Im also not a printmaker nor aspiring to be one. But for research and understanding how chine colle works. (More visual learner) now i can present smth i chose that had involved chine colle when i thought was just a notmal etching process.
Hi, I use either Hanco Warm Black Etching ink or Graphic Chemical Vine Black. Both are oil-based. Water-based inks will not work with this particular process.
The Chine collé process involves the addition of the glued washi paper being printed and adhered to the heavier "backing" paper. It is in the family of Intaglio Printmaking. Regular Intaglio printing is when the plate is inked and printed to the heavier paper, directly.
It depends on the colour of the washi. Subtle tones impart subtle changes, while more dramatic tones are more dramatic! Other benefits of chine collé can include the ability to print finer lines and aquatints than the backing sheet, as well as contrasting texture or sheen.
@@professortruszkowski perhaps, the color may not be main reason, the emotional hue of some subject image may speak better with a change in tone in the print.
Gosh THANK YOU that’s Columbus’ egg ! A couple of years ago I went crazy to place those bits of pre-glued paper exactly where they needed to be ! Now I can’t wait to give it another go ! So any washi paper ? And fuzzy side to paper or to plate ?
We use a product called "Puretch". It is a dry photopolymer film affixed to copper, exposed to a positive transparency, and developed by spraying with mildly akaline water. The plate is then etched in the standard way, using Ferric Chloride. I have a 2-part video on Puretch on my channel, if you're interested.
That's an interesting question! I suspect that dunking a plate inked up in something water-based would spell disaster. The ink would likely dissolve or run, not to mention that the glue/paste is water-based as well. There are definitely other approaches to chine collé where an image is pre-printed on washi paper, allowed to dry, and is then affixed to a carrier sheet using any number of pastes or powders, sometimes with a press, sometimes not, sometimes with damp carrier paper, sometimes dry. IF the ink on the dry print is no longer water-soluble, your options open up. For example, you could dunk the pre-printed washi impression in the water tray, and use a blank plate, running it through the press onto a carrier sheet, as I do in my video. I guess the real answer here is the one I tell my students; you have to test!
very clever demo, could you perhaps address doing this process where only parts of the plate are covered? Getting and positioning such small pieces are difficult. I usually dry the ink on the whole rice paper, then cut out the image, reactivate by printing with wet print paper! Do you have another method which may be more successful? Thank you.
Well, I should start off by paraphrasing my own Printmaking professor, Otis Tamasauskas... he once said "there are as many theories about Printmaking as there are Printmakers". (!) So true. In any event, you can definitely do what I think you're describing, using this method. I had a student last year who cut out all kinds of red washi for some lips on a portrait he was printing, along with some less intense coloured washi for other elements. Same thing... he inked the plate, dunked it in the water, and pulled it up from below the washi pieces he placed in the tray. Since there is quite a lot of water, initially, in and under the washi, the little pieces can float around on the plate until they are in just the right spot. Then apply the glue (with a small brush), then print. If the little pieces don't want to move/be repositioned because they are drying out slightly while you work on other parts, a few drops of water, and they should free up for moving, allowing you to get them just right.
@@professortruszkowski don't you just love how the complexity of solving a issue in making the print makes you feel like an utter genius! Thank you for your lengthy reply it is much appreciated.
You're brave to ask a Printmaker what the "best" paper is! There are so many opinions, and so many answers. That said, I have a few suggestions. If you're asking about the backing paper; that is, the heavier paper that carries the Washi paper, here are some options > BFK Rives, Somerset, Arches Cover, Hannemuhle Copperplate. I typically avoid less expensive papers like Maidstone or Stonehenge, since they can't mold around the plate as well during printing. For Washi, there are a seemingly endless supply! Kitikata is a nice, all-round Washi that works well for Chine Collé printing. Kozo, Gampi, and Iwami papers can also work beautifully. If you are in Canada or the US, check out The Paper Place shop.thepaperplace.ca/ which is my go-to for this sort of stuff. You can also check out awagami.com/collections/fine-art-papers/ which is a factory in Japan that makes amazing washi! Good luck!
I wish we had longer to look at the print - disappointing. The video on chine colle was helpful, but what was the hurry in letting us see the finished product?
Thank you! You make it all look so simple. And your detailed commenting of each step is so important and useful, again thank you.
Im also not a printmaker nor aspiring to be one. But for research and understanding how chine colle works. (More visual learner) now i can present smth i chose that had involved chine colle when i thought was just a notmal etching process.
Thank you for the tip on washi paper placement onto the plate. How cool was that. 👌🏻❤️
Beautiful!
I'm not a printmaker but I certainly enjoyed this demo. I'd like it twice if I could.
Thanks for that lovely comment. There’s always time to *become* a Printmaker :)
What kind of ink you use?
Hi, I use either Hanco Warm Black Etching ink or Graphic Chemical Vine Black. Both are oil-based. Water-based inks will not work with this particular process.
So what's the difference between a normal intaglio print and a chine colle print ?
The Chine collé process involves the addition of the glued washi paper being printed and adhered to the heavier "backing" paper. It is in the family of Intaglio Printmaking. Regular Intaglio printing is when the plate is inked and printed to the heavier paper, directly.
I thought chine colle was for adding color to your prints, what’s the purpose here? Maybe i am missing something😳...
It depends on the colour of the washi. Subtle tones impart subtle changes, while more dramatic tones are more dramatic! Other benefits of chine collé can include the ability to print finer lines and aquatints than the backing sheet, as well as contrasting texture or sheen.
@@professortruszkowski thanks!
@@professortruszkowski perhaps, the color may not be main reason, the emotional hue of some subject image may speak better with a change in tone in the print.
Gosh THANK YOU that’s Columbus’ egg ! A couple of years ago I went crazy to place those bits of pre-glued paper exactly where they needed to be !
Now I can’t wait to give it another go ! So any washi paper ? And fuzzy side to paper or to plate ?
xXX👍👍👍
Wow! Thank you so much!
Good demonstration, but in this case the chine colle is barely noticeable in the finished print.
Thanks. Such a clear deomo. :-)
Excelente copia del grabado felicidades
As a bonus, the best tutorial on inking and wiping a plate as well.
Wow
how to do you put a photo onto that copper plate in the first place?
We use a product called "Puretch". It is a dry photopolymer film affixed to copper, exposed to a positive transparency, and developed by spraying with mildly akaline water. The plate is then etched in the standard way, using Ferric Chloride. I have a 2-part video on Puretch on my channel, if you're interested.
Oo
I know this is a little off topic. But is the process similar for waterbased inks? And can it be done without a press?
That's an interesting question! I suspect that dunking a plate inked up in something water-based would spell disaster. The ink would likely dissolve or run, not to mention that the glue/paste is water-based as well. There are definitely other approaches to chine collé where an image is pre-printed on washi paper, allowed to dry, and is then affixed to a carrier sheet using any number of pastes or powders, sometimes with a press, sometimes not, sometimes with damp carrier paper, sometimes dry.
IF the ink on the dry print is no longer water-soluble, your options open up. For example, you could dunk the pre-printed washi impression in the water tray, and use a blank plate, running it through the press onto a carrier sheet, as I do in my video. I guess the real answer here is the one I tell my students; you have to test!
I agree, great tip on getting washiest paper on to plate and then adding paste.
very clever demo, could you perhaps address doing this process where only parts of the plate are covered? Getting and positioning such small pieces are difficult. I usually dry the ink on the whole rice paper, then cut out the image, reactivate by printing with wet print paper! Do you have another method which may be more successful? Thank you.
Well, I should start off by paraphrasing my own Printmaking professor, Otis Tamasauskas... he once said "there are as many theories about Printmaking as there are Printmakers". (!) So true. In any event, you can definitely do what I think you're describing, using this method. I had a student last year who cut out all kinds of red washi for some lips on a portrait he was printing, along with some less intense coloured washi for other elements. Same thing... he inked the plate, dunked it in the water, and pulled it up from below the washi pieces he placed in the tray. Since there is quite a lot of water, initially, in and under the washi, the little pieces can float around on the plate until they are in just the right spot. Then apply the glue (with a small brush), then print. If the little pieces don't want to move/be repositioned because they are drying out slightly while you work on other parts, a few drops of water, and they should free up for moving, allowing you to get them just right.
@@professortruszkowski don't you just love how the complexity of solving a issue in making the print makes you feel like an utter genius! Thank you for your lengthy reply it is much appreciated.
Great video thank you.
Please could you tell me the best paper to use for drypoint/etching please, thank you again.
You're brave to ask a Printmaker what the "best" paper is! There are so many opinions, and so many answers. That said, I have a few suggestions. If you're asking about the backing paper; that is, the heavier paper that carries the Washi paper, here are some options > BFK Rives, Somerset, Arches Cover, Hannemuhle Copperplate. I typically avoid less expensive papers like Maidstone or Stonehenge, since they can't mold around the plate as well during printing.
For Washi, there are a seemingly endless supply! Kitikata is a nice, all-round Washi that works well for Chine Collé printing. Kozo, Gampi, and Iwami papers can also work beautifully. If you are in Canada or the US, check out The Paper Place shop.thepaperplace.ca/ which is my go-to for this sort of stuff. You can also check out awagami.com/collections/fine-art-papers/ which is a factory in Japan that makes amazing washi! Good luck!
@@professortruszkowski thank you so much for replying.
this is a revelation!! :)
Haha thanks very much!
I wish we had longer to look at the print - disappointing. The video on chine colle was helpful, but what was the hurry in letting us see the finished product?