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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.