Collagraphy: a Synthesis of Color and Texture

Eastern Illinois University The Keep

Masters Theses Student Theses & Publications

1975 Collagraphy: A Synthesis of Color and Texture Maralyn Mencarini Eastern Illinois University This research is a product of the graduate program in Art at Eastern Illinois University. Find out more about the program.

Recommended Citation Mencarini, Maralyn, "Collagraphy: A Synthesis of Color and Texture" (1975). Masters Theses. 3485. https://thekeep.eiu.edu/theses/3485

This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. COLLAGRAPHY: -

A SYNTHESIS OF COLOR AND TEXTURE (TITLE)

Maralyn Mencarini - -

THESIS

SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE DEGREE OF

Master of Arts

IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY

CHARLESTON, ILLINOIS

1975 YEAR

I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE PAPER CERTIFICATE #2

TO: Graduate Degree Candidates who have written formal theses.

SUBJECT: Permission to reprod uce theses.

' The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion

in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied.

Please sign one of the following statements:

Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings.

�1st 1975 Date

I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because ��--��

Date Author

pdm TABLE OF. CONTENTS

Page

PART I: INTRODUCTION TO COLLAGRAPHY • • • • • • • • • • • l

TRADITIONAL PRINTMAKING METHODS ••• . . . . • • • 3 DEVELOPMENT OF COLLAGRAPHY • • . . . . . • • • • 5 MATERIALS • • • • • • • ...... • • • • 6 MAKING THE COLIAGRAPH PIATE •••••• • • • . . • • • 11 PRINTING THE PIATE . . . . • • • • . . • • • • • • • 16 QUALITIES OF THE COLLAGRAPH P IATE • • • • • • • • • • • 20

PART II: PERSONAL APPROACH TO COLLAGRAPHY • • • • • • • • 27

• MATERIALS • ••••••• • • • • • • • • • • 28 GENERAL PROCEDURES • • • • • • • • • • • • • • • • • • 29 • INDIVIDUAL DISCUSSION • •• ...... • • • • • • 31

PIATE 1 • • . . . • • . . • • . . • • • • • 31 PLATE 2 ...... • • • • • • 33 PIATE 3 • •• ...... • • 35 PLATE 4 ...... • • ...... • • 36 PIATE 5 • • • • • ...... • • • 37 PIA.TE 6 . • • • . . • • • . • . . • • ...... 39

PIATE 7 • • • . • • • • • • • • • • • • • · · • • • 40 . . • PI.ATE 8 . . • • • • • • • • 42 PIATE 9 . . . • • • ...... • • 44 PLATE 10 • • • • • • • • ...... 46 PI.ATE 11 • • • • • • • • • • • • • • • • • . . . 4 8 PLATE 12 • • • • • • • • • • • • •• • • • • • • • 50 PIATE 13 • • • • • • • • • • • • • • • • • • • • • • 51 PI.ATE 14 • • • • • • • • • • • • • • • • • • • • • • 53

PA RT II I: TECHNICAL DATA . . . . . '...... 55

BIBLIOGRAPHY •••• • • • • • • • • • • • • • • • • • 55 SELECTED BIBLIOGRAPHY • • • • • • • • • • • • • • • • • 59 • • SLIDE LIST •• •• • • • • • • • • • • • • • • •• 60 PART I: INTRODUL'TION TO COLLAGRAPHY

Printmaking has always been a neglected art. Vfuen speaking of art, pai.nting, drawing, and s culpture are commonly menti oned, but printmaking is rarely touched upon. In the past fifty years, however, this art form has developed immensely. Artists, educators, and critics have finally reali zed the worth of such methods as lithography, seri graphy, intaglio, and relief printmaking . Yet, despite the i ncreased popularity and recognized value of these processes, one other printmaking trend has been mightily overlooked. Relatively new on the printmaking scene, collagraphy encompasses the same background, techniques, and characteristics of the other more traditional methods.

The resulting prints are rich in color and texture and visually stimu- la ting.

The term ' collagraph ' was coined by Glen Alps , an innovator of this form. "Colla" suggests the word collage, while "graph" implies the graphic medium. This title indi cates the relation of collagraphy to the printmaking world and to its origins in a totally different art form-- collage, or the arrangement of torn and cut materials upon a background . 1 While a collage is prepared by gluing colored paper,

cardboard, string, or other materials to a supp ort in order to produce

l For further information about collage, read Collage and Assemblage: Trends and Techniques by Dona z. Meilach ( New York: Crown Publishers, 1973).

1 2

a pleasing design, a collagraph uses the same technique to pr oduce a 2 print. But where the collage requires the use of colored materials

and often the addition of paint to complete the work, the collagraph needs no color in the preparation.

Both the col lage medium and collagraphy base their success on

the counterplay of colors, textures, lines, and shapes of the individual

elements. ( See sli de 26.) Both media stress the build-up of a surface-- the former for three-dimensional and shading effects, and the latter

for a textural printi ng surface. Michael Rothenstein has suggested

that "collaging together separate printed elements has proven its values

11 for the extension of print study, 3 whi le Robert Motherwe ll proclaim s .,,,. that 11 papier colles are one of the greatest advances of twentieth ce ntury

11 painting. 4

Collage as a painting form developed early in the twentieth century, when Ge orges Braque and Pablo Picasso began to incorporate

other elements into their works . Picasso's Still Life with Ch air Ca ning

. ( 1912) boasted a real strip of chair caning along wi.th the paint medium.

It was a turning point in the hi story of art. From that time onward ,

by combining paint with sand, wallpaper, or pieces of string, artists

everywhere have attempted to widen their means of expr�ssion to include

2Gerald Brommer, Relief Prihtmaking (Worcester, Massachusetts: Davies Publishers, Inc., 1970), p. 99.

�ichael Rothenstein, Relief Printmaking ( New York: Watson Guptil Publishers, 1970), p. 36.

4John w. Cataldo, Graphic Design and Visual Communication ( Scranton, Pennsylvania: International Textbook Co., 1966), p. 77. 3 all possible materials arrl all practical tec hniques. 5 Since then, collage has gained its place in the art world, at roughly the same time that printmaking began to gain popularity.

The creation of images has always been one of man's primary activities. "Carving, scraping, and incisin g lines form a main outlet for his graphic powers,116 Rothenstein comments. F'rom the oldest woodcuts of 6th and 7th century A. D. E gypt to the detailed photo -silkscreen prints of today, man has used printmaking techrriques for illustration, decoration, and reli gious and educational purposes . Intaglio prints have been the most traditional and therefore the most acceptable; but woodcuts and wood engravings have been popular pract ices for 11Bny cent.uries.

Later deveiopments in tools, papers, and printing presses improved methods and encouraged experimentation as to method and result.

The planographic techniques arrived later in the second millerrium: lithography was invented in 1798, and serigraphy is a twentieth century product. Today, these printmaking trends are a popular form of graphic art.

TRADITIONAL PRINTMAKING METHODS

As already stated, a collagraph is a hybrid of printmaking and

collage. But within the printmaking range, collagraphs draw their form

from the intaglio and relief printing techniques. By way of explanation,

the intaglio method employs metal or plastic plates; these are etched

�chael Rothenstein, Frontiers in Print ma king ( New York: Reinhold Pub lishing Corporation, 1966), P: 14.

6aothenstein, Relief Printmak;;i�, p. lJ. 4 with acid or scratched with a pointed tool or scraper. Ink is applied and pushed into the grooves; when printed, the pressure of the press forces the paper into the recessed areas and pulls out the ink. Th e resulting pri.nts are recognized by their soft, furry lines; rich tonal areas; the luminous mellow quality of the color; and the embossed effect.

While the intaglio method is concerned with the etched or bitten areas below the surface of the plate, the relief printing process stresses the raised portions of the plate. All the areas to remain uninked are cut away from the wood or linoleum block. The ink is brayered across the surface; the sections in relief become charged with color. After printing, neat, sharp edges and flat patches of color are easily noticeable: the distinguishing characteristics of a relief print.

These intaglio and relief printing qualities are relatively simple to notice in a collagraph print. Gerald Brommer points out that

"a collagraph makes use of the effects and qualities of intaglio pro cesses as well as the application and techniques of relief printmaking."7

The collagraphic print, however, is generally valued for its strong textural qualities and the richly varied colors that accentuate them.

Perhaps it is this emphasis on texture and color that separates collagraphy from either one of the other two methods. The wide tonal variet y

of the intaglio exists, as well as its soft, furry lines and embossed

areas; the brayered layer of surface color is representative of the relief

process.

Actually, the intaglio process is more strongly influential

7Brommer, p. 99. s to the collagraphic medium. Late in the nineteenth century, adhesives were applied to copper and zinc plates to achie ve greater textural effects than those produced through etching, aquatint, or mezzotint.

These early collagraphs received the term "additive pri nts . " It wasn't until the 1930's, however, that serious appli cation of the medium occurred. Rolf Nesch, a Norwegian printmaker , was one of the first to use assembled plates with applied textures; the plates were metal, usually zinc, and employed the common intaglio techniques in addition to the textured areas.

DEVELOPMENI' OF COLLAGRAPHY

Several years later, Glen Alps originated the term "collagraph,11

and furthered work in that area. ( See slide 14.) Boris Margo did

inventive work in this medium, using collage, assemblage, and acrylic

adhesives before almost anyone else. Clare Romano and John Ross were

important collagraphic innovators in the 1950's. They demonstrated

the flexibility of cardboard for large color prints, instead of the

more typical metal plates. ( See slides l2, 13, 15, and 31-35.) By the

1960's, the collagraph was somewhat grudgingly accepted as a print

medium, and today it is a highly appreciated graphic art.

Indeed, collagraphy has become a popular printmaking technique

for students and artists alike. Children produce a simplified form of

a collagraph when they create string or cardboard prints. String or

cardboard are arranged in a pleasing design and adhered to a flat surface,

usually a larger piece of cardboard. The intaglio process is a bit

difficult for small hands, but the relief process is well-suited here.

Linear effects and colored planes emerge from this very direct procedure, 6 with astonishing visual results. Older students and printmakers may incorporate these same collage-like tech niques into their more sophis- ticated plates, using an almost limitless variety of materi als.

MATERIALS

As to the supplies required for creating a collagraph plate, just about anything is applicable . An obvious necessity is the backing for the plate. A sturdy, non-absorbent material works the best. Janet

D. Erickson has stated:

Wood, linoleum, plaster, paper, clay, cardboard, Masonite, P lexiglass, metals of all kinds, fabrics , and other 'unlikely' materials have been used to make blocks from which impressions have been printed.8

Tempered masonite in a l/8th or 3/16th inch thickness is well-suited to

the collagraph process. It doesn't warp, so the plate always remains

flat, even under heavy pressure. Carving the plate or incising lines in

it are intaglio tactics adapted to this type of matter. Various types

of pressed wood--such as Weldwood or Presdwood-- possess similar charac-

teristics; they are, however , slight ly more susceptible to warping.

Cardboard or mat board make fine supports, but need to be coated

on both sides with varnish to waterproof. Linoleum works well for a

while, but will soon wear down; it also loses its shape. Plaster pro-

vides an interesting porous texture, but is brittle and tends to smooth

out rapidly. Plexiglass is excelle�t for carving, but as in a drypoint,

it tends to lose its sharpness after about twenty prints; under heavy

pressure, it may crack. A fabric backing wouldn't seem very effective:

8Janet Eri ckson , Printmaking Without a Press (New York: D. - -- Reinhold Publishing Corporation, 1966), p. 1. 7 it might wrinkle or tear, and is extremely absorbent. Metal plates-- reminders of the nineteenth century additive prints--are highly effective for intaglio techniques and for providing a firm, flat support. Most of these materials can also be sanded, drilled, or cut into segments.

After selecting the backing for the plate , one turns to the materials for the design itself. Practically any item can be used, but care must be taken in arranging the plate. Gerald Brommer points out that

materials like paper, wood chips, cardboard, metal, sand paper, thread, and the like can be glued to the surface of the cut block to enrich it. These should be added only when they will enhance the print or enrich the texture.9

Other cutout materials that have been prepared for printing, such as cardboard, rubber, sheet cork, and burlap need only be glued down on a

sturdy flat base.10

A variety of textures is available with fabrics--linen, silk,

burlap, and canvas offer varied compositional devices. For linear

effects, wire produces a crisper line than string or cord. Lace,

tarlatan, and chicken wire are examples of objects that print recogniz-

able fascimiles of their own design. Tin foil is an interesting choice,

because it never seems to produce the same effect twi ce.

Many "found objects" can be incorporated into a collagraph

plate. Scores of different materials become "grist for the artist's nll mill, materials old and new, smooth and rough, costly and common.

9 Brommer, p. 77. lO Michael F. Andrews , Creative Printmaking (New York: Prentice Hall, Inc., 1964), p. 22. 1 �othenstein, Relief Printmaking, p. 99. 8

Karl Kasten, an art professor at the University of California at

Berkeley

makes no secret of his materials that include tin cans, forks, pennies, bottle openers, keys, plastics, leather, wood, fringe, burlap, brocade, old canvas, phonograph records,"etc.12 (See slide 2.)

1f the object is visually or texturally exciting and seems "right"

for the plate, then it doesn't really matter exactly what the item is.

It is important to remember, however, that each material has its own

characteristics, assets, and limitations.13

The materials must now be adhered to the plate. A good, water-

proof glue is necessary. Some items, once glued to the backing, need

only a coating of liquid gesso or shellac to seal them. (See slide 37.)

Polymer acrylic compounds come in two varieties: the rn.i.lky, thin type

dries hard and clear and keeps the water out; the thick pasty kind is

good for embedding objects and for carving, scraping, and texturing.

Modeling paste has the workability of plaster, and is also fine for add-

ing and embedding. Drying hard and glossy, it can be sanded, etched,

embossed, or carved. Elmer's Glue R or school paste works reasonably

well to attach the object, but they must be coated with shellac, varnish,

or liquid gesso to keep the plate waterproof. Whatever adhesive is

used, a coat or two of varnish or shellac is necessary to make inking

and wiping easier and to waterproof the plate.

Before the final protective coat is applied, the plate might

be worked on further. Sharply pointed tools, sandpaper, drills, scrapers,

12octavia c. Locke, "Collagraphy and Kasten," School Arts, June 1972, p. Jl.

13aabor Peterdi, Printmaking (New York: MacMillan Co., 1971), p. xxvii. 9 knives, gouges, steel wool, and cutt.ing to ols are avai lable for texturing, carving, and cutting. Different effects are achieved if

these implements are used before the paste or compound is dry. Linear,

grained, or repetitious textures are easily accomplished to counteract . or to accentuate the collaged areas.

Now that the plate is completed, the printer must select the

materials necessary for prj nting. Obviously, a press is needed. Any

number of printing presses are available, but certain requirements must

be met. The metal bed, or platen, should be large enough to accommodate

a fairly good-sized print ( say 1611 X 24" ). Table-top presses--such

as the Lazlo--are fine for smaller prints with not too much variati on

in plate height. Larger and more appropriate presses like the Columbia

offer a greate r variety of pressure selection and stability, and a

14 smoother delivery. They also adapt easily to differences in the topo -

graphy of the plate. Blankets , boards, and felts are used to achieve

the correct amount of press tension. Pressure sh ould be adjusted so

that all the recessed areas of the plate be come filled with paper; conse-

quently, the paper will receive the ink.

Ink is an important consideration, both by color and by physical

properties. Earth colors, or natural pigments, tend to browns, rusts,

and blacks. Organic colors include yellows, greens, and other browns.

5 The chromes are vivid hues of blue, ·red, and such.1 If an oil base

ink is used, the clean-up is somewhat messy; the resulting color,

14 For more information about printin g presses, consult Print making by Harvey Daniels {New York: Viking Press, 1971). 15 Rothenstein, Relief Printmaking, p. 189. 10 however, has a luminous, transparent quality. Water base ink is easy to clean up, but the color is flat and much less rich; it is loose, and has a tendency to run. Problems also arise with the use of paper. The best collagraphs are printed on damp paper, and water base ink would not work here. These water inks are generally employed for strict relief printing only (dry paper is used in this instance). A great amount of detail is lost by this method of printing.

Viscosity, or oiliness, also affects the printed color.

Etching inks are of a heavy vi scosity; they are thick, sticky, and easily applicable to the recessed areas. Letterpress ink has a medium oily quality; it is less effective for adhering to the incised portions and is much less tacky. Low viscosity inks, like the water base variety, are extremely runny and are easily pulled from the plate while wiping. These are best used to add color across the plate surface with a brayer.

To apply the ink to the comple ted plate, daubers, brayers, and tarlatan are necessary. Daubers are simply pieces of felt or blanket material rolled into a tight cylinder; they are used to push the color into the cut away portions of the plate. A piece of mat board or a stiff brush works just as well. Brayers roll the ink across the surface of the plate; the stroke is three times the diameter of the cylinder. Gelatin rollers are very soft, and subject to heat. Rubber brayers are firmer and clean up quickly. The polyurethane variety possess a polished surface that applies the ink easily. Tarlatan is a stiff, loosely woven cloth that is used to wipe the ink from the plate so that only a film of ink remains on the surface; the ink in the cracks is not 11 touched. Final wipe up is easy with pieces of paper or newsprint. Another major concern is the type of paper used. Papers range from the soft, absorbent variety to very coarse, grainy watercolor or

> drawing sheets. The kind of paper affects the results of the print; the excellence of the image depends on the quality of the paper. In

many ca�es, the paper itself becomes an integral part of the print. Softness, whiteness, absorbency, smoothness, and grain are characteristics to consider when selecting the paper.

MAKING THE COLLAGRAPH PIATE

Choosing the materials is only half the preparation; methods should also be estimated. Technical options begin with the very idea for the plate. What effects will be stressed in forming the plate? Strict design, textural variety, formal representation, linearity--each

motif can be realized in many ways. For example, paper and cardboard produce relatively smooth printing surfaces, but each kind gives a different variation. Sandpaper offers a mottled color; pebbled mat board prints in a speckled way; paper towels have textures and wrinkles that give tonal variety. If a linear area is desired, the printer can choose from string, wire, or "liquid drawing.1116 The string is woven and tends to print with rather furry edges. In the in�aglio process, it holds large amounts of ink next to the object; white areas surround the string image in a

16Liquid drawing is a linear procedure of dripping various liquid substances ( e. g., liquid gesso, glue, etc. ) as one would draw with a pencil. The raised line will print solidly if relief printed, and nega tively if done by the intaglio method. 12 relief print. Wire produces a much sharper image , but has the same results as to inking technique. Deciding which materials to use and how to arrange them can make the difference between a successful print and a mediocre one. (See slide 3.)

The design or idea is not fully completed by mere adherence of materials. Exciting textures and tones can be achieved in numerous ways. Dona z. Meilach suggests different techniques with paper:

Paper can be adhered wet or dry; they can be dipped in the glue or the glue can be brushed or rolled onto them. They can be crumpled, folded, smoothed, shredded, cut or torn for different effects, used over one another for shading, mounted up for a relief surface , and they can be added to or cut away.17

Torn shapes work well for soft edges. A twisting and placing action provides greater relief and unique texture to any paste-down material.

Graininess can be accomplished in several ways. Micha.el

Rothenstein recommends the use of liquid plastic adhesive :

It is spread on the backing, and sand, gra vel, metal fillings, sawdust, cotton waste can then be shaken, crumbled, sprinkled, dropped, thrown, or spattered onto the wet surface.18 (See slide 6.)

This same artist also suggests a mixture of glue and plaster of Paris;

in a semi-liquid mass, the paste is easy to spread and tool. It can

then be worked on with cutting and modeling tools.19 Dona z. Meilach

uses marble dust to create a fine, even texture; she simply sprinkles

it over the wet adhesive in varying amounts. (See slide 24.) Liquid

11nona z. Meilach, Collage �nd Assemblage: Trends and Techniques (New York: Crown Publishers, 1973), p. 36.

lBaothenstein, Relief Printmaking, p. 118.

19Rothenstein , Frontiers � Printmaking, p. 138. 13

Lucite, thick enough to hold a relief, also forms a good base; once hard, it can be cut, engraved, stip pled, or sanded.

Other text ures can be pr od uced using tools, brushes, and actual objects. Repetitious designs appear by pushing a pencil, seal- ing stamp, or shaped tool edge into the base material several times.

Fo rks, knives, brushes, fingers, combs, pen points, and toothpicks create interesting results when dragged through the paste or embedded in it. Slide 36 demonstrates this technique. Feathers, ribbon, yarn, and paper clips--whether pulled through the medium or simply adhered to it--are texturally exciti ng . (See slide 16.)

Aldo Pellagrini advocates exploitation of

the materiality of burlap and other textiles , as well as wood and other metals, emphasizing this materiality through various procedures that range from tearing through charring.20

Sanding roughs up the surface while scratch ing creates a haphazard, vigorous design. Drilling holds or cutting out portions of th e plate

will give a strongly embossed, uninked area; sometimes this is an almost

necessary contrast. Scoring the hardened plate provides a linear effect.

One might try merely smearing or spreading the compound with a spatula

or pale tte knife, with no fu rther work. ( See slide 8.)

Other liquids can be used in a linear fashion. Rubber cement,

Duco cement R , lacquer, or Elmer's � glue are sometimes dripped on the

plate; as they dry, the beads of liquid merge to form a solid line. A

in (New York: Cro 20Aldo .Pellagrirrl., New Tendencies � Art � wn Publi shers, Inc., 1969), p. 11. "halon effect appears when these elements are inked wi th a brayer. 21

Sculptmetal, gesso, white glue, and ca sting resins possess the same qualities. ( See slide 17.) Boris Margo advocates the use of a plastic varnish dissolved in acetone. Liquid in form, it acts like other pliable mediums; it produces a print called a cellocut. All of these compounds and liquids produce great embossed effects when printed.

Metal plates have an advantage: intaglio techniques can be

added to the design. An artist might try rubbi ng the surface with steel wool or using metal tools to indent or engrave the plate. Objects

could be bolted, nailed, or screwed on as in the netal collage prints by Rolf Nesch. ( See slide 29.) Soldering and welding make the plate

sturdier and give different textures than those achieved by other

methods. (See sl ide 27.)

For relief printing techniques, the artist should stress the

importance of shapes and spatial relationships. Felt blocks create

bold vig orous shapes. Neoprene, cut to 1/4 inch thickness, or card-

board can be cut into simple forms. The pieces should be thick enough

to keep the relief separate from the backing. But no matter what type

of bac king or collection of materials, consideration s ho uld be gi ven to

the selection of the obj ects ; the artis t must evaluate their design

qualities, the affinity for ink or paint, and the ability to withstand

the actual printing process. 22

21The halo effect results from relief printing of a raised surface; the brayer inks up only the highest part of the object and the surrounding area remains uninked. Therefore, after printing, a white i mage forms around the printed segment.

22Andrews, p. 12. 15

Another way to form a plate is the vacuum form method created by Karl Kasten. The pi eces of the plate--if there are separate

elements--are arranged on or adhered to a cardboard backing; the

plate should have holes cut in the backing to allow the pres sure to

pull the plastic plate down. The collage is placed on the bottom

plate of the vacuum form machine; a sheet of . 040 polyvinyl (or othe r

thermal plastic) is set on the carrier rack above . After setting the

temperature , the time to heat the plasti c, and the time to form the

new plate, the carrier rack is brought down on the collage plate and

held there under great pressure. Once the plastic plate has been formed,

it is cooled, removed, and later printed. (See slide JO.) An advantage

to this technique is that the individual pieces can be inked s�parately

and replaced in the according groove of the plate; several colors can

therefore be printed in one inking, wi th no problems of smearing.or

registration.23

Now that the plate is prepared, the printing method mus t be

selected. The relief method is the simplest, often not even requiring

a press. Water base ink should be used; but if richer color is desired,

oil inks and damp paper are needed. Ink is squeezed onto a piece of

glass or clear acetate to show the exact color of the ink. A brayer

is rolled through the pigment until the ink is of an even consistency

and the roller is fully coated. Tha loaded brayer is rolled across the

plate; only the areas raised from the surface would receive the ink.

A light , rather smoothly-grained paper works best for this printing

technique.

23Meilach, pp. 178-181. 16

PRINTING THE PIATE

Printing can be accomplished in two ways. The use of a printing press will give an embossed effect to the print and a more thorough ink transfer; heavier paper can be used here. Hand-rubbing takes longer, but during printing, the printer can check on the exchange of color. A rounded object--a baren, a wooden spoon, or a smooth flat stone--is rubbed over every square inch of the paper, coaxing the ink from the block to the sheet. (See slide 11 and 18.) This process may take a while, but it is just as effective as a press- run print without the embossing. Stanley William Hayter, a noted printmaker, uses color on different levels by employing inks of various viscosities and brayers of different hardness. The hardest brayer available is used to roll on the least viscous ink, usually a water base variety; it coats only the highest parts of the plate. A more viscous ink--letterpress, for example--and a medium-hard brayer of gelatin or urethane will apply the ink into the depressions; the less viscous ink will reject the stiffer pigment. Ink of the greatest viscosity is spread on with a soft brayer, likewise rejecting any less oily ink; this application will slide down into the deepest recessions of the plate.2 4 (See slide 13.) In this method, several colors can be printed at one time. Rich overlays, transparencies, and intaglio characteristics are achieved without daubing or wiping.

24 c1are Romano and John Ross, The Complete New Techniques in Printmaking (New York: The Free Press, 1972), p;-26. 17

If the intaglio process is desired, however, the preparation differs . Heavily viscous ink or etching ink is needed to stay in the depressions. Colors are mixed on glass or poured from the tube; if

mixing, oleum or ink extender is used to thin the ink slightly. hand .

Leaving pigment ink grainy adds texture, density, and weight to the 2 colored print. 5

Paper also affects the appearance of the finished print. A strongly woven paper will add its own texture to the image, and will also affect the ink transfer and the evenness of color. Japanese papers appear very textured , but pick up even the most subtle textures.

Watercolor paper, smooth drawing paper, and evenly-grained printing

papers work well with the intaglio process; these produce different levels of ri chness and tonal quality.

Dampening the paper is the next step. Immersing the sheet in

water is acceptable, but the paper has a tendency to tear when held.

The proper method suggests laying the sheets between dampened blotters or newsprint and laying the stack on a non-absorbent surface. To

insure complete flatness and uniform shrinkage , a flat, heavy board

may be placed over the top of the stack.

While the paper is moistening , the plate should be inked up.

As stated previously, daubers or squares of mat board apply the

pigment. (See slides 12 and 21.) Care must be taken to push ink into

every depression, or i�proper tone will result. A sti ff brush can

2 5niane Cochrane, "Michael Ponce de Leon: Metal Intaglio Collage," American Artist , October 1974, p. 43. 18 help in this respect. (See slide 20.) Several colors can be applied at once, but these tend to blur together and loose clarity. When all the color is applied, the wiping process starts.

A clump of tarlatan removes the excess ink. Further wiping should be done carefully. Newsprint, paper towels, or brown paper gives a light surface tone (see slide 19); for textural detail, the artist might use his palm or finger. Too much wiping will produce a pale print; too little wiping might cause fuzzy edges, unclear areas, or unwanted textures. It should be remembered that the collagraph does require an arrangement of the variations in light and dark to project its il"lage, and this is controlled to a large extent by the wiping process.26

The actual printing process follows. A press must be used, as there is no other way to pull the ink from every groove and crevice.

The press bed should be smooth and clean so as not to soil the print or to alter the pressure. Newsprint covers the platen, with the plate resting on top of it. Carefully remove a sheet of paper from the blotter sandwich and lay it over the plate. Once the paper is positioned- approximately centered over the block--it must not be moved until after

printing. Disturbing the paper might cause some ink to transfer to the sheet.

Layers of materials are now'built up: more newsprint to protect the back of the print; a thin blanket or sheet of foam rubber to absorb the initia l pressure; a 1/4 inch thick blanket or felt.

Different thicknesses of padding can alleviate variations in the height

2 6sronuner, p. 30. 19 of the plate and regulate the amount of pressure desired. The stack is then cranked through the press at a previously determined pressure.

One run should suffice, but a second would insure complete image transfer.

After peeling away the protective layers, the print is carefully removed. It is attached to a flat homosote board with staples one and one half inches apart.27 The board must be kept level to assure uniform drying. If the embossed effect is to be retained, the paper should dry on a flat blotter for thirty to sixty minutes and then be affixed to a board. The print can also be dried flat between blotters.

A variation to either printing process is termed chine colre.28

Pieces of colored µiper are cut to the desired shapes according to the design of the plate. These are moistened and coated with dilute

library paste on the reverse side. After positioning the patches on the plate--glue side up--the printing process is continued as usual.

The finished print will have colored areas beneath the various lines and

tones, firmly adhered to the backing and requiring only one press ru.�.

Another printing method involves a combination of the intaglio

and relief print nethods. Kristian Sotriffer states that:

This is only possible when there is a relatively marked difference of levels in the relief· of the plate. The colors can be made to separate or mingle at will according to their oiliness.29

In other words, the plate may be inked up according to the intaglio

27Romano, p. 37.

8 2 rbid., P• 27.

29Kristian Sotriffer, Printmaking: History and Technique (London: Thames and Hudson, Ltd. , 1968), p. 91. 20 method and then again by brayers of different hardness and with inks of varying oiliness (as discussed in earlier paragraphs ). A relatively level plate cannot be printed in this fashion: the ink will coat most of the surface with each color application. No distinct lines or tones will appear. or course, cut up plates can be used, with intaglio and relief techniques alternated. (See slide 12.) Other problems arise with the collagraph process, similar to those encountered in the intaglio. If the ink furs out or collects in certain areas of the print, the printmaker must either reduce the pressure of the press; wipe the plate more; or reduce the amount of plate oil. Paper sticking or tearing implies that the pressure was too great; that the ink was too stiff; or that some part of the plate was not coated with varnish.

Uneven printing can be alleviated in two ways: foam rubber could be cut to fit the low areas to improve the pressure; or, the printer might place dampened blotters between the paper and the foam rubber to achieve uniform printing. Wrinkles in the paper are caused by any number of errors: the blankets might be too stiff; the paper too wet or unevenly damp; the paper too thin; or the pressure too great.

Another common problem is the appearance of white areas; increasing the pressure or applying more ink should improve the looks of the print.

QUALITIES OF THE COLLAGRAPH PLATE

By examining the finished print, one notices that it is very much related to the intaglio and relief J1Ethods in other ways besides the printing process. Michael Rothenstein points out the "variety of 21 images directly from different materials, artificial and organic" 30 combines with "the direct manual skills of engravi ng, carvi ng, and abrasion and cut ting with power tools." 31 The exact reproduction of inked three-�imensiona.l objects; the forceful color and sharply out lined areas; and the various natural textures that have been duplicated

(like wood, leaves, feathers, etc.) bear a strong similarity to a simple relief print .

Affinity to the intaglio process is even more obvi ous . Rich color, wide tonal variety, textures, and embossing are indicative of this second printing style . Certain textures are as subtly produced as those in any soft ground medium. (See slides 4 and 5.) Grained areas relate to the aquatint process--a tonal area achieved through acid biting--and produces similar medium values and textural results.

(See slides 6 and 22.)

Larry T. Schultz asserts that "texture is the key to the print making unit,"3 2 and texture is by far the hallmark of the collagraph print. Built-up surfaces and three-dimensional objects create rich variety in color and tone . Organically-surfaced prints possess "landscape" qualities, such as the grain of a strip of wood; the texture of a piece of bark; or the veining of a leaf. Embossing generally results from texture, and gives an added dimension to the print . This raised printed surface stimulates the tacti�e senses . Peter Green states:

30Rothenstein, Frontiers of Printmaking, p. 142.

31Ibid. 32 La.rry Schultz, Studio Art: A Resource for Arti st-Teachers (New York: Van Nostrand Co., 1973), p; 79. 22

"As we begin to see through the sense of touch, as in braille , this

'seeing' become s visual when printed . n33 Softness or hard.11ess of the resulting image is often dependent upon the texture s elected for that particular a�ea . The co llagraph appeals not only to the eyes but to the hands as well.

Color , too , is a collagraphic trait . It is "set free," says

V' ,. Jiri Sibli k.

It is no longer subj ugat ed to outline drawing. It is now able to convey an independent message , and the us e of lines and co lor combined with li ght and shadow makes it possible to suggest shapes, while they endeavor to exploit the back ground surface.34

But the color isn't a separat e entity; it mus t, and usually does, enhance the ot her qua liti es of the colla graphic print . As Gabor Peterdi explai ns:

• • • I n a good color print , the color is not us ed as a fi ll in for already estab li s hed form, space , and movement ; it is used in total integration to establish these qualities only when they are printed together . 35

The concavities and convexities become vibrant and more striking by this exploi.tation of the topo graphy of the plate . Tones and shadows

become rich and deep through the combi nation of texture and color . The

elements of design interplay du e to the amount and intensity of the

color .

Rothenstein observes that "built-up relief suggested sensations

very much like those evoked by brushstrokes made with any heavy

33 peter Green, New Creative Printmaking ( New York : Watson Guptil Publishers , 1964-y;-p. 7.

34 Jiri Siblik, Twentieth C entury Prints (New York: Hamlyn Pub lishing Co. , Ltd ., 1970), p. 13.

35Peterdi , p. 195 � 23 medium. 1136 Many collagraphs really do recall painting due to the thickcol or and the almost chiaroscuro-li ke shading in certain areas

..., ,, / of the print. Jiri Siblik relates the print more to sculpture: Where objects such as wire, scraps of metal, and the like are applie d to the plate, they create a relief whi ch is so thick that in the printing process, the paper becomes deformed or even torn, and the plate itself becomes no longer merely a design for printing but an object of art in its own right.37 (See slide 25.) The plate itself retains ink from the printing and p:>ssesses sculptural

and textural qualities of its own . Truly, the collagraphi c print is bold in color, texture, and design, but subtle in shading and tonality. Collagraphy as an art medium offers several advantages over other printing techniques. The spontaneity alone is an attractive asset. There are few rules or regulations; freedom of application and

desi gn is total. Harold Rosenberg sums up the sense of personal discovery possible : Allowing paint, scraps of paper, or flung bits of metal to arrange themselves as they will belongs to the traditional ruse of the art of this century employed to bring forth unknown energies out of its mediums in order to silence in the artist 's mind the directives of aesthetics and art history.38 The elements of surprise and anticipation are strong ; the artist can

never fully know what the print will look like unti l a proof has been made .

If after proofing the print appears to lack something, or if it

is too busy, it can be easily repaired. Sometimes only a second coat of

3�othenstein, Frontiers of Printmaking, p. 139. 37siblik, p. 7. 38iiarold Rosenberg, The De-Definition of Art (New York: Horizon Press, 1972), P• 60. 24 varnish or a quick sanding suffices. More carving or texturing can be easily applied, and the plate then revarnished. Areas that print badly can be removed by scraping or pu lli ng it away from the backing. After working the �late over and still not gaining a satisfactory print, the artist can simply discard the block without considering the cost of the materials or the time element involved. Collagraphs are relati ve ly inexpensive , and the materials easily obtainable . Since production is quick, several plates can be created in a single afternoon. Faci lity of preparation therefore encourages experimentation and variety.

Great learning experiences occur from all these testing situations. Peter Green states: "What is learnt at this stage about texture not only opens our eyes but can help show the range of surface that can be created in the student ' s own prints •11 39 This method of printing is advocated

because it permits the student to create by utilizing the characteristics of the material • • • An endless variety of materials can be found , and the art of searching and selecting deve lops perception and appreciation.40

One learns to order space, texture, tone , and line , as well as to regulate and to enrich color .

The freedom and novelty of the collagraph , however, are counter- acted by several strong disadvantages.· Some times the plate becomes much too busy and over ly textural; the resulting print might well be gaudy or repulsive, with areas fighting for attention instead of forming a harmonious blend . Versatility often goes hand in hand with

39 areen, p. 8.

40A ndrews , p. 2 2 . 25 disorgani zation . Albert Reese discusses the problem:

The medium permits the artist considerable freedom in his use of color and forms . Perhaps it is this very lack of limitations that also makes it a difficult medium to handle .41

Often difficulties occur in achi eving uniform prints. I ndeed, collagraphs , especially colored ones, have problems maintaining con- si s tency. These difficulties can arise from inexact wipi ng or inking, or possibly from the wearing down of the plate after several dozen prints. Color is hard to control when it is daubed on wi th several different hues; the transparent effects differ from print to print.

Another disadvantage occurs in the plate itself. If too great a difference in the h eight or thi c kness of the plate occurs, inking up the block and pressing the paper into it become di fficult and in some cases virtually impos sib le . Sharp textures or very high parts might shred or tear the paper, and consequently ru.�n the print . All the areas of the plate need not be of a standard hei ght , but a l/8th inch difference should be the maximum . Overdependence on the materials themselves should also be limited, or the print will turn into a simple collection of vari ous object transfers.

Collagraphs obviously are more than just representational

- images. They are richly textured, highly vari ed, and strongly experi mental graphic forms, providing tactile and visualin terest. These prints possess the tonal and linear qualities of the intaglio and relief printing methods, and the layered , rea li stic approach of the collage medium .

1 4 Albert Reese, American Prize Print s of the Twentieth Century (New York : Ame rican Artists ' Group, Inc. , 1919),p. 134. 26

But Gerald Brommer indicates :

The print I!D.lst speak for itself. It dare not try to be a painting, for the quality of the brush , paint , and color is not usually in a print . It dare not try to be a drawing, because the subtle variations of tone cannot be achieved in wood.42

The collagraph doe s speak for itself: it may draw its ins piration from other art forms , and it may have developed from the collage and printmaking media, but it gains its power and strength from bei ng exactly what it is. It is a creation of the artist; a visually and tactily stimulating work of art that is finally becoming popular in today's art world . PART II : PERSONA L APPROACH TO COLLAGRAPHY

Hi stori cally, then, collagraphy is recognized as a creative innovation to the printma king wor ld. Individually, collagraphy bec omes an expressive visua l out let--in effect , a synthesis of color and texture . My approach to this medium involve s the mode ling technique and the application of ink.

Subsequent textures are enhanced and shapes are defi ned by the blendi ng and wiping of color . Materials, methods , and problems of the individual prints follow.

27 28

MATERIALS

Plate-making materi als : Textural eleme nts : Crescent R mat board Feather Hyplar R modeling paste Paper towels Tools : Kni fe., fork, spoon Tin foil Tongue depressor Tar la tan Etching point Masking tape Toothpick Stri ng Pencil Embossed cardboard Brushes Q-Tips R Fingers Salt Grinding machine Wood chips Sandpaper Burlap Sandpa per Brown paper

Coating materials : Spar R clear varnish Home-Cote Rwalnut varnish stain

Printing materials : Ink: Shiva R: Charles Brand Intaglio P Lamp black Etching Press R , 18 X 36 Yellow Hue 1 Sturges Etching Press R , 28 X 48 Vivid Blue Hue 14 Felt blankets Crimson Hue 7i White butcher paper Vivi d Green Hue 22 Water White Blotters Brown 5 PL Leather roller Grumbacher R: Glass plate Orange Rolled felt daubers Yellow Brown paper squares Vi olet Tarlatan White Paper: Artemis Red Graphic Blue JohQnnot Brayers Ole um

Mounting materials : Drying materials : Crescent R mat board Staples Mat knife and blades Homosote boards T-square and yardsti ck Blotters Pencil, eraser Masking tape 29

GENERAL PROCEDURES

I. Pre pare Plate

A. Cut mat board to desired size

B. C reate textures with modeli ng paste

1. Use tools 2. Adhere materials

c. Coat with varnish

II. Prepare Printing Faci lities

A. Adjust press pressure

B. Dampen paper

1. Moisten 2. Blot

c. Se le ct ink

1. Mix special colors 2. Thin with oleum

D. Tear brown paper s quares for wiping

TI I. Ink Plate

A. Apply color

B. Wi pe with tarlatan, brown paper, palm of hand

c. Blend additional colors

D. Wi pe again

E. Clean edges

IV. Print

A. Set up laye rs on press bed

1. Brown paper 2. Inke d plate J •. Brown paper 4 . Thin felt blanket 5. Thick felt blanket

B. Proof plate 30

V. Make Corrections on Plate

A. Remove paste wi th sandpaper or grindi ng tool

B. Add more texture with paste

c. Cut · up plate

D. Divide plate into segme nts

VI. Print (Repeat Steps IV, V, and VI ti ll image is satisfactory)

VII . Dry Print

A. Staple to homosote board

B. Dry between blotters and brown paper

VTIT . Clean Plate

A. Use oleum and paper towels

IX. Mount Print

A. Mat with complimentary colors

B. Frame under glass 31

INDI VI DUAL D1 SCUSSI ON

PLATE 1

Unti tled Slide 38

TechnicalData : Created Apri l, 1973, e di ti o n of 12 Graphi c pa pe r on Charles Brand press Grumbacher i nk Plate size : 611 x 1611 Framed size: 1811 x 2l,i11

This plate was my fi rst coll.a.graph and my first experience

wi th modeling paste. To create the various textures , I embedded in the

modeling paste a feather; stri ps of embossed numbered cardboard; wood

chips ; unravelled tar latan ; and pieces of cardboard. The feather and

the cardboard were removed when the paste was practically dry ; in this

way, a very li ne ar impressi on of the image remai ns .

Other textures were achieved by drawi ng a fork through the wet

medium; by pressing the bristle end of a brus h into the pa ste in a

haphazard pat tern; and by applyi ng the bowl of a spoon to the paste and

qui ckly pulli ng it away.

Since thi s was my firs t collagraph, I was faced with the problem

of i nking the plate to the full advantage of the textures. First, I

tri ed to apply the ink with a brayer; the ink adhered to the rai sed

portions of the plate . When pri nted , there was no sugge sti on of the

depth and ri chness of the plate.

Next , I used the intagli o method, with one color ink. A fter

careful wiping, texture became rich and vibrant but the tone was monot-

onous . After applying a base coat of brown , I daubed on blue , green,

and ye llow pigments . By usi ng my finger, I was able to blend subt ly the 32 colors, creating intermediate tones and shadowy effects. Ins tead of a solid, textured area , shapes and forms emerged from the co lored porti ons of the plate .

Another problem that a ros e involved ink retention. Some of the heavi er areas --the wood chi ps , for example--he ld too much ink; the resulting pri nt showed dark pa tches of sticky ink with abs olutely no gradation of color or suggesti on of texture . It was necessary to wipe these are as ve ry carefully ; sometimes I used a Q-Tip R to scrape away ink deposi ts in deeply recessed areas . 33

PIATE 2

Moonscape Slide 39

Techni cal Data : Created August , 1973 , editi on of 19 Graphi c paper on Charles Brand pres s Grumbacher ink Plate size: 4-J/8" x 4-3/411 Framed size : 1411 x 2211

C rumpled brown paper, wood chips, and bur lap are the textural component s for thi s small collagraph. Since these areas hold ink we ll and pri nt darkly , I had to create smoother pri nti ng surfa ces for contrast. Brush-smeared modeling pas te and unworked areas ( a varnish coat retained the pebble grain ) provi ded more subtle textures.

Again color is applied in steps : blue ink as a base, with crims on and yellow worke d in to accentuate certain areas . Green and vi olet tones provide a cool, landscape effect .

The major problem he re concerned the overly-textural area created by the paper and the wood chips. They printed much too s oli dly and monopolized the who le image. Scumbling modeling paste over the rockier porti ons he lped to modify the effect . I also tried to over lap t he textures by blending the medium into adjoini ng materials .

The folded paper texture was soroowhat hard to cont rol. Loose

ends would pull away from the pa ste; the varni sh seemed only to smooth

rather than to adhere . Occasionally ink seeped under a flap and the n

smeared when printing. I tried to apply more varni sh, but under pressure

thi s coating cracked. Finally, I applied a thin coat of paste to the

edges of the pa per and blended the medium into the next texture . I

repeated this process in stubborn areas , and carefully brushed on two coats of varnish . This treatment ke pt the pa per uniform throughout printi ng. 35

PIATE 3

Image Slide 40

Techni cal Data: Created August, 1973, edi tion of 17 Graphic paper on Charles Brand press Grumbacher ink Plate size : 3" x 511 Frame d size: 14" x 2211

This plate required mostly tooling. Pushing the end of a penci l

into the wet paste created dark circles. Large areas we re scraped

clean, printing dark, highly-embossed images and attempti ng a more repre-

sentationa l theme . The pebble grain of the mat board, when varnished,

offered textural contrast.

The smallness of the plate required greater care in its design.

Such a small area would be overpowered by too severe a texture ; yet at

the same time , too subtle a texture would have little impact. Again

using the techniques of textural transition, contrast of grain, and laye r-

ing of inks--blue , green, yellow--I was ab le to take full advantage of the

area of the plate.

Whereas I matted two Moons capes ( Plate 2) together for effect,

I twi n-matted Image to emphasize texture through repetition of light and

dark tones. Repeti tion of shape s and patterns become s more signifi cant

through the double image . 36

PIATE 4

Armadi llo #4 Slide 41

Techni cal Data : Created October , 1974, edition of 12 Artemi s pape r on Sturges press Grumbacher ink Plate size : 12!" x 17-3/411 Framed size : 2 1" x 2811

Wi th this collagraph , I began to experiment with the cut-up

plate . I wanted exact areas of color ; this was not easy due to the

natural tendency of inks to blend when justaposed. Cutting the plate

gave crisp edges and eased inking.

Paste tooling worke d we ll here ; there is very little added

material . I designed specific areas--such as the egg shapes in the

crims on pane l--with a brus h in a thin coat of modeling paste . The

black strip was achieved by stroking thin laye rs of paste wi th a tongue

depressor, allowi ng for random patterns and de pths . The two pane ls on

the right were created by crumpling and then adhering paper stri ps to

the paste. The brown segme nt on the le ft contai ns curving rmsfo :

the se resulted from swirli ng the paste with a tongue depressor in the

same way that one might frost a cake .

Ri chness of texture and boldness of design are accentuated by the

use of earth colors : brown, black, grey, gold , and crimson. These

tones complimented the textural compone nts : the brown and crimson panels

become very sculptural; the black area received depth; the gold segments

energize. Added depth result s from careful appli cation of coats of pig-

ment : the large crimson pane l gains three-dimensiona li ty by daubi ng

black ink over the wiped red base. Whe n blended and wiped, the black

me rges with the crimson in the recessed areas and th ereby creates a

shadowy tone and linear effect. 37

PIATE 5

Slide 42

Technical Data : Created November, 1973, edition of 30 Graphic paper o n Charles Brand press Grumbache r ink Plate size : 6-7/811 Framed size : 11.i" x 1611

Scumb le d and spread textures are combi ned he re with the nat ural patterns of crumple d paper, sandpaper, tarlatan , and string. The cord impression provides impact and the paper texture create s de pth . A rugged, landscape e ffect comes through due to the cool earthy colors employed--violet, green, gold.

The string presented a prob lem here . Conside rably hi gher than the othe r element s of the plate, it caused diffi culty in p ri nt ing. The damp paper would break apart in this area. Ink also tended to fi ll in next to the stri ng , creating dark parallel lines whe n pri nted . It became ne cessary to apply more mode ling paste and retextur e the whole p late to the approximate height of the twine . Pressure of the press was adjusted and printin g resumed.

A round plate s ugges t ed unique printing maneuvers . For one thing, it is more diffi cult to relate color and texture in a ci rcular area:

the elements seem to curl towards each , other much more so than in a rec-

tangular plate . I had to be careful not to interfere with the natural

flow of the surface . Blending of the paste in a direction outwards--

not inwards--worked we ll he re . At first, adding the s tring divided the

plat e too much . Allowing it to fa ll into place naturally offered a

curving, lazy design that complimented the earthy texture of the plate.

Color presented difficult y here . Green was the base coat, wi th 38 violet and gold added after the initial wiping. The gold and green blended we ll, but violet and gree n created a rathe r unpleasant brown.

I solved this problem by daubi ng a bi t more green over the violet areas before printing. Thi s action calmed down the browni sh color and pro vided an overall tone . 39

PLATE 6

Hephaestus ' Armor Slide 43 Technical Data : Created March, 1975, edition of 11 Graphi c paper on Sturges press Shi va ink Plate size: 13" x 14l.11 Framed size: 2211 x 2811

I experimented with new textures here and used a larger plate

size. Strong diagonals are emphasized by more solid areas of color.

I spread the whole plate with paste and worked from there . A large

curving area to the left of the plate received its pattern by drawing

a serrated knife through the medium: horizontally across the whole

porti on and vertically here and there throughout it. A very interesting

striped image resulted.

Sandpaper was used to hold a large amount of ink, thereby produc-

ing large, somewhat flat areas . To create the same solidari ty but with

more depth, I tried sprinkling table salt into the paste. The left side

of the plate and the two diagona l strips in the lower ri ght hand corner

contain this texture : coarse, very grainy and dark, and much roore random

in texture than the sandpaper effect.

As with the wood chips , salt grains retained ink around them.

Being very small, rough, and closely-spaced, they sometimes caused the

brown paper to shred while wi ping. Consequently, it was ne cessary to

leave qui te a bi t of ink around the grains . The accumulated pigment did

not ruin the effect of the texture ; it contrasted with the tiny white

specks where the ink was wiped away from the individual salt grains . 40

PLATE 7 s. O. Teri c Demon Slide 44

Techni cal Data:· Created April, 1973, edition of 16 Artemis paper on Sturges press Grumbache r and Shiva inks Plate size : 9" x 14�" Framed size : 20" x 2611

As in Plate 4, A rmadi llo #!!:_, the �· o. Teric � plate has been cut into piece s to facilitate inking and wi ping . I cut a spherical pi ece out of the largest pri nting plate in order to have color contrast within one area. I sele cted ocean colors : deep blue , turquoi se , dark green, light blue , blue - green , and pas tel green. These cool hue s accentuate the curving, waveli ke forms of the plate .

Textures here were attained with either a brush or a spoon . I had no prearranged plan as to textura l appearance, so the resulting plate contains somewhat of a melange of patt erns . The application of color the refore serves a thre efold purpose : (1) to provide color and acti on to the pri nt ; (2) to separate the textural components; and (3) to maintai n the i ntegrity of the individua l textures.

At fi rst, I wasn ' t sure how to arrange the colors . A lightes t

to darke st progression wa s monotonous . Ha phazard applicati o n gave t ha t

very impression. So I planned tonal patterns according t o the plate

surface itself. Very rich texture s were highlighted by the use of darker

pi gments : contrast and depth are ITPre effe cti ve in thi s way . Smoothe r,

less busy areas carry softer hues to retain a more s ubtle character.

The darker sphere withi n the light blue area serves as a focal poi nt . Its

shape echoes the total plate area and ke eps the print from becoming a

mere groupi ng of colored pat terns . 41

Only one difficulty arose here . A cut-up plate isn't as stable as a soli d one; an oval cut-up plate is even le ss stable . The thinner segments--the blue portion on the left , for example --tended to curl after a few press runs . The plate segment s di d not fit together snugly, thereby leaving white embossed lines between the pi eces after pri nting .

T sanded the pi eces so that they wo uld fit more snugly and would alle viate somewhat the gap between the strips . As for the curling, I added an extra blanket to hold the pi ece down, and adjusted the press pressure .

I realize now that it might be more practical to adhe re the pi eces to a sturdier backing, mas oni te , for example . The increase in plate hei ght , howeve r, would hamper printing : the jerking motion of the roller over the edge of the plate could tear the paper , leave a harsh printed edge , or dis rupt the pi eces to the extent of smearing . A

better solut ion might be to use a thick pi ece of cardboard--more pliable

than masonite--and extra blankets to pad the edges . 42

PLATE 8

Hydra with Quasi -Moss Effect

Techni cal Data: Created March, 1975, edition of 11 Artemis paper on Sturges press Shive inks Plate size : 11-3/411 x 17!" Frame d size: 24" x 29"

This collagraph is possibly the most textural of all my work.

The plate is solidly textured; origina lly, the rectangular, vari-

textured plat e had a mo no tonous effect . T cut the rounded piece out to

offer design interest and to contrast with the heavy texture of the

surroundi ng area. The ring between the plate segments creates a white

embossed area after printing ; a whi te strip between the printed image and

the mat echoes this li ne .

Curve d textures and rounded forms seemed to dominate the surface;

the rectangular shape of the plate clashed greatly. I rounded one corner

to emphasize the oval cut-out . The plate appeared unbalanced. Rounding

all four corners risked exaggeration of for m. I compromi sed by rounding

the other top corner. The two bot tom corners remain squared, gi vi ng

stabi lity to the plate and comparison of shape.

Tarlatan offered a really rich texture, but held too much ink. It

was neces sary to wipe the "hydra" area again and again, till I was sure

only enough ink remained to suggest the net-like texture .

Other texture s included: criss-cross brushwork; li ghtly-sprinkled

salt ; pulling a spoon bowl away from t he medium; and pai nti ng paste on

with a tongue de pre ssor . These various patterns had to be as sociated

somehow; color a gain seemed the best way .

Ori gi nally I proofed the plate with only one color , crims on. The 43 printed image was dull . So I applied violet to create shadowy effects and to emphasi ze certain areas ( the tarlatan "hydra ," for example ).

Yellow was added to soften and to create go lds and browns . The total effect is ric?ness and warmth; the design is strong due to color place ment , the cut-out area, and diagonal structures. 44

PIATE 9

Odd Man Out Slide 46

Techni cal Data : Created April, 1974, edition of 9 Gra i:hi c paper on Charles Brand press Grumbacher ink Plate size: 6-3/811 x 1�11 Framed size: 1611 x 24"

Texture here strongly suggests an aerial landscape . The center area is played down; attention focuses along the edges in a flowi ng motion. A waterfall effect is created by drawing a stiffly-bri stled brush through a heavy coat of modeli ng paste in downward, outward, curving strokes. Angularity occurs through careful foldi ng and adhe ring of a pi ece of paper, providing contrast with the waterfall area that issues from it . Burlap, wood chi ps , and tooling with a tongue depre ssor and spoon are apparent . The pebble grain has been le ft untouched in

certain portions of the plate ; the regular pocked texture contrasts with

the modeled areas.

The ori ginal plate measured 11" x 1811, comprised of unrelated

textures . A proof showed the lower portion to be i nt e re sti ng both in

design and richness; I cut off the workable porti on and proceeded.

Alternations we re necessary: the waterfall area was too flat, so I

reapplie d the paste and brushed it until the flowing pattern was satis-

factory. Overall shape of the crumpled paper worked, but its texture

didn't. I added a few wood chips for variety, and blended modeli ng

paste in and around that area for trans ition . Severa l portions of the

plate needed less business, so I s moothed paste over the surface as flatly

as possible. 45

Color selection, as always , was arbitrary; it i nvolved the three primary hue s of red, ye llow, and blue . Blending these colors yielded vi olet , ye llow-green, and brown . The subtle transition from a primary color to a s�condary one and back again creates exci tement , richness, and movement in the resulting print . 46

PI.ATE 10

Ecila Slide 47

Techni cal Data: Created October, 1974, edition of 13 Graphic paper on Charles Brand press Grumbacher and Shiva inks Plate size : 7�11 Framed Size: 1511 x 1911

Eci la is a two-part plate involving almost total design in

structure . A strong diagonal begins the movement ; this dynami c li ne is

repeated in the many criss-cross brushs trokes towards the rim of the

plate . A tarlatan patch prints soli dly and contrasts wi th the relatively

un-textured area at the bottom of the plate . T.o complete the contrast,

I created the more image-oriented center pane l. This rectangular area

first containe d three flattened Q-tips R • I used several coats or

varnish to control the cottony effect and to regulate the height of the

plate . A proof made it apparent that my idea would no t work: the

Q-Tips R we re much too high to print at the pressure necessary for the

other textures. The paper ri pped and the rectangle shifted its position

on the press bed. This setback was upsetting; I wanted that shape .

As a solution, I cut three oar-shaped pieces of mat board and

imbedded them in the wet paste . After a few seconds I removed them. The

suction of the cardboard pu lli ng away from the medium created a fami liar

veined texture . I had the effect I wanted, but it still didn't look

right . Three vertical clubbed images we re visually boring. So, I used

only two 11 oars" and repeated the impression process. This time , I added

deep circles by pushing a pencil eraser into the paste. A proof sig-

nalled success. 47

Tri al printing of the two segments pr oved di s appointing .

Nothing tied together. After much deliberation, I decided the plate needed some thing cohesive . I ntere s t entered from the upper left and turned to the central image; there was really no feedback. So I

created a cyclical image by forming a curved shape . It started at the

juncture of the diagonal and the central piece, swung out to the edge

of the plate, and wound along the rim back up to the diagonal. With the

desi gn elements working, the only problem was color.

Orange as a base and violet as a shadow created warm browns ;

the three colors subtly brought out the depth of the textures. To

contrast in a low-key manner, the interior plate was inked in a reverse

process: violet first, with orange daubed on with my finge r . The

resulting print emphasized activity and direction ; color kept the two

plates from separating into two prints. 48

PIATE 11

Gronimus Aronima Slide 4 8

Technical Data : Created November, 1974, edition of 11 Graphi c paper on Sturges press Shiva ink Plate size : 7-3/411 x 12t" Framed size : 24" x 26"

I believe that this is my mos t challenging collagraph . I made

a rectangular plate and applied random textures. A proof indi cated

severe overworking . There was just too much material in too small an

area . Rounding the corners he lped to a small degree . The maj or surface

problems were (1) tarlatan impression too deep; (2) no conti nui ty;

{J) greyed areas ; (4) no light spaces; and ( 5 ) haphazard design. The

tarlatan area was fai rly easy to fix. I had imbedded the net permanent ly

in the paste . By using varnish and a mat knife , I was able to pull away

the ne tti ng . Next , I applied a thick laye r of paste and pressed a fresh

pi ece of tar latan into it. After a mi nute or so, I took the pi ece away .

lack of continui ty involved random design. I had carved out

sphe rical shapes, but had made too many of them. Surrounding textures

nei ther accentuated nor inhi bited them; they merely exi sted. I had

created so many textures--scumb ling, brush-stroking, folded paper, scrap-

ing, spooni ng--t hat the total effect was confusing. Moreover, there

was no focal point ; the eye wandered aimlessly over the surface , scanni ng

various images without cohesion.

To make the plate wo rk, I had to clear up several areas , smooth

over textural mistakes , and pr ovide visual continui ty. First, I fi lled

up a few of the orbs with paste and blended the adjoining textures over

them. I had to apply varnish coats c-.. arefully here : I dis covered that 49 grey areas arose because there was not enough varnish, yet too much varnish made the plate slick. Pigment tended to slide off . A uniform coat of varni sh created an even tone .

White areas ne eded to be cleared. Instead of applying a new coat of paste, I used the gri nding machine to remove the unwanted medium.

It fell away qui ckly , leaving the original mat board to work again. I had to repeat this process several times before establishing a suitable design. The central upper level, for example , would not gel. After much scraping and rebui lding, I decided to continue the veined pat tern from the bottom. It extended across the center of the plate and flowed over the side. This linear approach secti oned the plate enough to define strategic light areas ; a faint , criss-cross pattern fi lls these spaces.

After allevi ating mi nor difficulties--adheri. ng escaping paper

edges , sanding rough corners--the plate was ready to print. A proof in

brown lacked dimension. Black offered the ne cessary depth, but had a

cold effect . The final print incorporated the rich textural definition

of black with the warmer, softer brown tones. so

PLATE 12

Silent Muse Slide 49

Technical Data: Created December, 1974, edition of 22 Johannot paper on Sturges press Shiva ink Plate si ze : 5!11 x 811 Frame d size : 1211 x 18 11

Thi s collagraph takes comple te advantage of natural textures.

Crumpled tin foil and an alphabetic ally embossed cardboard wedge combine with knife-smeared paste, spoon-veining, and scraped recessions .

Two ci rcular forms were created by swirling a brush through the medium .

Severa l portions of the plate received no texture at all ; varnish retained the faint grai n of the cardboard backing. The di agonal brai d in the upper le ft hand corner arrived purely by accident : the plate bent. Before proofing, I was sure I had rui ne d the plate ; a print assured me the li ne gave direction to the printed image and echoed the angle of a stippled stri p at the bottom of the plate .

In trying to grind away a b lob of modeling paste , I also removed

a portion of the embos sed wedge . I had to smooth the area with paste and develop a texture as a transition between the we dge and the adjoining

area. I als o found it necessary to apply an extra coat of varnish to the

tin foi l to tone down the image .

Basically the plate offered two sorts of textures : strongly-

contrasted areas in the ti n foi l, cardboard, and circle shapes; and

subtle areas whe re the mat board shows through. To emphasize this tex-

tural variation, I employed th ree colors . A delicate cri mson tinted the

plate. Blue provided interest and tona l vari ety. A rich warm brown

highli ghted the deeper textures and unified the pri nt . Sl

PLATE 13

Proud Element Slide SO

Technical Data: Created Apri l, 1975, edi t i on of 8 Artemis paper on S tur ges press Shiva ink Plate size: 11-3/411 x 17l" Frame d size: 2411 x )611

This plate also attempted overall texture . Its first mo de li ng

inc lude d s a lt , crumpled paper , mas king tape , and the pebble grain. As

in Gronimus A ronima ( Plate 11 ) , the textures competed with one another

instead of offering a cohesive , vi sually exciting image . Agai n I had to

do qui te a bit of clean-up wo rk .

Since most of the plate pri nted darkly, the main problem involved

the incorporation of li ght areas . I sanded down the crumpled paper so

it did not hold as much ink. Now the focal point attracted, but di d

not overpower.

Verti cal elements domineered; everyt hing ran off the paper. To

retain the image of the printing surface and to accentuate the crumpled

paper, I had to soften the vertical. I achieved this by gri ndi ng out

some of the overly-grainy s alted areas ; by adding a di agona l strip of

mas kin g tape to the upper right hand corner; and by spreadi ng a fairly

thick layer of paste in a curve around .the paper area. The spread-paste

pattern framed the focal poi nt in a gently swe lli ng outward flow . A

ribbed, vertical segment leads the eye to the focal poi nt and branche s

into the two framing panels . Lightly-textured areas activate the print

and serve as a transition between t extural elements.

A continual problem here was the dept h of the plate . Deep

recessions he ld ink that was difficult t o remove . It was neces sary to 52

wipe the surface over and over again, still le aving enough ink to pro

duce a bold image . After several proofs , I determined the correct wipi ng

pro cedure. A proof in brown di d nothing for the integrity of the plate .

I needed rich. colors that could carry the wei ght of the texture s without

di s turbing the overall tonality. Blue and crimson we re daubed on to

create hi ghli ght s and shadows .

An innovation here is the use of wood stai n as a protective coat

ing instead of the usual varni sh. I di scovered that the stain required

only one coat ; that i t dri ed more qui ckly ; and that it le ft the plate

surface smoother and mo re pliable. Ink application sped up due to the

slicker edge ; wiping ( even in deep recesses ) was also simplified. An

added advantage is the ke en vi sibi li ty of the p late : the brown pi gment

makes every curve and pore mo re apparent . The plate itself become s

more attractive . 53

PIATE J.4

Circle Jive Slide 51

Techni cal Data : Created April, 1975, edition of 10 Artemis paper on Sturges press Shiva ink Plate size : 12-3/411 Framed si ze : 24" x 30"

Textural components were confounded here by the natural ribbed corrugation of the cardboard plate . The striped effect was so domineer- ing that I had to create a really thick �ste layer. I us ed salt freely

to glve de eply-toned solid areas . A curving dia gonal offered impetus

and motivated the printed image. Li ghtly-textured patches of paste

covered the ri bbed design and broke up a total textural effect .

Problems were mi nimal. I added a curved segme nt along the upper

rim to di rect interest inward and to emphasize the design of the plate .

I sanded away a bi t of salt graining, carefully revarnishing these areas

with wood stain. A gain, pri nting was facili tated by the smoother surface .

I sele cted blue to enhance t he relative quietness of texture .

Whi te accentuated the curving diagonal, whi le yellow and green sparked

indi vidual areas . Color tonalit.y is soft and waterlike; the ribbed li ne

creates a transparent effect not unli ke the surface of the ocean. Fluid

curves and the rolling motion are emphasized by the blue color scheme . 54

PERSONA L CONCLUSI ONS

Collagraphy is an exciting and enj oyable medium: the artist is in contro� of the plate at all times . Specific methods and tradi tional techniques aren't necessary. A large part of my success with collagraphy is the innovative process . If a certain texture is desired,

I experime nt unti l I fi nd an expressive techni que . A world of texture is availab le through creation, chance, and imitation . Practi cally any object can be us ed to formulate a plate.

Texture prints further fascinate me because of the surpri se element involved. Sometimes I didn 't know exactly what it would look like, but the results were intri guing. Added attractions are the ease

in preparation, inexpensiveness of production, and variety in image .

And these prints demand color. I enjoy applyi ng different co lors in hopes of creating new tones and shapes .

Wo rking with collagraphs has made me acutely aware of the world of texture around ne. Nature , of course, makes the best plates and

offers the best colors ; but it is up to the artist to combine the two

sources into a viable image . The collagraph plate is in and of itself

as nuch a work of art as the resulting print . The sculptural qualities

are more greatly emphasized when the plate has been coated with wood

stain; light and dark areas , de si gn e lements , and three-dimensionality

are apparent before the plate is even inked. In my opinion, the most

successful print would be a worthy impression of a beautiful plate . In

the future , I hope to work to that end. PART III : TECHNI CA L DATA

BIBLIOGRAPHY

Adler, Samuel. Rece nt Col lages . Atlanta: Foot and Davis, 1968 .

Andrews , Mi chael F . Creative Printmaking. New York: Prentice-Hall, Inc., 1964.

Arms , John Taylor . Handbook of Printmaking and Printmakers . New York : MacMi llan Co., 1934.

Banis ter , Ma nly. Prints for Linoblocks and Woodcuts. New York: Sterli ng Publishing Co. , 19b7:

Brommer , Gerald . Relief Printmaking. Wor cester , Massachusetts : Davies Publi she rs , nc , 1970. I .

Cata ldo , John ·ii . Graphic Design and Visual Communi cation. S c rant on, Pennsylvania : Internationa l Textbook Co., 1966 .

Cochrane, Diane . "Mi chael Ponce de Leon: Metal Intaglio Collage . " American Arti st, October 1974, Vol. 38, I s. 387, pp . 38-43 , 77, 82-83.

Daniels , Harvey. Printmaking. New York: Vi king Press, 1971.

E ricks on , Janet D., and Sprove , Adelaide . Printmaking Wi thout a Press. New York: Reinhold Publishing Co., 1966.

Finch, Christ ophe r. "Breaking Thro ugh the Print Barrier." Art News , Janua ry 1972, Vol . 10, No. 9, pp. 34-39, 65-66.

F lagg , Andrew S. "Vaseline Pri nts . 11 Schoo l Arts, Oct ober 194 7 , Vol. 27 , No. 2, p . 31.

dman , Judi "Exploring e ties of the Print Med:._ Go l th. th Passi bi li um. " Art News , Se pt ember 1973, Vol. 72, No. 7, pp . 35-36.

Goldman, Judith. "Print Criteria." Art �' January 1972 , Vol. 70, No . 9, pp. 48-51, 65.

Gree n, Peter. New Creative Printmaking. New York: Watson-Gupti l Publishe rs , 1964.

55 56

Hammer, Sid . "A New I nta gli o Technique." Ame ri c an Artist, February 1963, Vol. 27, No . 2, pp. 34-39, 73.

Hayter, Stanley w. Abou t Prints . New York: Oxford Press, 1962 .

Hayter, S ta nley w. New Ways of Gravure . London : Ro ut le dge and Ke gan Paul Ltd. , 1949. --

He ller , Jules. Printma king Today. New York: Ho lt, Ri nehart , and Wi ns ton , 1972 .

Hi rschl, Mi lton. "Colla graphs Wi t hout a Pres s." School Arts , February 1969, Vol. 68, No. 6, pp . 14-17 .

Hirschl, Mi lton . "Expe rimental Relief Prints." School Arts , March 1956, Vol. 55, No . 7, pp. 18-22 .

Hutt on , Helen. The Te chnique of Collage . New York : Watson-Gupt i l Publishers;-1968.

Ivins , William M. , Jr. Prints and Visual Communication. New Yor k: Da Capo Press, 1969 .

Janis , Harriet and Blesch, Rudi . "Call it Colla ge . " Design, January/ February 1962, Vol. 63 , No . 3, pp. 116-121, 127.

Janis, Harri et and B le s ch , Rudi . Co llage : Pe rsona litie s , C once pts, T echni que s . New York : Chi lton Co. , 1962 .

Ke lder, Diane . "The Graphic Revival." Art .!,!! Ame rica , July 1973, pp. 110-113.

Kent , Norman . "The Amazi ng Versatility of the Relief Print." American Arti st , November 1953, Vol. 17 , No. 9, pp. 2 8-33 , 62-63 .

Kettne r , Irene . "Printing with Tiles." Ceramics Mo nthly, Vol. 19, No. 10, pp. JO-Jl.

van Krui ni ngen, H. The T e chnique s of Graphi. c Art . New York: Frederick

A. Praeger, Pub lishe rs , 1966:- ·

Lanke s, J. J., et . al. Making Prints. Pittsburgh: Scholastic Corp. , 1936 .

11 Landi s, Alan L. "Experiment s in Embedded C ollages . School Arts , October 1961, Vol. 61, No . 2, pp. 29-30.

Lehman, John . "Making Handmade Printin g Plates." Ameri can Artist, December 1957, Vol. 21, No . 10, pp . 23-27, 65 .

Lidstone , John. "Cardbo ard Printing." School Arts , October 196), Vol. 63, No. 2, PP • 16-18 . 57

Locke , Octavia c. " C o llagra ;:hy and Kasten." S c hool Arts, .June 1972, Vol. 71, No. 10, PP• 30-J2 .

Lynch, John . How to Make Collages . New York: Vi king P re s s , Inc., 1961.

McDona ld , Robert . "The World of Prints." Ameri can Arti st , December 1959, Vol. 23, No. 10.

Meilach, Dona z. Co llage and Assemblage : Trends and Techni ques . New York: Crown Publi shers , 1973 .

Meilach , Dona z. Creating Art from Anything. Chicago: Reilly and Le e, 1968.

Me ilach, Dona Ten Hoor , Elvie. Collage and Fo d Art. New z., and --un - - York: Reinho ld Publishing Co . , 1964.

Mannan , Jean Mary. Art : Of Wonder and A Wor ld . New York: Art Educa tion, Inc., 19b7.

01Conner, John. Introducing Relief Printma ki ng. New York: Wats on Gu ptil Publishers , 1973.

O'Donne ll, w. J. "A New Wrinkle in Printmaking." Ame r i can Artist, November 1971, Vol. 35, I s. 352 , pp. 52 -53, 87-88.

Palmatier, Earl. "Let's Be Creative : Making a Cardboard Print ." Today 's Education, November 1971, Vol. 60, No. 8, p. 66.

Pellegrini , ldo . New Tendencies in Art. New York: Crown Pub lis he rs , A - -- - Inc., 1969.

Peterdi , Gabor. Printmaking. New York: MacMi llan Co., 1971.

"Pri ntmaker 's Deli ght ." Design, Summer 1964, Vol. 65, No. 5, pp. 196-199.

Reese, Albert . Ameri can Pri ze Prints of the Twentieth Century . New York: American Artists Group , Tnc:-;-194 9.

Rodger , Wi lliam. Hobbies. June 197h, Vo l. 79, No . 4.

Romano , Clare and Ross, John. "The Collagraph Print." Ame rj can Arti st , November 1972, Vol. J6, I s. 364 , pp. 57-63, 83-84.

Romano, Clare , and Ros s, John . The Comple te New Techni ques in Print making. New York : The Free Pre ss , 1972.

Romano, Clare and Ross, John . The Complete Relief Print . New York: The Free Press , 1972.

Rosenberg, Harold. The De -Defi nit ion of Art . New York: Horizon Press , 1972. 58

Rothenste in, Mi chael. Frontiers of Pri ntma king. Ne w Yor k: Reinhold Publishing Corp., 1966.

Ro the nstei n, Mi chael. Relief Printi ng . New York : Watson-Guptil Publishe rs , 1970.

Sachs , Paul J. Modern Pri nts and Drawings . New York: A lfred A. Knopf ; 1954.

Schultz, Larry T . Studio A rt : A Re s ource for Artist-Teachers . New York: Van N ostrand Reinhold co:-;-1973. / J; Siblik, Jiri . Twent ieth Century Prints. New York: Hamlyn Publishi ng Co., Ltd. , 1970.

Sotriffer , Kristian. Printmaking : Hi story and Techni que . London : Thame s and Hudson, Lt d. , 1968 .

Spe ncer, Charles . ! Decade of Pri ntmaking . New York: St. Martin' s Press, 1973.

Time , May 21, 1956, Vol . 67 , No. 21, p . 92 .

Trai�er, Lynn . " Pri ntmaker s at Work." Design, March/April 1962, Vol. 63, No. 4, pp. 166-170, 172.

'1Jeber, Joel R. "Poor Man 's Art Comes into its Own." House Beaut iful, Vol. 115, No. 1, pp . 28-29, 93 . SELECTED BIBLIOGRAPHY

Brommer, Gerald. Relief Printmaking. Worcester, Massachusetts : Davies Pub lishers, Inc., 1970.

Cochrane , Di ane . "Michael Ponce de Leon: Metal Intagli o Collage ." American Artist, October 1974, pp. 38-43 , 77 , 82-83 .

Dani els , Harvey. Printmaking. New York: Viki ng Press, 1971.

Heller, Jules. Printmaking Today. New York: Holt, Ri ne hart , and Wi nston, 1958 .

Lo cke , Octavia c. "Collagraphy and Kasten." School Arts, June 1972, pp . 30-32.

Meilach, Dona z. Collage and Assemblage : Trends and Technique . New York: Crown Publishers, 1973.

Meilach, Dona z. Creating Art from Anythi ng . Chicago : Reilly and Lee, 1968.

Mei lach, Dona z., and Ten Hoor, Elvi e. Collage and Found Art. New York: Reinhold Pu blishing Co., 1964 .

Peterdi , Gabor. Printmaking . New York: MacMillan Co., 1971.

Romano , Clare , and Ross, John. The Complete New Techniques in � maki ng . New York: The Free Press, 1972 .

Romano, Clare, and Ross , John. The Complete Relief Print . New York: The Free Press, 1972.

Rothenstein, Mi chael. Frontiers of Printmaking. New York: Reinhold Publishing Co., 1966.

Rothenstein, Mi chael. Reli ef Printmaking. New York: Watson-Guptil Publishers, 1970.

59 SIJDE IJST

l. Collage : Argimon, 1962; paper, glue , marble dust.

2. Arch: Karl Ka sten, 197 2 ; collagraph made of phono disc, plastic plate , fabri c, cardboard on plywood support ; 13� x 16.

3 . Arranging materials on a cardboard backing.

h. Wave : Kri shna Reddy; Intaglio and relief print .

5. Red and Blue Eclipse : 1967 ; made up of colored intaglio plates.

6. Sand glue d to a plate yi elds a sparkli ng water texture .

7 . T nki ng up the plate with a cloth.

8. Gesso design on heavy cardboard; 14 x 18.

9. The Bull: Mi chael Rothenstein ( detai l ) , 1955; li no leum engraving and bui lt -up relief; 16 x 34.

10. Da rk Wi ngs : Sylvia Wald , 1954; Seri gra ph with mo noprint texture .

11. P.V.A. resin on hardboard drawn through wi th a comb .

12. On the Grass : Clare Romano; one cardboard plate cut into six parts and inke d in combination intaglio-relief; lot x 3(}� .

13. Quadros XII : John Ross, 1969; 2 plates; 20 x 20.

14. 1 Chi ckens : Glen Alps , 1958; 22� x 33�.

15. Verti cal Forces : John Ross , 196 7; 2 li x 14.

16. Gluing obj ects to a base board.

17. Acryli c polyme r sponged on top of a lightly aquatinted tone.

18. Raised areas rolle d with a brayer and inked wi th ink of le ss vi scosity than the base color ink.

19. Paper wiping for areas requiri ng thorough clean-up.

20. Stiff brush he lps to spread ink into deep recesses of plate .

60 61

21. Plat e ink apolied with s ma ll squares of cut mat board.

22. Aqua ti nt ( le ft ) ; soft ground (right ).

23. B lue Candescence: Joyce Heinberger; s eri graph ; 17� x 29t.

24. Li ghtly spoon marb le dus t on polymer emulsion or ge l (or us e sand, wood, or me tal fi llings , too ) .

25. Untitled: Martin Metal ( detai l), 1971; architectural wa ll.

26. Edge of White Desert : A lexande r Nepote; paper collage .

27. Treated zinc plate aft er we ldi ng.

28. Ccllagraph plate and resulting pri nt .

29. Toy: Rolf Ne s ch , 1965; me tal collage print ; 22 x 16�.

JO. Sepia: Karl Kas t e n , 1972; 11� x 17 .

31. Z a greb Ni ght : Clar e Romano, 1966 ; color intagli o colla graph and etching; 22 x 26�.

32. View I: 1968; 23 17. --Cap·-e --- Clare Romano , x

33. Sisak : John R os s , 1966 ; 18 x JO.

34. New Jersey Landscape l= C lare Romano , 1968; 23� x 24.

JS. Boulevard: John Ross , 1964 ; 16% x 26.

36. Screen placed into pa s te ; comb gives striated texture .

37. Basic collage adhe sives, paints, and tools inc lude : the range of acryli c pr oducts ; paints ; backi ng boards ; fi nishes, brushe s; cutting tools ; tacks ; and sponges.

38. Untitled: Mencarini, 1973; 611 x 1611 •

39. Moons cape: Mencarini , 1973; 4-3/811 x 4-3/411 •

hO. Image : Mencarini , 1973; 3" x 5""

41. Armadi llo #4 : Mencarini , 1974 : 12�" x 17-3/4" .

42. !_ Fee l Li ke the Only One Trying: Menc ari ni , 1974; 6-7/811 •

43. Hephaestus ' Armor: Mencarini , 1974; 1311 x 11t" .

44 . S. o. Teric Demon : Mencarini, 1974; 9" x 14�" . 62 h5. '...!yd ra wi th Quasi-Mos s Effect : Mencari ni , 1975; 11-3/411 x 17�'' •

46. Odd Man Out : Mencarini , 1974; 6-J/811 x l�" .

4 7. Eci la : Me ncari ni , 197�; 7!" .

48. Gronimus Aroni ma : Mencarini , 1974 ; 7-3/'4" x 12i". • 4 9. S:ile nt Muse: Mencari ni , 1974; 5�" x 811

So. Proud Element : Mencarini, 1975; 11-3/411 x 17�" .

51. Circle Jive: Menca.ri ni , 1975; 12-J/4".