{"id":19311,"date":"2014-04-21T08:30:01","date_gmt":"2014-04-21T07:30:01","guid":{"rendered":"http:\/\/www.jacksonsart.com\/blog\/?p=19311"},"modified":"2026-03-31T15:22:42","modified_gmt":"2026-03-31T14:22:42","slug":"collograph-print-making-suzie-mackenzie","status":"publish","type":"post","link":"https:\/\/www.jacksonsart.com\/blog\/2014\/04\/21\/collograph-print-making-suzie-mackenzie\/","title":{"rendered":"Collagraph Print Making"},"content":{"rendered":"

Much like the landscape in the Northern Highlands in which the artist lives and works, there is something very rich, lush and textural about Suzie MacKenzie’s prints. The textures and dynamism of the work is largely thanks to the technique of collagraph that she uses. Suzie has exclusively shared her experiences of collagraph technique on the Jackson’s Art Blog.<\/p>\n

\n

Collagraph Print Making<\/h2>\n

by Suzie MacKenzie<\/small><\/p>\n

Collagraph is a relatively recent and very versatile print medium with no need for expensive or hazardous materials. It can be printed either in relief or intaglio, or in a combination of both techniques; but for me its main appeal is the richly atmospheric results that can be achieved through intaglio printing.\u00a0 The name was first coined by the American artist Glen Alps in the late 1950s, and reflects the fact that it is a print made from \u2018collage\u2019.<\/p>\n

\"Suzie<\/a>
Suzie MacKenzie’s studio<\/figcaption><\/figure>\n

My own collagraphs begin life as photos which I alter using a photo-editing software program.\u00a0 This may involve moving, removing or adding features, stretching and resizing, until I reach a composition that I\u2019m happy with and that I think conveys the \u2018feel\u2019 of the image as I originally experienced it. \u00a0I then convert the image to black-and-white which I find makes it easier to begin to turn it into a collagraph, and reverse it so that the final image will be the right way around when printed.<\/p>\n

I transfer the reversed image onto the plate using tracedown paper<\/a>.\u00a0 I use mountboard plates with the edges bevelled (usually the \u2018middles\u2019 that have been cut out when framing work).\u00a0 I find this ideal as it can be cut and peeled into as well as having textures stuck onto it; it has the added benefit of being recycled!<\/p>\n

When constructing a collagraph plate it is the texture<\/i> of the collage that will dictate how it prints; if it\u2019s printed using the intaglio method, rough surfaces will hold the ink and print dark; shiny or smooth surfaces will wipe clean and print light or barely at all.\u00a0 With mountboard, the unaltered surface prints in a mid-tone; when the top layer or two is cut and peeled away(I use a scalpel for this) a rougher surface is revealed that will print dark.\u00a0 To get a complete range of tone I also apply PVA glue<\/a> or adhesive tape which prints light, and for a dense black, fine carborundum grit or sandpaper.<\/p>\n

\"Suzie<\/a>
Taking a rubbing from a collograph plate-in-progress to get an idea of what a print from it would look like.<\/figcaption><\/figure>\n

Other textures can also be applied \u2013 I like to use handmade papers with inclusions, but more-or-less anything flat enough that can be adhered to the plate and put through the press without damaging it can be used, including fabrics and plant material.\u00a0 In fact the very slightest \u2018edge\u2019 will hold ink and print.\u00a0 I\u2019m always surprised by how the tiniest alteration in texture \u2013 from a careless fingerprint on the edge of a sealed plate that\u2019s not quite dry, to a stray cat hair caught in the varnish \u2013 will feature prominently in the finished print!<\/p>\n

I work into the plate cutting and peeling, and applying cut shapes of different textures using photo spray mount, trying to match textures and how I know they will print to the tone in the original.\u00a0 Lines and other marks can also be scored or cut into the plate and its textures.I take frequent rubbings from the plate using newsprint and a thick graphite pencil which gives me some idea of how the composition is working, never forgetting that this gives a reversed image.<\/p>\n

When I\u2019m happy with the finished plate I seal it, first with dilute PVA which I find helps adhere the various elements to the plate, and then when this is dry with a coat of spray polyurethane varnish.\u00a0 This stops the ink from soaking into the plate and makes it easy to clean.\u00a0 After a couple of days the sealed plate will be dry enough to print from.<\/p>\n

\"Suzie<\/a>
A finished plate – ready for printing.<\/figcaption><\/figure>\n

I print my plates using the intaglio method, so I ink up with extended etching ink, often in one colour only (I prefer a darkened Prussian Blue but this will depend on the subject of the print), then wipe with scrim and pages from an old phone book; the print is taken using a high-pressure etching press and dampened paper.<\/p>\n

\"Suzie<\/a>
Wiping the plate<\/figcaption><\/figure>\n

This process forces the paper into the cut lines and textures to pick up the ink left after wiping and also renders the textures used in making the plate.\u00a0 The damp prints are then stretched on boards with their edges taped so that they dry flat.\u00a0 Colour can be applied in many different ways \u2013 for example the plate can be inked \u2018a la poupee\u2019 in different colours; a contrasting colour can be rolled over the top of the intaglio inking; chine coll\u00e9 (coloured lightweight papers adhered during the printing process) can be used; or the dry print may be hand-coloured.<\/p>\n

\"Suzie<\/a>
The inked up plate<\/figcaption><\/figure>\n

Finally, each dry print is signed, titled and numbered, most with the designation \u2018VE\u2019 showing that it is from a varied edition.\u00a0 I make very small varied editions from my plates, rarely as many as ten and often as few as three.\u00a0 This is partly because the plates begin to degrade relatively quickly under pressure from the press, but also because I like to experiment with different inkings, wipings, colours and chine coll\u00e9 additions; each print I make is a step in the learning process and I\u2019m always looking forward to applying what I\u2019ve discovered to the next.<\/p>\n

\"Suzie<\/a>
Flood in the Strath<\/em>
Suzie MacKenzie
Hand coloured collagraph, varied edition of three, 57 x 26 cm<\/figcaption><\/figure>\n

About Suzie MacKenzie<\/h2>\n

Suzie MacKenzie studied Fine Art as a mature student at the University of Loughborough, before returning to the northern Highlands of Scotland where she now lives and works. In 2013 she attended a series of workshops at the Highland Print Studio in Inverness which rekindled her interest in collagraph, and since that time has predominantly worked in the medium. Suzie draws on her previous career as a teacher as well as her printmaking experience to teach occasional workshops, and has been involved in delivering projects to local community groups.<\/p>\n

Visit Suzie’s website<\/a><\/p>\n

Follow Suzie on Instagram<\/a><\/p>\n

\n

Further Reading<\/h2>\n

Monotype Printmaking for Beginners<\/a><\/p>\n

Safer Intaglio Printmaking<\/a><\/p>\n

Etching for Beginners \u2013 What You Need to Get Started<\/a><\/p>\n

Getting Started in Screenprinting Using Paper Stencils<\/a><\/p>\n

Shop Printmaking on jacksonsart.com<\/a><\/strong><\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Much like the landscape in the Northern Highlands in which the artist lives and works, there is something very rich, […]<\/p>\n","protected":false},"author":4,"featured_media":19322,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[477],"tags":[771,756,772,764],"class_list":["post-19311","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-printmaking-art-technique","tag-collograph","tag-lopf","tag-print-making","tag-printing"],"acf":[],"yoast_head":"\nCollagraph Print Making - 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