmaking) is more successful with a little "courtship". Trial and error should be expected, but each session informs the next, so if you keep making them, you'll be flying into print projects like a Boss. :)
Marie Heb thanks for the feedback! I’ve never printed on rice paper... isn’t it very frail? I’ve used mulberry (kozo) and it’s strong, but without sizing, water based media bleeds well beyond the area you paint it on, so hand coloring prints on kozo has to be done with dry media. Have you used rice paper in printmaking projects?
I haven't tried it! I have a gelli plate, and have done a few abstract monoprinting with white tissue paper. I've yet to tried the rice paper for mono printing.
@@ArtConnect1 if you try it, will you please came back and comment on what you thought about it? I'm certain it will be helpful to other folks looking for tips. :)
Hi Belinda ,hope you are keeping well.😊I' ll give you a laugh , I.was confused as to what ' matt board' is and wondered if it was what we call ' mounting board'/ isplay board' here in the UK .I put this in the search engine ' is mattboard used for mounting art work a& how thick should it be to make a collagraph'...found a site with some stunning work & was trying to find out the answer to my question.Then I looked to see ' who' the artist was & lo & beholden it was you !!!👍😂😂Your work is gorgeous ,I' he been cutting back cart with a craft knife & collage with elements of infusing the paper with needles eff & had no idea it's called Collagraph! I'm convinced here in the UK we use so many different terms to you chaps..say one thing your mouth art equipment is so much cheaper than ours is & you have access to better equipment.You've inspired me ,I have developed MS& Lupus & looking for more techniques I can adapt to be easier to get my ideal effect and this will be a lot easier than band carving end grain hardwood plates for sure!.I BTW I'm 've made some lovely prints by opening up tomato concentrate paste ( cutting with scissors along side of the ) then flatten it out & easy it & it leaves a gorgeous sheet of soft copper to print off ..Thank yiu..I' m subbing 👍 ad
hello Sophie! Thank you so much for this very kind note! Mat Board, Mount Board, Display Board, Frame Board... it’s enough to make your head swim! I’m so glad you went searching, and how funny that you landed on my blog! As to sourcing the materials where you are, this is what I tried before I found a supplier: I looked up all the frame shops in my area, and went to visit them. I asked them - face to face - if I could gather a bag of scraps from their mat board/mount board recycling pile. Everyone one of them said yes! I came home with almost 10 lbs of scrap mat board, and began making collagraphs in earnest. I hope that works just as well where you are too! And bravo on the soup liner printmaking plates too. We do that here with coconut water containers. Happy printing to you, and welcome! All the best - B.
I am so thrilled that I found your youtube channel! You are a wonderful and creative teacher:) I can't wait to use my printmaking supplies on some unconventional surfaces! Is mulberry paper similar in thickness to rice paper, but with more rag so it doesn't fall apart? I have BFK, but it is probably too thick, as you demonstrated.
Hello Sue - I’m glad you’re pulling out new supplies and revving your printmaking engines for some big fun. Rice and Mulberry are used interchangeably in paper labels. Read this: www.mulberrypaperandmore.com/p-6379-what-is-rice-paper.aspx? Are you using Akua inks? If not, which ones?
@@bdelpesco yes, I love Akua inks and use them on my mono prints. I do unfortunately still have quite a cache of oil based Daniel Smith but really can’t handle the fumes. Trying to find a good home for them. Hoping the community college may trade me press time for a tub of good inks…
Great video! I couldn't wait to try it. Carved out my plate, followed the directions, used Akua ink and Mulberry paper (and some others), but NO luck. None of the lines transferred, though there were some white lines among the ink haze. Very frustrated and puzzled about what I did wrong. And I have no idea what to do differently so I am hesitant to try again.. Could you add some troubleshooting info to this video? Thanks for this great video, anyway. :-)
Carol, I just replied to your post on Facebook. Use the recommended sealer on the plate: Liquitex gloss medium and varnish, or button polish, or shellac. It's got to be slippery enough to release the ink when you press paper against the plate. The Golden product is a satin finish, not a gloss. More on facebook. :)
Belinda Del Pesco I revolted the plate with Liquitex gloss VARNISH and there is an amazing difference in slickness!! Next step is printing again. Meanwhile, I am having fun using colored pencils on the ”rejects”. Very freeing! 😋
HI CZARUBA1 - I’ve never used either of those options as sealers, but you could test them easily by coating a small scrap of mat board with a simple shape carved into it - half with Mod Podge and half with the Golden. Then ink, print and clean off the test plate to see how the ink wipes, sticks, prints and cleans off those two options.
Hi Secret Scot - I’m a big advocate of using the Grid Method ( th-cam.com/video/fWl_mGcobGA/w-d-xo.html ) - especially for a print you’ll make multiples of, as an editioned Collagraph. Any line work that reveals itself to be cattywhompus will look worse in a duplicate of 20. 🙀 If Gridding is not your jam, you can use gray carbon paper to trace the photo printout to the plate.
Hi Rosebudforglory - yes, you can use watercolor, colored pencil, pastel, etc. Your printmaking paper choice will dictate whether you can use a wet or dry media to add color. What paper do you think you’ll use?
Hi, thanks for this demonstration. I have a question about cleaning up the plate between printings. I rinse with water and soap and use a soft toothbrush to lightly clean the ink from the deeper areas. This tends to make the acrylic coating whiten and loosen and it's hard to get more than two or three prints from the plate without recoating with the gel. How do you clean your plates between prints? And, have you ever tried a spray shellac or lacquer to seal a plate? Thanks very much for your insight, and thanks again for your very informative videos. I've learned a lot from them.
Hi, and welcome +Mary Garrard what do you currently use for your acrylic coating? Is it liquitex gloss medium and varnish? That's my usual plate sealer (I've never used lacquer or shellac.) I don't use water or soap on my plates, so I've never seen what you're describing, and I'd be alarmed and sad at the loss of integrity to the surface. :( I clear ink off my plates with a drop of canola oil or Citra-Sol if I've used oil based inks, and then a baby wipe or a Lysol wipe. If I've used water based inks, I skip the oil and/or Citra-Sol and just use the wipes. A water- spritzed paper towel is my last step to clear remnants of solution from the wipes. I don't use brushes, or abrasives, or soap. And I'm okay to leave particles of ink here and there in the curbs and cuts. I don't try to make the plates spiffy clean. Perhaps you might try this approach and report back on how the plate 1) cleans up, and 2) prints later? Thanks for stopping by. Feel free to leave questions any time.
Hi Belinda, I am a beginning printmaker and am having trouble with getting the lines to print appropriately. I have tried mullberry paper, and thicker, printmaking paper, and seem to be able to get plate tone, but not reliable lines. Do I need better paper, better felts, or what? I do not have a press for intaglio, but am trying some home -based methods. What I end up with are tones around my lines, but the ink within the lines don't transfer.
Hi Ellen, I can imagine what you’ve described, and it’s a very common problem. If your incised lines are printing white, you either do not have enough ink in the grooves, or your paper is too thick or stiff to hammock down into the recessed valleys to make contact with the ink. Try filling those recessed gouges with ink that matches the level of the uppermost surface of the plate, where you are getting successful plate tone. Wiping is an art, and you’ll have to be patient with yourself till you get the hang of it. Tamp your tarlatan or crumpled newsprint totally flat before wiping the plate so it doesn’t reach down and scoop out half the ink you’re trying to print with. What kind of ink are you using? Whatever you do, keep printing. It will work, especially when you have just the right marriage of ink, incised grooves, plate sealer, paper and pressure. You’ve got this.
Hi Barbara, If you’re doing gelli plate printmaking, you can use acrylic paint, or Akua inks. If you’re doing collagraph printmaking, I’d recommend staying with printmaking ink - either Akua intaglio, or traditional oil based printmaking ink (Daniel Smith, Graphic Chemical or Hawthorn, etc.) Happy experimenting!
best thing the mulberry paper, easier to print with a spoon.. best wishes on your collagraphic path... I love water based inks.... from Montreal , Canada
Hi Mirella! Thanks for your comment! I love mulberry paper, but I haven't had luck finding one that will take additional media (watercolor, colored pencil, pastel, etc.) is here a particular manufacturer & style of mulberry paper you recommend?
love your art Belinda. Question though; I thought Colligraphs involved adding cut out materials, or found objects to the "plate" or "block" by glueing. Love the result of this print. Really nice. So cool.
Hi Eddie, You are right - there are lots of gorgeous collagraph plates made by adding or building up shapes and textures. Here's one made from cut construction paper mounted to the plate: www.belindadelpesco.com/2006/11/collagraph-watercolor.html And some plates are made by removing material, like this one: www.belindadelpesco.com/2017/10/collagraph-2.html The root words Colla - from Greek/Latin Kolla meaning "glue" and Graph meaning "written", "furrowed", "documented" suggest lots of room for experimentation. Thanks for your feedback! :)
Hi Beth, Thanks for the feedback.... You don't *have* to use Akua ink. Use whatever you usually print with - but be sure it's not a fast-dry pigment - like acrylic paint, tempera, or some of the other versions of water-based inks that dry as soon as they're exposed to air. The ink should remain wet on the plate for the duration of the process, so it'll transfer to the paper. :)
Great video Belinda. I was thinking about hot press illustration board for the plate (front side). It's pretty smooth but also has a slick surface. Do you think that would work?
Hi Alescographiks - Yes, you can use illustration board, but my experience with the brands here in the US are that they're quite hard. Your plate detail may be be limited by the amount of force you'll need to drag the blade through such densely packed fibers. Your best bet it to test carving side by side on a small sheet of each material to see which one works best for you. Thanks for the compliments!
Hi Belinda! Thanks so much for sharing your processes! Is there a specific type of felt you use to make your daubers, or will any felt work? I am thinking about getting craft felt from Michaels to make my own daubers, but I'm curious if there's a higher quality felt that would work better. Thanks!
+Amanda Robinson hi there! Regular craft felt works fine - it will shed a little depending on the textures you've designed into your plate, but a pair of tweezers will remove any fiber-clusters from your inked plate easily. And when the ink dries into the felt, you can unfurl it, and trim the ink-edge with scissors and re-roll it to start fresh. No need for fancy felt. :) I hope that helps - let us know how it goes!
Great technique here thanks for sharing Belinda! What is the difference effect wise between this mat board collagraph print and say, lino print? Many thanks :)
Both types of printmaking are flexible when it comes to options for inking and printing. But in this case, the collagraph is being printed intaglio style - with ink embedded in the incised lines. A linocut is printed relief style - ink is printed from the uppermost surface - or the area of the block that was not carved away.
Inspiring video! Are speedball water based inks suitable for this project? I noticed a similar ink-related question below, but I'm not sure which water based inks would qualify as fast drying. Thanks!
Chantel McIntyre Do you mean Akua waterbased INTAGLIO inks (a speedball product)? If you are referring to speedball waterbased RELIEF inks, they would not work with this project. Click the 'show more' section under the video window for a list of links to the right inks. And if you still have questions, post them here. :)
This isn't a collograph/collagraph. This is a block print or intaglio print. I'm not trying to bash you, and I appreciate that you exerted the effort to create this video and you actually presented a new and inexpensive method for creating a block print. One caveat, the Mat board will not create a very long lasting block to print from. You may only get a few prints from it before it's dead. I would personally reccomend something sturdier, its heartbreaking to exert all that effort and not be able to use it many times. I only point this out because I am a self taught print maker and there are so many process with so many complicated names and words to learn, that it can be so easy to newcomers to get confused and lost.
Hi there, Tyler. You know, nomenclature in printmaking has a long and colorful history of debate, so let's skip that part and agree to disagree okay? :) You're invited to meander around here on my channel and my blog (bit.ly/1FN9vFB) to see some variants on printmaking that you might enjoy as a self taught artist. And should you decide to make a mat board collagraph after all, rest easy in the knowledge that you can indeed make an edition - as long as you follow the steps outlined in the tutorial. Pinky promise. :) Now, share a link so we can see your work! Thanks for stopping by!
Exciting video! Thanks! Mulberry paper seems quite thin despite its strength. Have you colored any prints from the reverse side rather than on top? (you know I'm going to try!)
Yeah, +barrottceaver - that mulberry prints beautifully, but adding other media is a bit challenging. The paper absorbs wet media like a sponge with lots of bleed & spread, and it's a little tender for repeated abrasion of colored pencil tips scraping over the fibers. When you color from the reverse, please do share and let us know how it turned out!
Hi Jason, Have you ever peeled a label off a bottle? You know how the paper you're pulling tears into thin layers and tapers off till it detaches from the label? That's what happens when you cut and peel the backing off matboard. If you seal it first, the uppermost layer you're pulling away is "glued" together with the acrylic varnish, and it can withstand pulling while staying intact. Does that make sense?
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I am an experienced intaglio printer using copper plates. I now work at home for many reasons so I am very interested in finding other print methods. Your video was really elegant and clear and you are a marvelous teacher!
Hi Anne, I know that feeling of transferring to art-making at home, without the use of a press and copper plate cutters, and acid baths, etc. I'm happy to help in any way I can. I hope your experiments with intaglio using at-home supplies bear lovely fruit. Thank you for the compliments!
Love this tutorial. Thank you for posting this method with all tools needed.❤
Hi MB, You are so welcome! I’m glad it was helpful and I hope you have excellent results with your printmaking experiments! ✅
Having made collographs before, watching your video inspires me to return to the process. As others have stated, your instructions are clear and concise. You don’t waste the viewer’s time with unnecessary chatter. I have seen another of your videos and am happy I subscribed then to be able catch this one.
Hi Pat, What a kind comment - thank you for taking the time to leave such a thoughtful note. Happy printmaking to you!
This has to be one of the clearest videos showing and explaining some form of process that I've ever seen on TH-cam. Thank you so much. x
Hi Geckoboy70 - Thanks so much for your feedback. I'm really glad it was helpful. Happy print adventures to you!
Belinda, you are a brilliant tutor - clear and concise delivery of all the processes. You were well organised and it was a delight watching this tutorial. I wish there more people like you on TH-cam.
Thank you
Ian
Hello Ian! Thanks so much for your kind encouragement! I really appreciate that you took the time to leave such a big-hearted note of feedback. Thank YOU!
Another wonderful lesson! Carol UK
Thank you for the feedback, Carol!
I’ve just joined a Printmaking Cooperative, but I’m still fairly inexperienced in some areas. I’ve just found your channel, and you are a great teacher. Your commentary is simple and straightforward, and enormously helpful. Thank you!
Hello Diane! Thanks so much for your kind feedback, and welcome to a deeper dive into printmaking! I hope your experiments are adventurous and fruitful! Let me know if you have any questions. :)
I love the alternatives with collograph. You can print relief as well as intaglio & with a press! I have build up lines with cardboard (the reverse of incising), this is such a fab way to print intaglio eco without acid. Thanks for confidence giving tutorial. Very clear instruction & tips on products. Happy Printing Everybody!
Hi Denise! Thanks for your visit! I hope your collagraph ideas are blooming, and your plans for printmaking experiments are penciled in on your schedule. Keep carving, inking and printing!
Very clear, concise and elegant delivery. Straight to the point with many helpful tips. Excellent
Hi Christine - thanks for the generous feedback! I’m glad you enjoyed the demo, and I hope your collagraph printmaking adventures are fun and fruitful!
Thank you very much! I was told repeatedly by a teacher for Collagraphs, that, even if I would drive over a finished plate, ready to print, the pressure wouldn't be enough to print !!! I was always looking for a way , how to print Collagraphs without an expensive press. Using the softer paper makes all the difference! Thanks again for a very precise, instructional video !
Yeah paper makes a huge difference, as does ink. Also when inking your print the difference between a hard rubber brayer and a soft rubber brayer makes a HUGE DIFFERENCE in the outcome of your print, as much as pressure does. THAT simple trick I didnt learn until I had been printmaking for 2 years. No one EVER told me that.
The pressure a car puts on the ground is remarkably low. You get a higher pressure by stepping on the paper with your weight on one heel. It is probably even higher using a wooden spoon.
clear... thank you. We will try this in a class this summer for both young people and adults.
Hi AiryKnoll, That's great news! I hope everyone has a great time printing collagraphs! Happy Creating!
I really, really enjoyed watching these clear concise tutorials. You have an excellent way of making art techniques more accessible to the hobbyist and demonstrating how things work well (by also demonstrating what happens when they don't - great visual aids!). Thank you for your time on this.
Thanks for your kindness, Coro Kids! I really appreciate your feedback!
Very well done and informative. Thank you!
Hi Susan, I’m so Glad it was helpful!
Wonderful explanation on method and beautiful print!!!
Hi Kristie - thanks for the feedback! I hope you have fun printing!
Gabriele Smolarz - Yes, you can absolutely print a collagraph without a press. You'll have to experiment with ink thickness and paper and pressure, but it *can* be done! Good luck with your printmaking adventure, and thanks for stopping by!
Well done. Clear, fun and interesting to watch. And best of all - inspiring. Thank you very much.
Hi Deborah - Thanks so much for the feedback. I hope the inspiration is lasting and motivates a break out of your art supplies this week. :)
Lovely, thanks! It is just like dry point and engraving in many ways!
Hi hallobaaaby - Yes, it definitely is like engraving, only it's done with easier to work with & muuuuch less expensive/hard to source supplies! Happy carving to you!
One of the best demos available. Thank you for this.
Thanks, gramamarie! Come visit again if you have any questions 😀
Belinda, THANK YOU! This is awesome, I have been searching for an intaglio type printing technique that is "greener" than the traditional method. Even better I don't have to bevel file the edges of copper beforehand! Looking forward to trying this. Thanks again for sharing.
Hi Leah Robertson - thanks so much for the feedback - I really appreciate it. If you need mat board, I've got a couple of 5x7 pieces ready to go. Email me an address, and I'll send you one. After you print, please post it so we can all rah-rah & applaud your efforts. :)
Increíblemente bello su trabajo! Nunca lo había visto.
Thank you, Fanny! 🙌🏽
Thank you Belinda. What joy.
You are so welcome! Thanks for stoppin' by!
wow! those sweet little Fiskars tools are just what I need for papercuts!
Aren’t they wonderful!? I was so pleased to find them! I hope you try them too. Easier on the hands, especially for the fine detail stuff! 👍🏽✂️
Thank you. Very good demo that took me in the direction I was wanting to explore but wasn't seeing a lot of instruction on. Very cool demo.
HI John! I'm glad the video answered some of your questions! Thanks for the feedback! Happy printing!
My friend and I are having a printing play day in my workshop on Wednesday, trying out your method and one or two other things too..... well that is the plan. Wish us luck.
Buckets of luck to you for a festive and fun art day that will lead to more of them soon! If you're printing by hand, make your mat board cuts narrow and very shallow... that's probably the number one challenge I hear from first timers. Small and shallow cuts, thinner paper for a hand transfer, and simple design to start so you have success. Go gettum!
Phantastic tutorial. So clear and made simple. Love the result!
Thanks for the kind feedback, Ingrid! :)
Really terrific demonstration, Belinda. Thanks so much!
Hi again, +noapology88 ! Thanks for the feedback, and happy printmaking!
Excellent demonstration.
Thank you, John! I really appreciate the feedback. :)
Thanks! I especially liked the demonstration of the firm vs soft papers.
Hi Jean, I’m glad that was helpful! Paper to ink relations makes a huge difference when you’re printing without a press. I hope you find just the right paper for your collagraph! Thanks for the feedback!
Hi Belinda. Thank you for your thorough and succinct videos. They are all very informative and helpful. Your generosity is much appreciated.
Hi Ellen Bennett ! You are so welcome! Let me know if you have any questions, and please do share your results!
Thanks Belinda. This is very helpful to me as a beginner. I shall accumulate some supplies and give this a go. Might take a while until I have any results to share but I am keen to have a play.
Hi Leigh-Ann,
Oh good, I’m glad you want to give collagraph a twirl! Keep your first design 1) small 2) simple 3) and make your cuts shallow and skinny (not wide or deep). Have so much fun!
Belinda Del Pesco thanks for the tips.
Excellent! Very full of tips and great ideas for printing a nice matt board collagraph. Thank you so much.
You're welcome, GSD! Happy printmaking!
Well done. A very articulate demonstration. Thank you. I am off to make collagraphs, now!
Thanks for the nice comment +numerus - happy printmaking to you!
Excellent demonstration! Thank you so much!
AaronfromQueens - you're welcome! Thanks so much for taking the time to leave me feedback!
Such a billiant tutorial Belinda - thank you! Your technique is very accessible, and your artwork is gorgeous :)
Hi Liza, Thanks for your encouragement - I appreciate that, and I'm glad you're finding the tutorials accessible! :)
Excellent. Very clear instructions. Had a day of failures yesterday trying to print a collaged plate. Today I will be cutting. I have a press and I am hoping the Fabriano paper I have will be flexible enough to pick up the ink in the grooves.
Hi Linda, Good luck with your cutting. Don't go too deep. If you're using Fabriano Artistico, you may have to soak it briefly & blot before printing to loosen & broaden the fibers. I hope the results are excellent and you're encouraged to soldier on. :)
Belinda Del Pesco
Thanks for getting back to me Belinda. Today's efforts were slightly better but still not good. I have been soaking the Fabriano. I probably have cut the card too deep. I managed to get the finger cutters here in the UK from Hobbycraft but not too expert with these yet. However I am determined to get there.
Hi Linda - Printing collagraphs has sooo many variables- with the depth, sealing medium and texture of the plate, the paper, the inks, the wiping and the press, among others. Do stay with it, and be encouraged... the prints will tell you what to do next to get to where you want to go. And if you have more trouble, leave a comment here and I'll help if I can.
+Linda Britt how's are your prints coming along? Have you made a new plate, with shallower lines cut from the surface?
Wonderful video, I have been printing for years. Thank you for a new approach.
Thanks for leaving a comment, Sonia! Welcome!
You are so intelligent. Fun to listen to
That's very kind of you. Thanks for the compliment. :)
Loved the result! Thank you for generously sharing this technique!
Thanks for the encouragement, Maureen! :) Happy printing!
I really enjoy your printmaking tutorials. They are well made, clear and simple. I´m inspired!
Hi Anne, Thanks so much for that! I'm really glad you're inspired, and I hope your creative adventures bear the kind of happy fruit that keeps you going in the studio!
Excellent video! Thank you for sharing this.
Thanks for the feedback, Nadine! I'm super glad the demo resonated with you, and I hope you make ooodles of collagraph prints! Happy creating!
Great tutorial. Conscience, clear and well explained. Thanks
Thanks for the feedback, +Kat Grace !
This is an amazing video! I had never heard of a line collagraph before and can't wait to try one. Thanks for sharing your awesome work. You are an excellent teacher!
Thanks Terry! I hope you have great results in your first try! Come back and share!
LOVE your informative and inspiring videos .
Thanks for the feedback & enthusiasm, Liz. Big smile. Create a lot. 💕
I did a workshop and I thought I had to have a press to make a collagraph. The workshop was great, but I'm looking forward to trying your method - that is awesome!!
Hi Geni! I'm glad you found the tutorial helpful. Bear in mind that hand printing/transferring will be affected by your paper choice, and the thickness/height of your layers on the collagraph plate. Keep things shallow - both in your cutting away, and your building up. It doesn't take more than a paper's thickness to create lovely curbs that hold ink and bear shapes in the print. Have fun with it!
When I finally get round to making one I will let you know, Belinda :-)
Hi Geni, okay, I’ll be rah-rah-rahing from over here till you get to it! Have fun! 😁
Belinda: Your videos and artwork are fantastic. I am learning so much valuable information. My goal is to print my own holiday card this year. Regarding supplies: If you have a business relationship with Amazon, I understand your need to refer to them for most of the supplies needed. I would suggest providing a few alternative suppliers, especially independent art stores that are getting hammered by the large online distributors. Shopping local when possible helps communities thrive. My background is in museum administration where I created an archive of art materials for scientific research that will help restore artworks. I also paint in oils, both studio and plain air paintings. I love your work.
Hi Michael, thanks for your feedback, compliments and suggestions. I hope your holiday card project is already underway. 👍🏽 Regarding regional, independent art supplies… I agree they’re in need of shoppers. My audience is global, and a good portion of them have no local art supply outlet to shop from. (I include myself in that category.) I find Amazon to be hugely helpful in procuring the supplies I can’t get locally, so I feel pretty comfortable supporting the mom and pop shops that have opened Amazon stores. I’m glad you have lots of options around you for local supply gathering. That sounds lovely! Happy printing to you.🤓🌻
Belinda, I just saw your blog; it is really, really great and I'm going to enjoy looking at it in more detail! *Note, however, that I'd officially like to learn how to NOT create so much art. I can't help myself. I'm a sponge for inspiration and I have to restrict myself from looking at too much stuff to avoid being influenced too much. I say this with a wide grin after reading your comment "would you like to create more art". Soooooooooo how do I create far less ha ha ha ha
I’m on the cheer squad to create MORE. Carry on…
@@bdelpesco *Even if I did want to, I wouldn't be able to; it's only good when it doesn't interfere with doing things like eating and sleeping. Oh damnation! It does!! *This comment was more my response to the comment on your blog "would you like to create more art".
@@bdelpesco I actually haven't seen anyone else doing your technique exactly the way you do it here; and I've been looking at quite a lot of films about collagraphy. I'm trying the following variation on your matt board technique - I haven't tried it yet, but I'm curious if it will work. The idea is to avoid using a blade: [1] I'll print an image onto an A4 label. [2] I'll stick the label to the board. [3] Then I'll use one of the tiniest little dental heads for the rotary multitool that is so small it can cut paper quite precisely without tearing it. [4] Similar to what I saw you do, I'll cut away the paper along the lines at an angle, only cutting into the paper (not the board). [5] Finally I'll apply a gel medium/varnish to the surface... I mean, it might work!
ci vuole molta pazienza sì, ma anche tanta precisione e fermezza di mano! complimenti :)
Bonjourno, +baba bui - Grazie per i complimenti! Ci vuole pazienza, sì, ma è anche molto divertente!
Thank you so much for showing me how to use a collograph when I don't have an etching press. The key seems to be the mulberry paper!
Hi Jackie Radford - You're so welcome. I hope you get to build, carve, ink & print to your heart's content! And share the results with us on social media! :)
very good tutorial, thank you
Glad it was helpful! Thanks for the feedback!
You do a great job
Thanks for the kind feedback, Engelhafen. :)
Thanks a lot Belinda your explanations are always perfects : it is a pleasure merci à vous from French Brittany :)
Merci beaucoup, Bernard! 👩🏻🎨
à vous merci Belinda
I just tried it , much better. Thank you.
Oh good! I'm glad it's working. Happy printing!
Great intro to this technique. Thank you!
Hi Chris! Thanks for the feedback! I really appreciate that. And happy printmaking to you!
...and I've since made about 20 different collagraphs; experimenting with lamination to create a 'mylar-like' quality which is perfectly engravable. I also found a knife which is almost exactly like the one you have that fits on your finger... but I'm still using the fine dental tips of the dremel rotatry multitool!
Hi Zachar - thank goodness for the dremel, right? Happy continued print experiments to you!
@@bdelpesco **...and I since broke my self-imposed rules and went to an expensive art store to get engraving ink which I haven't had much luck in making myself yet... I found a piece of plastic and asked the shop owner if it was Mylar, you know the one made by the notorious Du Pont company who murder people and farm animals for fun... I think they must have thought I was genuinely insane. They'd never heard of Mylar!
I'm blessed to currently have access to an etching/intaglio press at as a University staff member in a non-art department, the art prof's love the outside interest I guess. But, the cost of metal plates for a lot of techniques is an inhibitor. I'm really excited by what you are doing with with less expensive materials like drafting film and mat boards and plexiglas.
Fr. Mark Lichtenstein thanks for the note. I share your excitement about using these alternative plate materials. Each one offers subtle beauty and tone specific to the composition of the plate’s ingredients, and most of the time, using them is an exercise in recycling! Other people’s cast offs transformed into printmaking goodness! Have fun! ☺️
Ugh tell me about it! I want to do etchings/gravure but can't afford/no access to a press & the tools for it are just not withing my price range. I could save up and spri g for a metal plate, but when it comes to tool you have to get the good ones, and a good set would end up being like $1100.00. Yeesh. Looks like I'm sticking to the soft printmaking like wood, polymers and papers for now. But hey printmaking is such a wide field with so many variations I can keep myself content with that for now. Doing multi color block prints has been so intense it has kept me occupied for a while now
Thank you for this! I'm interesting in finding a printing method that I can combine with soft pastel. This is a great possibility.
Caroline - if you mean adding soft pastel to your collagraph print after the ink is dry, yes! This method works beautifully! And if you want to make prints from pastel coated plates, I’d recommend the book Pastel Innovations by Dawn Emerson for great tips and techniques: amzn.to/3HkgcVH
@@bdelpesco Wow! Thanks so much!
That's beautiful ❤
Thank you! 😊
great job! might try to do a collargraph since im quarantined at home
Hah! Yes, NOW is an excellent time to give it a go! Have fun, and come back To comments if you have questions.
Excellent instruction and resource list.. . . .thank you.
Hi Ruth - thanks for the feedback & happy printing to you!
Thank you Belinda. Inspiring and clear.
Thanks for the feedback, Flora. Are you new to printmaking?
I mostly paint, but do enjoy making monoprints occasionally. I've used a real press before, but don't have access to one now, so your mat board collagraph is very tempting. floradoehler.ca/2017/06/07/monoprinting-with-acrylics/
Flora, Your monoprints are GORGEOUS! And I love that you've decided that adding pigments to the finished prints is not only okay, but totally fun! I also believe that enhancing prints helps train the brain to see "what's missing" - which then informs our painting process. Great work, and thanks for leaving the link. I hope visitors to my channel will take a peak and visit your blog. :)
Thank you Belinda! I had so much fun making them. They were assignments from an online class I took with Jane Davies about working on a gel plate with acrylics. It really opened another facet of monoprintings for me. :) janedavies-collagejourneys.blogspot.ca/search?q=monoprint
Hi Flora, Thanks for sharing the links. It looks colorful and fun, and it was clearly inspiring to you, because the work you created afterwards is so festive. How nice to find a workshop that fires your furnace, so to speak. I wish everyone had an annual week of art workshopping on the calendar. It's so very good to draw from the tips and tricks and inspiration all year long.
Merci belinda♡
Sahar, Merci et de rien! 🤓
Thanks for the video- it’s very clear and original technique. Can you put the video with close caption because many people speak other language and they are learning English. Thank you for everything
Hello Luisa - Thanks for your compliment! I wish I could add captioning in other languages, but sadly, I only speak English. :(
Hello again Luisa - I explored closed captioning in English, and I’ll start adding it to the videos as I have time. I hope the text helps new English language learners understand the tutorials. Thank you for suggesting it!
Thank you, you video was extremely helpful. Love the print BTW.
Hi there Lorraine, Thanks for stopping by. Happy carving & printing!
Thank you for making this video, Im learning about this,
You are very welcome! I hope it inspires some art making experiments!
Hi, this is actually an intaglio printing method, not a collagraph.
Incising cardboard instead of a metal plate is a wonderful money saving idea!
Your work is beautiful & your instructions are great!
(A collograph is basically a collage used as a printing plate).
Hi there Mary Kate McKinley ! I refer to the plate as a collagraph, and the method of printing it demonstrated in the video is intaglio, so it's both! Printmaking nomenclature mash ups will keep our brain cells stimulated, right? I've also top-rolled this plate and printed it relief-style, and it came out looking like a white-line woodcut. The fun is never-ending. :) Happy printing and thanks again for the compliments!
Really enjoyed your tutorial. Could you let me know how you soak the mulberry paper and how "soaked" it should be when printing. Thanks very much
Hi Richard, Thanks for the feedback. For thinner printmaking papers, like Mulberry and BFK Rives thin 115 gsm paper, I use a spritzer to atomize a fine mist of cool water and then blot - rather than soak.
@@bdelpesco Thank you so much for your speedy reply. Just one more question: How do you use the Akua Transparent Base with the Akua inks when printing on mulberry paper? Thanks again. I am so excited to try this printing technique!
@@richardmorison4077 hi Richard - the transparent base is used exactly the same way across all printmaking papers. Think of it as another jar of ink, minus the pigments (that’s what it is). Use it to make your colors sheer enough to get illuminated by the white of your paper underneath the pigments, much like watercolors. Sheer colors overlapped in your printing sequences will also result in new colors (a light transparent ultramarine blue layered over a sheer, hansa yellow will result in a lovely green, so you get three colors with two inks, etc. I hope you have so much fun!
@@bdelpesco Thank you so much! You're terrific!
Fab demontration, I think I need to play around with paper thickness and soaking time, as my Zerkall 145g paper did not pick up the ink in the cut away lines, also the ink was very sticky so might try a more water based ink next time.
Thanks, +Sam Lelong ! I bet your ink is fine (sticky is good) but your paper is a little thick. Change one thing at a time so you'll know which element is the culprit on a less-than-desired print. If you don't have success with a thinner, more pliable paper, try thinning your oil based ink just a *tiny* bit with burnt plate oil (linseed), and try again. Good luck!
I took a woodblock print making class in college and hated it lol. It was so tedious and difficult for me without a final product that I enjoyed. This seems a little easier though
Was your tedious woodcut project really complex or large?
If you make a mat board collagraph, start small, and keep your line work simple.
This sort of art-making (like all printmaking) is more successful with a little "courtship". Trial and error should be expected, but each session informs the next, so if you keep making them, you'll be flying into print projects like a Boss. :)
Amazing! Thank you -- excellent demonstration!
Excellent vid, thanks for sharing!
Mark McCluney thanks for the feedback, Mark!
I love your video and clear instructions.
Have you experimented with rice paper for the printing surface? Thank you!
Marie Heb thanks for the feedback! I’ve never printed on rice paper... isn’t it very frail? I’ve used mulberry (kozo) and it’s strong, but without sizing, water based media bleeds well beyond the area you paint it on, so hand coloring prints on kozo has to be done with dry media. Have you used rice paper in printmaking projects?
I haven't tried it! I have a gelli plate, and have done a few abstract monoprinting with white tissue paper. I've yet to tried the rice paper for mono printing.
@@ArtConnect1 if you try it, will you please came back and comment on what you thought about it? I'm certain it will be helpful to other folks looking for tips. :)
Hi Belinda ,hope you are keeping well.😊I' ll give you a laugh , I.was confused as to what ' matt board' is and wondered if it was what we call ' mounting board'/ isplay board' here in the UK .I put this in the search engine ' is mattboard used for mounting art work a& how thick should it be to make a collagraph'...found a site with some stunning work & was trying to find out the answer to my question.Then I looked to see ' who' the artist was & lo & beholden it was you !!!👍😂😂Your work is gorgeous ,I' he been cutting back cart with a craft knife & collage with elements of infusing the paper with needles eff & had no idea it's called
Collagraph! I'm convinced here in the UK we use so many different terms to you chaps..say one thing your mouth art equipment is so much cheaper than ours is & you have access to better equipment.You've inspired me ,I have developed MS& Lupus & looking for more techniques I can adapt to be easier to get my ideal effect and this will be a lot easier than band carving end grain hardwood plates for sure!.I
BTW I'm 've made some lovely prints by opening up tomato concentrate paste ( cutting with scissors along side of the ) then flatten it out & easy it & it leaves a gorgeous sheet of soft copper to print off ..Thank yiu..I' m subbing 👍 ad
hello Sophie! Thank you so much for this very kind note! Mat Board, Mount Board, Display Board, Frame Board... it’s enough to make your head swim! I’m so glad you went searching, and how funny that you landed on my blog! As to sourcing the materials where you are, this is what I tried before I found a supplier: I looked up all the frame shops in my area, and went to visit them. I asked them - face to face - if I could gather a bag of scraps from their mat board/mount board recycling pile. Everyone one of them said yes! I came home with almost 10 lbs of scrap mat board, and began making collagraphs in earnest. I hope that works just as well where you are too! And bravo on the soup liner printmaking plates too. We do that here with coconut water containers. Happy printing to you, and welcome! All the best - B.
I am so thrilled that I found your youtube channel! You are a wonderful and creative teacher:) I can't wait to use my printmaking supplies on some unconventional surfaces! Is mulberry paper similar in thickness to rice paper, but with more rag so it doesn't fall apart? I have BFK, but it is probably too thick, as you demonstrated.
Hello Sue - I’m glad you’re pulling out new supplies and revving your printmaking engines for some big fun. Rice and Mulberry are used interchangeably in paper labels. Read this: www.mulberrypaperandmore.com/p-6379-what-is-rice-paper.aspx? Are you using Akua inks? If not, which ones?
@@bdelpesco yes, I love Akua inks and use them on my mono prints. I do unfortunately still have quite a cache of oil based Daniel Smith but really can’t handle the fumes. Trying to find a good home for them. Hoping the community college may trade me press time for a tub of good inks…
@@bdelpesco oh .. and thank you for the link about paper. I had no idea my rice paper was actually mulberry!!
I’m in love
:) Thank you, Agnes!
Great video! I couldn't wait to try it. Carved out my plate, followed the directions, used Akua ink and Mulberry paper (and some others), but NO luck. None of the lines transferred, though there were some white lines among the ink haze. Very frustrated and puzzled about what I did wrong. And I have no idea what to do differently so I am hesitant to try again.. Could you add some troubleshooting info to this video? Thanks for this great video, anyway. :-)
Carol, I just replied to your post on Facebook. Use the recommended sealer on the plate: Liquitex gloss medium and varnish, or button polish, or shellac. It's got to be slippery enough to release the ink when you press paper against the plate. The Golden product is a satin finish, not a gloss. More on facebook. :)
Hi Carol, Have you had a chance to re-seal the plate and try again?
Belinda Del Pesco I revolted the plate with Liquitex gloss VARNISH and there is an amazing difference in slickness!! Next step is printing again. Meanwhile, I am having fun using colored pencils on the ”rejects”. Very freeing! 😋
Is there something else you could use as the varnish, such as glossy Mod Podge, or Golden soft gel gloss?
HI CZARUBA1 - I’ve never used either of those options as sealers, but you could test them easily by coating a small scrap of mat board with a simple shape carved into it - half with Mod Podge and half with the Golden. Then ink, print and clean off the test plate to see how the ink wipes, sticks, prints and cleans off those two options.
Can I ask, did you freehand draw the image, or did you have another way to transfer it from the print out?? Thank you for the tutorial
Hi Secret Scot - I’m a big advocate of using the Grid Method ( th-cam.com/video/fWl_mGcobGA/w-d-xo.html ) - especially for a print you’ll make multiples of, as an editioned Collagraph. Any line work that reveals itself to be cattywhompus will look worse in a duplicate of 20. 🙀 If Gridding is not your jam, you can use gray carbon paper to trace the photo printout to the plate.
Very cool...can you then hit it with a bit of watercolor to add touches of color?
Hi Rosebudforglory - yes, you can use watercolor, colored pencil, pastel, etc. Your printmaking paper choice will dictate whether you can use a wet or dry media to add color. What paper do you think you’ll use?
Hi, thanks for this demonstration. I have a question about cleaning up the plate between printings. I rinse with water and soap and use a soft toothbrush to lightly clean the ink from the deeper areas. This tends to make the acrylic coating whiten and loosen and it's hard to get more than two or three prints from the plate without recoating with the gel. How do you clean your plates between prints? And, have you ever tried a spray shellac or lacquer to seal a plate?
Thanks very much for your insight, and thanks again for your very informative videos. I've learned a lot from them.
Hi, and welcome +Mary Garrard what do you currently use for your acrylic coating? Is it liquitex gloss medium and varnish? That's my usual plate sealer (I've never used lacquer or shellac.) I don't use water or soap on my plates, so I've never seen what you're describing, and I'd be alarmed and sad at the loss of integrity to the surface. :(
I clear ink off my plates with a drop of canola oil or Citra-Sol if I've used oil based inks, and then a baby wipe or a Lysol wipe. If I've used water based inks, I skip the oil and/or Citra-Sol and just use the wipes. A water- spritzed paper towel is my last step to clear remnants of solution from the wipes. I don't use brushes, or abrasives, or soap. And I'm okay to leave particles of ink here and there in the curbs and cuts. I don't try to make the plates spiffy clean. Perhaps you might try this approach and report back on how the plate 1) cleans up, and 2) prints later?
Thanks for stopping by. Feel free to leave questions any time.
+Mary Garrard - take a look at this clean up at about 4:46 on a Mylar drypoint: th-cam.com/video/T4qZlxkqfts/w-d-xo.html
Hi Belinda,
I am a beginning printmaker and am having trouble with getting the lines to print appropriately.
I have tried mullberry paper, and thicker, printmaking paper, and seem to be able to get plate tone, but not reliable lines. Do I need better paper, better felts, or what?
I do not have a press for intaglio, but am trying some home -based methods.
What I end up with are tones around my lines, but the ink within the lines don't transfer.
I wish I could upload photos here to show you.
Hi Ellen, I can imagine what you’ve described, and it’s a very common problem. If your incised lines are printing white, you either do not have enough ink in the grooves, or your paper is too thick or stiff to hammock down into the recessed valleys to make contact with the ink. Try filling those recessed gouges with ink that matches the level of the uppermost surface of the plate, where you are getting successful plate tone. Wiping is an art, and you’ll have to be patient with yourself till you get the hang of it. Tamp your tarlatan or crumpled newsprint totally flat before wiping the plate so it doesn’t reach down and scoop out half the ink you’re trying to print with. What kind of ink are you using? Whatever you do, keep printing. It will work, especially when you have just the right marriage of ink, incised grooves, plate sealer, paper and pressure. You’ve got this.
Do I need special inks or can I use Golden acrylic ink for painting or gelliplating?
Hi Barbara, If you’re doing gelli plate printmaking, you can use acrylic paint, or Akua inks. If you’re doing collagraph printmaking, I’d recommend staying with printmaking ink - either Akua intaglio, or traditional oil based printmaking ink (Daniel Smith, Graphic Chemical or Hawthorn, etc.) Happy experimenting!
best thing the mulberry paper, easier to print with a spoon.. best wishes on your collagraphic path... I love water based inks.... from Montreal , Canada
Hi Mirella! Thanks for your comment! I love mulberry paper, but I haven't had luck finding one that will take additional media (watercolor, colored pencil, pastel, etc.) is here a particular manufacturer & style of mulberry paper you recommend?
sorry unable to give you any info about your problem because everytime there is another quality and here in Montreal we have little choices.
Great 👍
Love it
Thank you, Rashad!
love your art Belinda. Question though; I thought Colligraphs involved adding cut out materials, or found objects to the "plate" or "block" by glueing. Love the result of this print. Really nice. So cool.
Hi Eddie, You are right - there are lots of gorgeous collagraph plates made by adding or building up shapes and textures. Here's one made from cut construction paper mounted to the plate: www.belindadelpesco.com/2006/11/collagraph-watercolor.html And some plates are made by removing material, like this one: www.belindadelpesco.com/2017/10/collagraph-2.html The root words Colla - from Greek/Latin Kolla meaning "glue" and Graph meaning "written", "furrowed", "documented" suggest lots of room for experimentation. Thanks for your feedback! :)
Thanks for the very informative video. Do you need to use Akuo Italio ink?
Hi Beth, Thanks for the feedback.... You don't *have* to use Akua ink. Use whatever you usually print with - but be sure it's not a fast-dry pigment - like acrylic paint, tempera, or some of the other versions of water-based inks that dry as soon as they're exposed to air. The ink should remain wet on the plate for the duration of the process, so it'll transfer to the paper. :)
Great video Belinda. I was thinking about hot press illustration board for the plate (front side). It's pretty smooth but also has a slick surface. Do you think that would work?
Hi Alescographiks - Yes, you can use illustration board, but my experience with the brands here in the US are that they're quite hard. Your plate detail may be be limited by the amount of force you'll need to drag the blade through such densely packed fibers. Your best bet it to test carving side by side on a small sheet of each material to see which one works best for you. Thanks for the compliments!
Nice! Thanks Belinda! (y)
Desmond Clancy you're welcome! thanks for visiting.
Indian rice paper also can be used. A good but cheaper option
Thanks, Parag.... I've never seen Indian Rice paper, so that's a great tip. I'll look for it so I can do some test prints. Happy printing to you!
Hi Belinda! Thanks so much for sharing your processes! Is there a specific type of felt you use to make your daubers, or will any felt work? I am thinking about getting craft felt from Michaels to make my own daubers, but I'm curious if there's a higher quality felt that would work better. Thanks!
+Amanda Robinson hi there! Regular craft felt works fine - it will shed a little depending on the textures you've designed into your plate, but a pair of tweezers will remove any fiber-clusters from your inked plate easily. And when the ink dries into the felt, you can unfurl it, and trim the ink-edge with scissors and re-roll it to start fresh. No need for fancy felt. :) I hope that helps - let us know how it goes!
Great technique here thanks for sharing Belinda! What is the difference effect wise between this mat board collagraph print and say, lino print? Many thanks :)
Both types of printmaking are flexible when it comes to options for inking and printing. But in this case, the collagraph is being printed intaglio style - with ink embedded in the incised lines. A linocut is printed relief style - ink is printed from the uppermost surface - or the area of the block that was not carved away.
@@bdelpesco Thank you Belinda for highlighting the difference there. Much appreciated.
2020 y yo mirando esto !! una genia
P.S. Ahora que has visto cómo funciona, ¡también puedes hacer uno! 🧑🏻🏫🧠
Inspiring video! Are speedball water based inks suitable for this project? I noticed a similar ink-related question below, but I'm not sure which water based inks would qualify as fast drying. Thanks!
Chantel McIntyre Do you mean Akua waterbased INTAGLIO inks (a speedball product)? If you are referring to speedball waterbased RELIEF inks, they would not work with this project. Click the 'show more' section under the video window for a list of links to the right inks. And if you still have questions, post them here. :)
This isn't a collograph/collagraph. This is a block print or intaglio print. I'm not trying to bash you, and I appreciate that you exerted the effort to create this video and you actually presented a new and inexpensive method for creating a block print. One caveat, the Mat board will not create a very long lasting block to print from. You may only get a few prints from it before it's dead. I would personally reccomend something sturdier, its heartbreaking to exert all that effort and not be able to use it many times. I only point this out because I am a self taught print maker and there are so many process with so many complicated names and words to learn, that it can be so easy to newcomers to get confused and lost.
Hi there, Tyler. You know, nomenclature in printmaking has a long and colorful history of debate, so let's skip that part and agree to disagree okay? :) You're invited to meander around here on my channel and my blog (bit.ly/1FN9vFB) to see some variants on printmaking that you might enjoy as a self taught artist. And should you decide to make a mat board collagraph after all, rest easy in the knowledge that you can indeed make an edition - as long as you follow the steps outlined in the tutorial. Pinky promise. :) Now, share a link so we can see your work! Thanks for stopping by!
Exciting video! Thanks! Mulberry paper seems quite thin despite its strength. Have you colored any prints from the reverse side rather than on top? (you know I'm going to try!)
Yeah, +barrottceaver - that mulberry prints beautifully, but adding other media is a bit challenging. The paper absorbs wet media like a sponge with lots of bleed & spread, and it's a little tender for repeated abrasion of colored pencil tips scraping over the fibers. When you color from the reverse, please do share and let us know how it turned out!
Beautiful!!!!
Thank you! ☺️
Bravissima, grazie!
Thank you! :)
that was great!
Thanks, Escagedo! 😀
Can I ask why you coat the plate before you cut it? Could't you just cut it, then coat it? Thanks for the videos, very informative and useful stuff.
Hi Jason, Have you ever peeled a label off a bottle? You know how the paper you're pulling tears into thin layers and tapers off till it detaches from the label? That's what happens when you cut and peel the backing off matboard. If you seal it first, the uppermost layer you're pulling away is "glued" together with the acrylic varnish, and it can withstand pulling while staying intact. Does that make sense?
nice one!
Thanks, Bill! Love your channel!