The whole wonderful process of inking and printing a collagraph plate and combining colours through intaglio and relief techniques becomes quite addictive and keeps many printmakers coming back for more. The unpredictability and infinite possibilities of this method make for a rich and exciting printmaking life.
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Combining collagraphs and mono-prints is a lovely versatile technique that I have used several times in community workshops. It works so well because it is easy to understand and people quickly get satisfying results. There is also plenty of scope for development so people with more printmaking experience enjoy playing with the two techniques together.
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If you think ‘combs’ and ‘cement’ sound odd together, this post should help to change your mind. Combed cement creates a range of strong textures which are very effective in collagraph printing plates.
You can approach this technique in various ways; speedy and dynamic, geometric and measured, or slow, flowing and meditative. There is a combed cement technique for all temperaments!
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Searching for something that would create a circular motion I experimented with electric drills, (too fast and furious), hand drills (too uneven), aerolatte coffee frothers, (battery ran out too fast)
I finally found the ideal solution in a cheap kitchen whisk.
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This wonderfully versatile material is great for a whole range of plate making techniques.
It is a an essential foundation material for any printmaker who makes Collagraphs prints
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If you like textures in printmaking you will love crackle texture. You will have seen this effect on Japanese ceramics and old paintings, it is often used to give the impression of age on painted furniture and ‘vintage’ ornaments.
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