Blind embossing with added texture

I love hearing from people who have used some of the ideas from a blog post in their work, especially if they have extended or developed the technique in different ways. So I was pleased to get an email from Su France about her work combining blind embossing with other elements.

As well as creating collagraph plates from gels and pastes and using natural found materials for embossing, Su adds further texture to the print by hand sewing with vintage threads.

The underlying theme of her work is an exploration of the cycles of decay and regrowth. Her prints aim to capture the imperfect details of natural elements, connecting them to narratives of repair, much like the Japanese art of Kintsugi, which celebrates the mend.

Su France and blind embossing

I use blind embossing in much of my work, sometimes with no ink at all on a piece, or else as a highlight to contrast against more inky sections. Blind embossing can lend a subtle quality to a print, as it relies on the interplay of light and shadow to reveal the raised surfaces rather than bold colours or lines.

I have used it to texture backgrounds and like the way it can look like textural plaster, behind a tea bowl or other vessel.

The right pressure is key

The key to achieving effective blind embossing is controlling the pressure and ensuring that the raised surfaces or textures make sufficient contact with the paper during the printing process.

Getting the right pressure on my Gunning Etching press is vital. In the early days I kept a notebook so I knew how far down the rollers needed to be for a particular depth of collagraph. It is important to be aware that you may need to move the rollers up or down to accommodate thicker textures or more delicate seed heads etc.

Drying the blind embossed prints

Once I have created a print on the press, I gently dry it placing it between board to encourage it to flatten while not doing this to tightly so as not to destroy the impression.

Blind embossing compliments particular themes

I like how the blind embossing is ‘quiet’ and ‘reads differently throughout the day’, being very dependent on shadows. It lends itself well to some of the themes I work with.

For example, it seamlessly complements the tactile nature of ceramics. The textures it creates enhance the dimensional, sculptural qualities of the ceramic surface, inviting viewers to appreciate the artwork through both visual and tactile engagement. The nuanced shifts in colour, texture and surface where I use blind emboss next to ink is something I like to do.

The aged quality of vintage threads gives me a sense of nostalgia, I sew but I also want to make sustainable choices so aim to avoid buying new wherever possible. Even my print press was preloved!

Ultimately, such stitched prints become tactile artworks that celebrate the beauty of repair.

I was recently gifted a cantilever sewing box and while my mum laughs at me as I used to dislike even sewing on a button, I now enjoy the repetitive practice of sewing paper, something which asks for slow concentration, ‘sewing the silence into a piece’.

Where else could you go with blind embossing?

Many thanks to Su for sharing her work and philosophy, as well as some of her processes and helpful tips.

I think this really helps to emphasise the potential of blind embossing; it is such a deceptively simple technique, and one which produces great rewards if you create time to explore it more fully.

If you have used any of the techniques on the blog and would like to share your experiments to inspire other printmakers please get in touch with me.