The Dew Pond – First Edition

Collagraphs-001The Dew Pond before above and after below.


I have now created an edition of 6/6 EV that are 7×7 inches on A4 white paper.  These have been embellished with Artist’s Watercolor paint and Derwent Graphitint pencils.  Instead of traditional prints, these look like small paintings as you can see brushstrokes from the plate when the varnish was brushed on and is one of the things I like about this type of printing.  By keeping the edition very small, I am less likely to lose interest during the embellishment stage as I start to run out of ideas on what to do next!

Now all I have to do is find time to mount them!


Underwater Dreams

I finally got around to embellishing the monotypes that I made on the gelatine plate.  These were printed with Artist’s acrylic paint and then painted with Artist’s watercolors.  I used the 8×10 gel plate on Saunders Waterford Hot Pressed 140lb paper, 11×14 inches.  I was looking through my paper stash and wanted to see how this would turn out.  I completely forgot I bought Hot Pressed paper as most of the watercolor paper I have is cold pressed.  This is what they looked like before painting.

I really liked painting these with the watercolors, especially as the paper is so nice.  I cut the rest my Saunders Waterford in half so I can try it out on the Xcut Xpress and also use it on the smaller gel plate.


A Collagraph Revisited

IMG_3839This is a collagraph that I had made for my printing class.  There were some things I could have done better and which I eventually did when I made another, smaller one.  The prints I made with it at home didn’t turn out very well as I tried to print it by hand.  When I took it to class and ran it through the press, we got these.

Surprisingly, there was still a fair amount of ink left on the plate.  The ink above is water based Ocaldo relief ink.  After playing with the Xcut and my new version of this collagraph, I thought I would have another go with this again.

I used damp paper on a higher setting than I previously used.  You can see the result in the upper left, which is the first print I pulled.  I mainly printed with dry paper and got better results and then as the more I printed, the more the color from the very first print run started to show through.  I used damp paper to pick up the last print on the bottom.  Here is what my plate looks like now.


The string is a little bit more flattened out as it has been through the press a few times.  The first time I used this plate, the ink was rolled out onto the collagraph.  This time I used a bristle stencil brush to push the ink into the spaces.  Since making this, I have learned that when using relief ink on a collagraph, it is better to use dry paper.  I have been doing both and it might be a good idea to start with dry paper so it doesn’t pick up too much ink and then use damp paper towards the end.  For me, it is all about experimenting at the moment until I can work out the best way forward.  The thing about collagraphs like these, you are never going to get a print to work out all the same as the collagraph changes each time it goes through the press, along with how the ink is applied.  Therefore, this will end up being a varied edition.  Once all of the prints have dried, I will have a chance to embellish them if I want to.  I may even print some off in dark colors only.  The possibilities are endless!