The Curious Printmaker Blog
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This blog encourages you
to be curious and experimental
with your printmaking
One reader described it as ‘a delightful wormhole’. If you like this concept please dive in and explore, one thing will lead to another.
Otherwise use the categories menu above, or in the sidebar, and this should help you find your way.
The tags pull out some different themes, and the archive shows monthly posts since 2017 in chronological order.
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It is not just the print studios who have their own embossed stamps, individual artists do too. If its good enough for Picassso its good enough for us curious printmakers as well!
Burning collagraph plates introduces exciting random and organic methods to your platemaking. I love this technique as you give up a certain amount of control and allow your materials to guide your creative process.
A different approach to fabric printing
Traditional fabric printing is usually a relief process (think potato prints or block prints) or else it is screen printed. For collagraphs we will be using intaglio and relief methods combined to produce complex detailed and textured prints.
It is a well known fact that we humans love shiny things. Mica has provided us with glitz since prehistoric times, so if you use mica in your printmaking you are...
This is the best thing I have found so far for taking impressions of textures from 3d objects and then printing them directly. Latex picks up precise fine details, moulds round contoured shapes and stretches out flat. The thin rubber plate takes intaglio and relief ink and you can print it with or without a press.
White ink has an interesting effect on your collagraph prints
It is hard to say exactly what has happened, but there is a distinct and positive improvement in the print, a bit like the way someone looks when they come back from holiday. Your print has more substance, more energy, and more clarity.