Now the collagraph sample is fully dry, it is ready to print. Before undertaking anything else, I prepare the paper ready for printing. To do this I ensure I have a good quality printing paper handy (I will be using a piece of Hahnemuhle paper), the paper needs to be able to absorb the ink and stand up to pressure in order to give the best impression. Firstly I rip the paper to size (large enough to give an adequate margin around the print), against a straight edge in order to create a lovely soft deckle edge. The next step is to soak the paper in a tray of water for at least 15 minutes.
Meanwhile, I can set up the etching press ready. I place two felt etching blankets on top of the metal bed, the chunkier of the two laying on top. Generally three blankets are used for printing etchings, one as a sizing catcher, the second a cushion and finally a pusher. However for collagraphs, I have found a third blanket unnecessary. I then set the pressure firmly using the pressure gages at the top either side of the roller.
Once the paper has been fully soaked, I hang it up to dry in the greenhouse. The reason for soaking it is to make it more absorbent and allow it to be pushed easily into all the crevices as it is rolled through the press.
While the paper is drying I begin applying ink to the plate using a piece of rubber to encourage ink into all the intricacies of the collagraph.
As with any intaglio print, the aim is to have the ink settled in the crevices as opposed to on the surface as with relief printing. Therefore, the next step is to wipe back excess ink from the surface of the plate using tissue paper until there is just a fine layer of ink left.
Once the paper is very almost dry, it is ready to print. Pulling back the blankets, I lay a sheet of tissue paper on top of the bed before placing the collagraph on it facing upwards. The paper is placed on next equally distant around the plate for a tidy border when printed. Placing the paper on top of the collagraph enables the blankets to push the paper deep into the crevices. A further sheet of tissue paper follows before the blankets are carefully replaced on top of the work. The main reason for the tissue paper is to protect the bed and blankets from ink.
Once rolled through the press, I pull back the blankets and peel back the paper to reveal the print and make sure enough pressure has been applied.
The image below demonstrates how the various textures have printed in comparison to the original collagraph plate opposite.
