Saturday, January 26, 2013

More explorations with chine collé

This term at printmaking I have gone back to working with drypoint and chine collé in order to build up a stock of new images from which to develop work.  The first piece came from a couple of separate drawings: the coffee drinker (seen in London one Sunday morning) and the pigeon (a racing pigeon which visited us when lost, but which we were unable to catch to return to the owner).
First I tried a solid geometric to try to isolate, focus, and yet keep united - while perhaps adding some sense of movement without disturbing the peace.  if that all makes sense!
Then I wanted to add the noise of a city, which should almost overwhelm the pair - but not quite.
The chine collé in this case is a sheet of tissue which first had 'blotted' an ink grid, and later had been used to clean another different plate (I think it was a colllagraph) some time ago.  I tend to hang on to tissue like this just in case it could come in useful.  Anyway, this one turned out OK for me.
I then went on to work on a second drypoint plate with a more random use of chine collé - more of an 'I wonder what would happen if ....' approach.  This is the plate printed on its own:
One of the things I like about drypoint is that colours can be mixed on the plate itself.
First I added some cut up pieces of tissue I'd covered in soft pastel.  These were left over from a previous project, and not much thought went into the use here.  However, I very much like the overlap effect that can be achieved, thereby increasing the perceived number of triangles.
For years now I have been hoarding paper bags.  Small shops, especially art and craft or sewing supplies shops used to use paper bags which had delightful patterns.  Some of these paper bags were tissue thin, and when I learned about the technique of chine collé, I thought that at last I would have a use for these hoarded gems.  The one above is a real favourite, but perhaps the one below has worked more appropriately -?
I wonder if such bags are still available - such is my stash of bits and bobs, and such is my determination not to buy anything more unless I specifically need it, I have not been shopping for many many years.  It would in any case be bonkers to buy things simply to acquire the paper bag - wouldn't it?

2 comments:

marja-leena said...

Interesting explorations. I like the last three very much.
How clever you are to save those bits of tissue, even paper bags then reuse them in this way.

I know that you often use your findings in your textile work. Just wondering, do you ever edition your prints onto paper? I'm thinking it would be difficult to edition with those variable papers you use, unless they are variable editions. There's alsot he question of their archivalness. (I know, I'm coming from traditional printmaking.)

Olga said...

Marja-Leena, I know that you are concerned about the archival quality. I am not. At present at least I do not intend to edition my prints, nor to put them up for sale. I do print many on paper, and have even framed some monoprints on archival quality paper for myself, but otherwise - at present at least - these printmaking experiments are a means to broaden my sources of designs for textile work.
While I believe that my textile work is good enough to exhibit - I do not think that my printmaking efforts are anywhere near good enough to display as anything other than experiments.