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If we break this word in two, it means a collage drawing. This is where we can work on board and choose to cut down into it and remove the top layer of the board as well as sticking on thin textured papers and cloth etc. The pieces are glued into position and when dry, given a coat of varnish. This makes the collagraph more durable for inking up and printing. Lovely nuances can be achieved in this creative process from easily accessible materials. This is a two day workshop with tutor Michael Waight.
Join tutor James Vass on this weekend workshop for a chance to learn the basics of this exciting technique. Explore the creative possibilities of this colourful, graphic and immediate approach to making repeat prints. You will learn how to expose transparent images using UV light and print different layers to build up your image. No experience necessary – just a bit of creativity.
Drypoint Etching is a printmaking process in which an image is drawn / scratched into a plate with a hard pointed “needle” or sharp metal point. Although traditionally on copper, during the class you will use a soft perspex plastic, ideal for beginners as you'll be able to see and trace your images directly onto the perspex. We can then ink these plates similar to the way we do in etching and enjoy the rich tones that drypoint has to offer.
Traditionally this is where you use a series of darkening tones from the same colour (light brown, medium brown, dark brown). It is a reductive way of making an image where your block is forever being reduced in its surface area for each colour required, maybe finishing with just a linear area for your thick black/dark line.
Mono-printing is a very direct way of creating an image within the print medium. It can be very close to making a painting or a drawing, the difference being that what you make is used as the matrix to print from. It can produce lovely nuances of marks and tones but, as the name suggests, it is a way of producing a one-off, unique print. There can be close variations but it is not editionable as other processes are in printmaking.
There are several approaches to making the work, which we can look at in more detail.
One approach is to prepare a piece of Perspex that can be used to apply your image onto. A drawing or design can be attached to the underneath surface of the plate. This allows you to work with various colours and tones to build up your image fully before putting the plate through the press. This way makes a complete image even though it has entered the press just once. We can also work on an image colour by colour. Again using your drawing on the underside of the Perspex and filling in each area on the other side a little at a time. This approach requires the plate to go through the press several times and, importantly, to have some kind of registration system so each colour is in alignment.
Another way to work would be to cover the glass slab, or the piece of Perspex that has been provided, with a thin layer of stiff ink. A piece of paper is then placed lightly over the top of the ink. It is very important not to place any pressure down on the paper as this will pick up unwanted areas of ink. You can then carefully draw on the back of the paper with a pencil or a pen or metal point. When drawing in this way it is required that only the point of your drawing tool is making contact with the paper and therefore the ink on the other side. (If you were to rest your hand on the back of the paper a large ‘smudge’ like mark would show up on the front) The marks you can achieve when working in this fashion gives you a beautiful line with an added feathery quality that has a lot of energy in it.
Using a reductive process can give you a third approach. Again a layer of ink is rolled on to the Perspex plate. Using various tools, such as cotton buds, rags, brushes etc, you can remove ink, creating the light areas within your image. If the ink is thoroughly cleaned away then a total white area will have been achieved. Likewise, if a lesser amount is removed then a paler patch will have been made. With careful planning this too can take various colours and therefore a number of times placed through the press, hence the reason for working not on the glass but the Perspex plate.
Come and enjoy a day of colour, where you have a chance to learn the basics of this exciting technique. Explore the creative possibilities of this colourful, graphic and immediate approach to making repeat prints. The technique of scraping ink through a fine mesh can be quick to get results and by adding thin layers of colour you soon build up wonderful effects and images. Tutor: James Vass.
This is a fantastic way to keep or give very personalised handmade books. Some use stitching, some use glue and some have neither. For the two days, we will make a number of small books. Book types will include Pamphlet, Blizzard, and Concertina forms, just to get you started! Tutor: Michael Waight.
On this one-day workshop you will learn to use tonal variation with this etching technique, using a box to powder resin coat a zinc plate, which is then submerged in an acid bath to create recesses . The outcome is a non-linear image that uses blocks of tone to create the image, by blocking out areas of the plate, before it is placed into the acid bath.
This is a lovely way to work making one-off images that have both an element of screenprinting combined with mono-printing. Drawing with water-based pencils can be used directly on the screen’s mesh and can be printed by flooding the mesh with a base that releases the colours onto your paper. These can give lovely delicate washes as well as coloured drawings that sit well between watercolour painting and screenprinting.