A group show of a selection of works produced (and organised) by level 1 MAMDP students at the Christmas Steps Gallery, Bristol. Open daily 10-5. 11 Christmas Steps, Bristol, BS1 5BS. http://christmasstepsgallery.co.uk/projects/
Mood Board Collograph
(l-r): felt, satin ribbon, recycled paper (home-made), tracing paper, lace, corduroy
hole punch chads, embroidery thread, sticky back plastic, masking tape, flex vinyl, found label
ribbed ribbon, wire binding holes through paper, bandage, folded tissue paper, scrim, hole punched board (280gsm)
book cloth, foil, flex vinyl strips, sticky dots, sellotape, balsa wood
The first collograph plate produced was a mood board. Using what was to hand for materials and in terms of composition was thinking about applications for ideas that I am developing but not wanting to be overly precious about it. I purposely used thin grey board and added to it as I wanted to get a feel for the texture and print from a variety of materials. I want to push collograph further and explore additions and reduction by using thicker mount-board and cutting away as well as adding to the collograph plate. The plate had the materials glued on with pva and then 2 coats of shellac were applied.
As suspected the addition of the shellac made the plate much more interesting than the actual prints. The aged look of them was visually very appealing and the challenge is to get the print equally, if not more, compelling.
The first print was a de-bossed print and really like the results and offers much future potential.
The preparation was key and some of the materials definitely worked better than others. The vinyl flex produced a good result but was not very robust, it began to peel away very quickly so would not sustain a longer run without extra glue which in turn would compromise the subtle effect achieved. The material (scrim, corduroy, lace and bandage) worked really well but held an excess of ink and so a second print (without re-inking) was much more successful. It was a good exercise in planning what materials work well together and also in the application of ink and how much to take off. It would be useful to explore this further and try other materials such as tile cement, cardboard reductions, polyfilla, wax, feathers, etc., and build up a reference library of what works and how it prints and also think about substances that can have objects pushed into them… leave an impression to make an impression.
Taking the collograph print further, I scanned it in and duplicated it to make into a screen for printing on fabric. It was a considered exercise to help get a better understanding of this process, how to prepare artwork and files for screen and to get a measure of the amount of loss to quality each time the image goes through a new process.
The collograph image was printed out onto folex and made into a screen. The scan from the print of the collograph needed some work. The original scanned image held too many tones of grey and not enough contrast. It had to be adjusted to a point where it could work. It was a good exercise on how an image needs to be prepared, how it gets translated digitally for output to screen to then get a successful print. The adjustment meant a compromise in loss of image but I was pleasantly surprised at the detail achieved on certain areas that remained. It provided a measure of what worked (and what didn’t!) and will be very useful when planning a screen printed edition of a print, originated via a different process, going forward.
The image was then screen printed onto calico, cotton, silk and muslin. I see the application of this process to fabric as becoming an intrinsic part of something else. This could be a cloth book cover, an actual book, garment, bag, found item, etc. and so the exploration of the results from using different materials will inform this.
The over-prints on the pieces I was least happy with came out really well and as with other areas it would be interesting to push this further with masks, stencils and layers of fabric to hide, remove or enhance. I like the ‘waste nothing’ approach and will continue to keep work, stitch scraps together to re-use as the ‘mop-up’ prints at the end of the day as these throw up possibilities and present ideas and juxtapositions I would not otherwise have considered.