Friday, 13 March 2015


I’m giving the riso prints plenty of time to dry before I start to cut and fold them into books.

In the mean time I’ve been to Hot Bed Press for a collagraph course. I’ve experimented with the basics before but have never been happy with the results. However I now know how to avoid white marks where the plate changes level and how to stop the plate randomly sticking to parts of the paper.

We worked with a quick method, using tape and drypoint on Perspex

and a slower way, cutting into mount board. This needed sealing with several layers of shellac varnish.

I’m really pleased with the prints from this second method.  I think I’ll try using this method of working for the next book swop I’ve signed up for at ArtistBooks 3.0.


  1. I wish you well Jac - these look great!

  2. Great results - inspiring to someone who might want to try this some day soon!

  3. hmmmm am intrigued by this work Jac. Hard to believe it is colligraph and the solid areas look, on the images, like lovely aquatint. Maybe I too need to do a course on collagraphs. Don't suppose you used carborundum?? Lovely work.

    1. Sorry to take so long to reply - havent checked my blog or email for quite a few days.
      The second set of prints are just mountboard, the dark area is achieved by peeling off the smooth surface of the board. Then all of it is sealed with shellac varnish before printing
      I've never managed anything so definite before with collagraph. I think the secret may be using a piece of yoga mat(thin foam) between the paper and the blankets


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