I like keeping my plates, they are a record of a time, a journey, an experience. I rarely make editions. If I do I only print and sign off a few at a time as creating more than a few means I am filling drawers with identical prints. I prefer to play and to experiment. If I get nice, neat prints at the end of a day that I can frame and sell that’s a bonus, it is certainly not the driving force.
The links between collagraphy and collage are evident. The term collagraphy comes from the french coller to stick. In collagraphy pastes, gels and papers are attached to a plate which when dry is inked, and then printed on a press with paper. Collage can also be defined as a composite or collection created by assembling objects together. The process of laying these small pieces of plates together on my press, of building layers of print on paper feels very much like collaging.
As with my collage papers I know when and where each plate was made. By placing new against old I am revisiting my history, and when I stand back I feel I am not looking at a piece I have made this month, this year or even this decade. At this point in my life that is where the meaning lies.
But to go back to the beginning:-
Am I planning these? No, I am using a limited palette and working within an imaginary frame, but other than that there is no preconceived plan. Whilst inking and printing I am in the same flow state as you would expect when painting. There are compositional decisions being made regarding arrangement, colour and contrast but its not preventing the experimentation.
Am I creating editions? No, that would be almost impossible and why would I want to? These are all unique pieces.
What will I do with them? The successful ones will be sold on my website. Two have already been accepted for an exhibition in Cromer. Those that don’t make the grade are mounted onto small panels. I am planning an exhibition for 2025 and intend to have a wall of small panels.
In conclusion if you have been put off printmaking because you have been told its restrictive then please think again!
Fabulous Blog post. I haven’t done intaglio printing in many many years. I have all my plates, linoleum & my wood blocks. I never considered destroying them. I’ve discovered gel plate printing and am over run with printed paper , most if which I use for collage. I love the idea of mixing new and old work. Or being inspired by old to create new.
All in all, to me and for me, printmaking and collage are compatible…I am often an excited by the reveal.
Anyway, I enjoyed your blog and love your work. It’s very inspiring.
Hi great to see you here. I’ve been enjoying seeing your work pop up on IG. Yes, the two are so entwined. Have you tried using your blocks on the gel plate like a stamp? So much to enjoy…
I learnt etching on copper at Highland Print Studio (open studio in Inverness). Early on I read a reference to Whistler and his love of “plate colour”, thus introducing me to the idea that etchings need not be inked identically. That the real fun lies in playing with how the ink is wiped, which of course leads to monoprinting. Though purists may argue these are then not a series, but so what.
Yes! Inking is akin to painting…. If we allow it to be! I know of printmakers who hand the inking and printing over to technicians… they are editioners of course 😂
In terms of series they would be a ‘variable edition’ same plate but different inking… that’s the nearest I would get to any edition!
I love exploring words so looked to the opposite to PURIST: libertine, immoralist, heathen, debauched, wanton, broad minded, free-thinking and loose. I can live with that….
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I enjoyed hearing about your journey with printmaking and seeing what you are doing with your plates. I bet you have a lot of plates! I am the exact opposite to those printmakers you wrote about. I finally came to the conclusion I am not a painter. I am a line person who enjoys printmaking. Your online courses opened a pathway to printmaking for me which I am forever grateful. I have found two local print groups (Australia) to support my printmaking. Thank you again for continuing to inspire me.
Lovely to see you here Carmel! I don’t think of myself as a painter either, I CAN paint, and teach painting but my head thinks in terms of print: rollers, spreaders…rarely brushes. So much to enjoy, ☺️
How do you sign a variable edition? (Had a quick search on your site but couldn’t find an answer.)
Wanton Printmaking … that’s definitely my kind of thing!
If you have used the same plate/design but in different colour variations it’s a variable edition. So, if you had done 10 you would sign them 1/10 EV or 1/10 VE 😊
Wanton Printmaking will be a great course title 😂
I’m content to be a debauched heathen printmaker!
Definitely having that on my tombstone 😂
Brill blog post. Took me back to my days on a foundation course where we had to do one day a week printmaking. I hated it. Found the back to front thing of some methods nigh on impossible, the tedious cutting of stencils for screen printing interminable. And the spectre of ‘registration’ was just a pain in the rear. So you can imagine the joy of discovering collagraphy and collaging gel prints😍😍😍. And I love how the indirect markmaking frees me from figurative work. Your courses have really been influential on my journey, Sally. Thank you so much for all you do. X
Ta Jac!! It’s been great to have you around 😊 Remember the oil inks and napthol cleaners from screen printing then? Amazed we survived!
Fantastic blog post.
I’m enjoying gelli printing, other mark making and then collage. The #100dayproject done three times works for me as experimentation and reusing papers pleases me the most.
I’m finding making ‘perfect’ prints with clean edges for an upcoming print show more daunting!
Yes that white edge! I use Frisket film to protect the edge, peel it off when done 😊
im wanting to sign up for the free gel printing days.
i made a password but i keep getting the message “invalid password”
ideas? cindy stentz
Sorry to hear that! Try putting in your email but clicking the ‘forgot password’ link and setting a new password?
Very interesting and encouraging
Thank you!
Yes, blimey, and one day I was in such a hurry to get out and catch a train I stupidly grabbed some Domestos to clean a screen – rubbing it with my fingertips! Can you imagine the pain as my skin peeled off on the train!!!!
Ouch!!!
I have taken two courses from you, both of which I have revisited many times, especially the collagraphy course. It literally gave me a new direction as an older artist struggling with large heavy work on wood panels. I highly recommend that course.
Thank you! 😊
❤️❤️❤️
i am in love with these prints and they remind me of ones i did years ago and need to revisit. i love printmaking and used to feel restricted by it, but not anymore. i utilize print every chance i get. i love the variable of the unknown when you add a press and pressure. did i ink it well? too much? too little? so many things can go wrong. but, there’s that magical moment when you pull off the paper and something wonderful happened! all the stars aligned and that’s why i love printmaking. thanks for the inspiration! i have been lost for a few months. ideas are stating to formulate!
I’m so pleased you found it interesting. I agree the reveal is EVERYTHING!
Another great blog post that leaves lots to think about. I have some old plates and the concept of mixing old with new is inspiring. I feel motivated now to go and dig them out and have a go too.! 🙂
Go do it Kim!!
Sally… so many of your great ideas on using old collagraph plates (my favourite technique), resonate so much with me. I too have accumulated masses of collagraph plates over 40yrs of printmaking (screenprinting was so “not me” but I also loved etching)and have experimented in cutting up plates which are then reassembled, reinked, new cut plates added and as stamps on gelli plates, combined with drawing & collage for mixed media/monoprints.
The possibilities are endless.. only wish I was younger having discovered this new freedom of printmaking just a few years ago.
Your 3 courses that I have completed (well nearly!!!) have also opened up so many creative doors for me.
A big thank you!
Thanks Rosemary! Age is just a number… and I’m not sure I would have had the same maverick approach back then? 😊