Yesterday I met Clare Phelon and Susan Rowland,
Susan had been working on a new piece about women in history. She was using multiple methods combined including monoprinting, lino print and machine embroidery.
I had arranged to meet Clare she was preparing a colograph for printing. the colograph was made by gluing a sheet of music from a machanical organ to mount board with wood glue she added carborundum to areas she wished to darken. the colograph is printed a number of times with textures added or removed until she is happy with the effect at this point proof prints are taken.
The practice prints are done on cartridge paper whereas the final prints are usually done on Hahnemuhle.
Blankets were placed on the press plate to stop the colograph from slipping.
The ink was very stiff and difficult to manupulate until a drop of print oil had been added, inking up such a large piece uses a lot of elbow greese.
The colograph was placed on the press so the widest part was presented to the roller.
I enjoyed watching Clare work, the interesting thing about printing is you dont really know what the print is going to look like until it is done but years of practice has given Clare a good indication of what to do to get the print she is after.