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Techniques forMixed-MediaPrintmaking
PRINT WITH
Collage&Stitch
V A L H O L M E S
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Most print techniques require the printmaker
to take things away from the surface of the chosen
material, so the printing surface is incised rather than
raised, in order to create the printing plate. The plate
may then be printed intaglio: this means that the
holes or lines created in the plate will be filled with
ink. This is done by applying ink and then wiping it
off the main surface of the plate. During the printing
process the paper finds the ink and reproduces the
image carved into the plate. The plate can also be
made to be printed in relief: in this case the plate
will usually have the ink applied with a roller to the
parts of the plate left in relief, instead of into the parts
taken away. The paper is then applied to the inked
plate.
Intaglio printing is usually associated with
etched metal, a process which is achieved either by
taking away the surface with special tools or by a
process known as aqua forte, with which the metal is
first varnished, the varnish is drawn into, and this is
then placed in a bath of acid or a similar substance
(there are a few methods to choose from) so that the
design is etched into the plate where the varnish has
been taken away.
The second method of relief printing is most
often associated with woodblock or lino printing, in
which areas of the material are gouged out, leaving a
structure in relief for printing. In the first case a press
is essential, in the second case it is not.
What is Collography?
INTRODUCTION
2 PRINT WITH COLLAGE & STITCH
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Collography is different from the above
methods because it involves adding things to the plate
instead of taking them away. Different materials can
be used to form the base structure of the plate, from
cardboard to wood, plastic to old lino. As for what
can be added, the range is almost as large and varied
as the number of artists working in this medium.
Classically, cut card and carborundum (an abrasive
substance also known as silicon carbide) are most
commonly used, but also acrylic texture mediums,
sandpaper, string, threads, fabric, rice, and organic
materials, all of which will be discussed in this book.
The resulting plate can be printed using either an
intaglio method or in relief, or both at the same time,
and it may be printed with or without a press.
Collagraph on watercolor paper using
oil-based inks. The plate was made from
cardboard with machine stitching, stitched
on synthetic satin and sandpaper. Some of
the inks were diluted, and there are several
layers of color before t he final black.
INTRODUCTION 3
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As we have seen, a collographic plate, unless very
well protected with hard varnish, will give about
ten to twenty prints. The prints, even if made with
only one color, may vary from print to print, as the
materials glued or stitched to the plate gradually get
flattened by the pressure of the press or the rubbing
that it is subjected to. For this reason it is difficult to
do a classic edition that will be numbered, so why not
experiment instead.
If you are working with one simple color, it
may be interesting to print on different papers and
textile surfaces rather than on one kind of paper
(see Chapter Five), in which case certain pieces
could be used for embroidery experimentation. If
you have experimented with adding different colors
to the work using the methods described in Chapter
Four, you may find that the developed color prints
are excellent, but that some of the pieces are not
developed enough.
When I look at a collection of prints that I
have made from a collographic plate, I find some
that are good paper works in their own right and
really need nothing else added to them, whereas
others that disappoint me in some way will require
more treatment. This provides a new challenge and
a chance to be inspired by the print and to continue
the experiments with the image. Working in this way,
I can go in many directions.
The great thing about printing is that it gives
you a number of similar starting points quite quickly
Embroidering the Print
CHAPTER < 7 >
4 PRINT WITH COLLAGE & STITCH
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that you can then experiment with, in order to more
fully understand the original marks and textures
present. The learning advantage is evident, as you
can easily experiment with an image and the textile
marks that can be made in relation to it, in a series of
developed works.
If the original image was realistic, this realism
can be enhanced with the choice of embroidery
to underline aspects that will lead to a greater
understanding of the image. Or on the contrary, the
original intention of the image can be ignored, and
the printed marks related to as abstract elements to
inspire something completely new. An abstract print
may inspire a realistic version that could be suggested
or added to with embroidery.
Collagraph on watercolor
paper. The plate wasmade from sandpaper
and machine stitching on
cardboard. Color added
with a roller. The row of
vines are embroidered
once again to underline
the image.
6 PRINT WITH COLLAGE & STITCH
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Mixed-media piece starting with a
collagraph on muslin stitched onto
watercolor paper in oil-based ink. The
piece was then colored in places with
water-based inks. Painted adhesive
webbing was added and then machine
stitching. Little of the original print, which
was in fact a landscape, remains.
EMBROIDERING THE PRINT 7
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Print with
Collage &Stitch
Paperba8.5 x 10.8, 128 pag
ISBN 978-1-59668-589$26.
Available May 20
Learn the secrets of todayshottest textile art techniquee enthralling popularity of collography is taking textile artiststo new and explosive heights. In her new book, Print with Collage& Stitch, Val Holmes shares everything you need to know about
the exciting effects of combining almost endless permutations ofcollage, stitch, and print and how to incorporate these effects intoyour own stitched textile work.
Included is invaluable information on embroidered collographyplate making, choosing the right printing surface, combining paperand fabric, embroidering onto prints, and how to work in a series.
Whether you are new to mixed media or you cant wait to expandyour work, Print with Collage & Stitchis your go-to resource forcollography.
CONTENTS
Making the plateIntroducing brodagraphy
Printing from the platewithout a press
Printing with a press
Surfaces for print
Collography for paperrelief
Embroidering the print
The monotype
Conclusion
Appendix: The press
Suppliers
VAL HOLMESis a well-known teacher and embroi-derer. She contributed a seriesof articles to Stitchmagazineand is the author of numer-ous books, including Gardensin Embroidery, e Machine
Embroiderers Workbook, e
Encyclopedia of Machine
Embroidery, Creative
Recycling in Embroidery,andBroderie Machine.