Top list of supplies for Collagraphs

By Les Warren. Duct tape and drypoint marks on polystyrene. Akua ink.

I had a lot of fun this weekend at Flatbed leading their collagraph workshop. I have a bunch of pics to share, but next time. I'm beat and am just pumping out this post while I can still hold my head upright. 

1. Collage materials. See this post for ideas.
2. Adhesive. I like Liquitex Gloss Medium and Varnish. 
3. Gesso. Any kind. I'm using Jerry's Artist Gesso now. Here's a post featuring Jill Alo and her gesso technique. 
4. Modeling paste. I like Lascaux Modeling Paste A. Here's a post about how I've used in in a collage, which is basically how I'd use it for collagraphs.
5. Gritty gel (Golden makes a thick gel with pumice already mixed in), or make your own with adhesive and carborundum grit. Here's another Jill Alo post. 
6. Tape. I like carpet tape (oh my this stuff is sticky and it will hold whatever you put on it), packing tape, masking tape, duct tape, etc. If it's tape, I like it. 
7. Matrices of either Cel-Tec/Sintra, mat board, or polystyrene. 
8. Ink. I like Akua intaglio.
9. Mark making tools, which are basically the same as my drypoint tools. 
10. Press. Yep, you need one of these too. 

Collagraph Materials--what to seek out

I'm teaching a printmaking workshop at Flatbed Press this coming weekend. It's on collagraphs and I'm just giddy thinking about it! I have a long list of other things to do, but instead I'm day dreaming about this workshop. I teach kids this technique all the time, but the thought of adults... that actually interact... that want to learn and ask questions... Exciting!!

I just shot off an email to my students about gathering collage materials and I wanted to tell you folks, just in case you need any ideas.

I've used all kinds of things to make my plates, from tulle from the fabric store to bristles from a broom.

Here's a snap of my first collagraph plates. It's a Texas Shiner fish and the scales were made out of little round stickers that I layered on top of one another and then covered with a layer of glue before printing. The brown is inked intaglio and the blue is a relief roll. 

This fish was created using 3D paint from a craft store (dots), some wadded up tissue paper (background texture), tulle for the lips, and some acrylic paint (giving the eye some variation in tone.

Here's my last example. First I taped off the background to keep it clean, then applied a thick layer of modeling paste to the soon-to-be shirt. While the paste was just beginning to firm up, I used a pencil to make the swirls, hoping to mimic a knit shirt.

I teach a high school class and the kids love the look of scotch tape. Masking tape leaves a different mark but also quite interesting. There are so many possibilities with collagraphs...

Heavy Gel Results

After 3 layers of heavy gel, I have a background. I have a detail shot and you can see that that gel has made the collage a lot softer. This piece is evolving as I go along and it's been fun since I don't typically work this way.

Now, on with the foreground. I'm thinking of drawing a tree based on graph theory (wiki link here). I have a hazy image in my noggin' and hopefully I can turn it into something. (The curator of this invitational tree-themed show wanted an image by the end of May, so I'm a little behind schedule.)

Summer camp(s)
I've had lots of stuff happen in the last 7 days--all of it good. I'll be teaching a workshop at Griffin School this summer and I'm so excited! I get 2 groups of rotating campers and I'll get to spend 1.5 hours with them 3 days in a row! During the school year I teach a printmaking workshop one day a week and there is so much re-teaching that happens when there's a week gap in between lessons, so this is going to be wonderful. We're going to be focusing on collagraphs since they are my favorite printmaking technique, and since I'm creating the lesson plan, I have the power to make that happen. :) I do have a picture from Griffin's art show, which showcased work from the spring printmaking workshop I led there, and here it is:

I'm also co-teaching 2 workshops in Georgetown this summer through Georgetown Art Works. A gelatin printmaking workshop and a relief workshop (linoleum). Contact me if you'd like more info.

Another good thing
One of my prints has been chosen for a city-wide ad campaign. What's really funny about this is it all happened very organically. At the beginning of the year, my friend's mom came over to pick her child up from a playdate and I had all my framed work propped up against my wall after a show--just dreading making it all fit back into my home studio.

Due to my laziness, she saw the work and like it, which eventually formed into this opportunity. I swear, I didn't know she was in PR when I left all my work out, but how wonderful that it all came together. I'll let you know more about the campaign when it comes together, but if you're curious, this was the artwork chosen.

Lasering going well
I'm still into the lasering thing. It ends this week and then I'll be picking up printmaking where I left it. I have several things in the queue, and this one I'm excited to proof.

Recent Linoleum Workshop

Carolyn Kimball and I recently taught a linoleum relief workshop and here are some pics. It was great fun. We learned that the Wood and Lino Cutting Tool Set of 6, product 53330 from Jerrysartarama.com are terrible--not pictured. We're on the hunt for better but affordable tools for our workshop in the summer.What's pictured are the best tools I've ever used. They're from McClains. If you'd like to inquire about upcoming workshops, just shoot me an email.

They Call Me Mello Jello

Last week was nuts and I'm looking forward to several days of recovery. Tuesday morning kicked off my marathon, filling my kitchen with the distinct smell of liquid gelatin. I had my first workshop of the week that night, and I needed to make enough for eight.

My fridge.

After the workshop, the jello was dirty and cracked and since I led another gelatin printmaking gig Thursday night (and another yesterday--Ack!), I spent time in between workshops reconstituting the gelatin in the microwave and re-pouring the molds. I have a stash of gelatin-only pans and when I reconstitute the jello, I use a glass container so it doesn't absorb any chemicals from the ink.

If you're new to this blog and haven't heard me rave on about gelatin printmaking before and want to learn more about it, check out Linda Germain's videos and blog. Linda is visiting Austin in April to lead a workshop. I'm signed up and I can't wait! I'm sure she has tons of new tricks to teach me. Besides, I learned everything I know about gelatin printmaking from her youtube videos and I look forward to learning from her in 3D.

Monotype--so easy, so satisfying!

I'm teaching a workshop at Griffin School on Wednesdays this quarter, and this past Wednesday I covered reductive monotypes. I did a quick demo, of course, and here it is.

First things first: Have a beveled piece of plexi. I've marked the back of the plexi with Sharpie so I know where to wipe.

Clay dudes by artist Melanie Micale

I sketched something out based on one of these fun heads I bought in Brevard over the summer, by artist Melanie Micale, just so I wouldn't be at the front of the class with an empty noggin'.

Thief I, 10.5 x 16", monotype

I've created fun backgrounds spontaneously in the past, so there really isn't a reason to mark the back with Sharpie--you can just go for it. Here's and example of spontaneous.

Back to the head.
First I inked the entire plate in yellow, then took Q-tips and a paper towel to wipe away parts of the ink, then I ran it through the press. I used Akua intaglio inks on dry Arches 88. Then I wiped the plate clean, and reinked the plexi with a layer of red, wiped, attempted to register the plate and paper correctly, ran through the press... I finished up with a layer of blue and black using the same process.

Printmaking via Pasta Press

No kidding! Learn how at this WPA sponsored workshop led by Deborah McLouth, a phenomenal educator. This is a great workshop for kids and adults alike. Click this link to find out more. Feb 3, 1-5 PM, $25 workshop fee, $15 materials fee.

There are a couple more exciting workshops coming up through WPA. I've already mentioned the gelatin one taught by youtube phenom Linda Germain, but there's another one that looks really, really cool by Suzanne Manns. Check them out via the links. 

Mar 2013	Dry Pigment Transfer Technique: Monoprints Incorporating Drawing Media  Event Date(s): 3/9/2013 - 3/9/2013
Apr 2013	Gelatin Printmaking with Linda Germain   WPA Studi Event Date(s): 4/5/2013 - 4/7/2013

It's true--Linda Germain is coming to Austin

Here's the link to the workshop. I'm so, so excited about this. This was the first video of Linda's that I watched on youtube, and I've been following her ever since. Hope you can join in on the fun. The workshop is April 5-7, 2013.



Ah, Vanity
I'm off to my college reunion this weekend so I'll be away from blogging for a few days. It's supposed to get chilly in western NC so I had to pull out my jeans and down vest--an exciting prospect for Texans. I tried on a bunch of clothes before packing--which it totally not me--but since I'm trying to disguise the weight I've gained since graduation it seemed prudent. I've come to the conclusion that it's not the jeans that make my butt look bigger, I just have a big butt.

Eye of the Dog Art Center

© 2010 Cathy Savage, Electric Charges

I spent a good part of the day thinking about past assemblage workshops taken with artist Beverly Mangham at her amazing Eye of the Dog Art Center--a beautiful retreat that she shares with her husband Billy Ray. Most recently, as in 2 years ago, I made this Tesla related piece in Beverly's upcycle workshop. I arrived at the workshop with a laser copy of Tesla's face--knowing an image transfer was on my personal agenda--and a few other things including a white bird. Everything else you see in this piece came out of Beverly's stash including the piano key on the far right.










Here's an up close of the vacuum tube--see the little masked head? My daughter gave me some cool little heads yesterday that she made at camp and this all came back to me and I'm itching to get going on another project.

Here are the faces made out of Fimo clay and a mould--now you know why I'm dying to put them in something. I also have a nice stash of treasures I've been collecting so I'm basically ready. Even though I could certainly set aside time to work on my assemblages at home, there is something about Beverly's workshops that makes them magical. First of all, location, location, location. On top of that, Beverly encourages participants to raid her stash, she knows a ton about the appropriate adhesives to use, there are all kinds of tools at one's disposal, and Billy Ray makes wonderful lunches. Plus the other students I've worked alongside in the past have all been fabulous and very encouraging.

© 2003? Cathy Savage

I made this treasure at my first workshop, years and years ago. I was a new mother and feeling the pinch of the baby and needing art time for myself.

That settles it. I'm going to the next one. When I find out the date for the next upcycle workshop, I will let you know! In the meantime, check out the Eye of the Dog Art Center.

Laser Cutting Workshop for Printmaking, Day 1

Last night we met up at MAKEatx for Day 1 of the joint workshop with WPA. We laser cut chip board, mat board, and some Baltic birch. Here are the results:

© 2012 Susan Randle. Laser cut Baltic Birch matrix. Susan plans to try printing relief and intaglio. She has coated the wood with some shellac to help with ink absorption. We'll see her results on Friday!

© 2012 Debbie Buie. Relief print of laser cut chip board, which was coated with 2 coats of a acrylic gloss medium and water mixture to seal the plate. This print turned out better than I expected from looking at the digital image--rule of thumb to remember, try things even if skeptical and you may be surprised! It was laser cut for intaglio so you see the negative in the relief print. Debbie did try printing intaglio with mixed results. We're trying to figure out if it's the paper (not wet enough) or the wiping. We'll reprint intaglio method on Friday.

© 2012 Deborah McLouth. This intaglio print was created using a laser cut piece of mat board that was coated with acrylic medium/water mixture. Deborah wiped it with a block (using paper towel and phone book) and she plans to proof it again on Friday to see if she can take out a little more ink. She may go back in and raise areas with acrylic medium so they wipe cleaner, giving the fish more contrast in areas.

Plus just for you for reading this far, here's a great recipe. I made it this morning for Gullett's Teacher Appreciation Luncheon and whenever I serve it, the recipe is requested. It makes a ton and it's perfect for summer. No mayo so great for picnics and it tastes even better after sitting for 2 hours.

Wild Rice (Wheat Berry) Salad with Dried Apricots and Cherries (Cranberries)

yield: 12 to 16 servings

This salad was amended to make it more affordable since organic wild rice and organic cherries are super expensive. This way you can still go organic while staying on budget. (The wild rice version is delicious too!)

Dressing

2 large shallots, minced

6 Tbs balsamic vinegar

1 T Dijon mustard

2 garlic cloves, minced

1 cup olive oil

Combine above and slowly whisk in olive oil (I just put all ingredients in food processor and slowly add olive oil. The shallots are pureed beyond all recognition, but it still tastes great.)

Salad

2 cups uncooked rice (wheat berries)

6 cups water (7 cups if making wheat berries)

1 tsp salt

¾ cup chopped dried apricots

¾ cup dried tart cherries (cranberries)

6 green onions, chopped

¼ cup finely chopped Italian parsley

2 cups pecan pieces, toasted

Rinse rice (wheat berries) well and drain. Combine in large saucepan the rice, water, and salt. Bring to a boil. Stir, cover and simmer over low heat until the water is absorbed and the rice is fluffy and tender, about 55 to 60 minutes (for wheat berries, drain after cooking). Place cooled grain, chopped green onions, parsley, apricots and cherries (cranberries) in large bowl. Mix in dressing. Just prior to serving, add pecans.

Laser cutting and printmaking workshop next week

We're creating matrices during a laser-printmaking combo workshop with MAKEatx and Women Printmakers of Austin next week. We're trying out chip board (intaglio) and wood (relief). I think we need to try Stratographs too! Think how quickly the laser can cut through poster board vs an X-acto! (There's still room if you want to join us.)

Printmaking Lesson Plans

Relief print--background made with skinny roulette

I've had a great time at Griffin School, where I'm teaching an 8-session printmaking course. Last week covered intaglio and it was great to hear the oohs and ahhs as the kids pulled their pieces off the press. If you're about to teach a printmaking workshop, I'm happy to share my lesson plans--just get back to me with any improvements. They're skeletons, but you'd at least get the intentions and supply list off of them which may be of help if you're creating yours from scratch. This is what we've covered so far: monotype on gelatin plates, monotype on plexi plates, relief, and intaglio. Next up we're going on a field trip to laser cut a collaborative piece in wood at MAKEatx, then after that, we'll tackle collagraphs. At the end of the 8 weeks we'll have covered a little of everything. The one area that needs tweaking? Kids come into class without any ideas on what to create, therefore spending valuable press time running to the library for images. I'm not sure how to solve this. I may start clipping images out of magazines to provide a stack of inspiration.

A little nugget of fun arrived in the mail today!

This came. It's Linda Germain's book Lost and Found. It's an exhibit catalog that she published to accompany her solo exhibit of the same title. For those of you that don't recognize Linda's name, you may know her by her gelatin printmaking videos on youtube, which are AWESOME! (Links are on her blog.) Everything I know about gelatin printmaking I've learned from her videos. Sure, I've logged hours of work on gelatin, but basically I'm doing just what she's captured in her videos. You must try this method! It's super fun and it's easy.

The good news is, if you want to do this and don't want to go through the trouble of making the jello and ordering the supplies, etc, I've started doing happy hour parties!! If you think you might be interested in gathering 6 people in your home (wine and appetizers anyone?), I can come and bring my gear and we could make a crafty night of it. If you're interested, contact me at csavage (at) savageartist (dot) com and I can send you more information.