Blogger counts each time a post has been viewed and of my 80 posts, the Eco Bundling - OMG post has received the most by far - 102 views and climbing. This post has been viewed almost every day since I posted it! My post Papermaking Adventures: Water Retting is second with 87 views and Experimental Printmaking I (carving into Masonite) is third with 81 views. In general, most other posts get anywhere from 6 to 35 views. I suppose these three topics have very little written about them although India Flint and her eco-bundling technique is getting more popular every day. She has spent much time traveling and conducting workshops and posts on her blog regularly. The popularity of the technique has folks searching for more, I suppose.
To those who have searched for information on these topics, please leave a comment and let me know if you found what I wrote to be helpful and share something about your own experiments and experiences. Thanks!
Showing posts with label printmaking techniques. Show all posts
Showing posts with label printmaking techniques. Show all posts
Wednesday, November 28, 2012
Sunday, January 30, 2011
Chine Colle Workshop
This weekend I attended a two day workshop at the Center for Contemporary Printmaking. This was the first time I have taken a class there. The instructor, Patrick Egger, is a recent MFA graduate from RISD. He studied under Brian Shure. Pat learned this chine colle method from Brian and taught it to us. I was one of three students enrolled in the workshop, which was wonderful because we each got our own press to use!
This method of chine colle uses a Japanese cooked wheat paste that is brushed onto rice paper and allowed to dry. About 30 minutes before use, this paper is put into a damp pack (placed between moistened pieces of newsprint and wrapped in plastic). These papers are then placed on top of the inked plate and a backing sheet (traditional European printmaking paper) that has been in a damp pack for 24 hours is placed on top and then put through the press.
I did a small series of prints with a drypoint etching plate I created today. The papers I chine colle'd were prints and ghost prints I did previously on thin mulberry papers.
I also used this method to collage previously printed papers together.
These pieces have been collaged over a print that I didn't care for. This will be the basis for a new print.
I really like this method. It allows me to paste up a lot of material at one time that I will have on hand to add to my printing plates as I work on them. A little bit of preparation will enhance creative expression. No need to stop the printmaking flow to prepare a piece for chine colle.
This method of chine colle uses a Japanese cooked wheat paste that is brushed onto rice paper and allowed to dry. About 30 minutes before use, this paper is put into a damp pack (placed between moistened pieces of newsprint and wrapped in plastic). These papers are then placed on top of the inked plate and a backing sheet (traditional European printmaking paper) that has been in a damp pack for 24 hours is placed on top and then put through the press.
I did a small series of prints with a drypoint etching plate I created today. The papers I chine colle'd were prints and ghost prints I did previously on thin mulberry papers.
I also used this method to collage previously printed papers together.
These pieces have been collaged over a print that I didn't care for. This will be the basis for a new print.
I really like this method. It allows me to paste up a lot of material at one time that I will have on hand to add to my printing plates as I work on them. A little bit of preparation will enhance creative expression. No need to stop the printmaking flow to prepare a piece for chine colle.
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