Exploring Adhesives to Attach Papers in Bookmaking
Black and White Collage Test
I’ve been working on a flutter book and want to use images from a large print I did. I haven’t attached the images yet because I have been unhappy with some previous results of gluing, especially when the paper was on the thinner side. Despite smoothing and stacking under heavy objects there was wrinkling on the back. And in a book, you don’t want that to show!
Then I remembered a book I bought years ago by collage artist Jonathan Talbot which explained his dry mounting process. Apparently, I also bought release paper and a heat-sealing iron. So, using his instructions, I have been coating papers of various types and thicknesses with either gloss medium or PVA glue.
Talbot coats both sides of the paper with gloss medium so that once his collages are arranged, he does not need to take everything up to attach it. That certainly makes sense. Unfortunately, you are left with glossy surfaces—which I do not like. Of course, you could then use a matt varnish to seal your piece or perhaps even a bit of Dorland’s wax. And, if you are only attaching one piece of paper to another, you would not need to coat the front.
I also explored a good neutral PVA adhesive, Lineco, which Talbot suggested could be used with lighter papers (keep in mind glue brands vary). Talbot did not recommend matt medium, saying it doesn’t work well. But I will try it, since the book was written several years ago and the products have continued to be improved.
I also believe how you apply the medium and the glue will affect how well it attaches and how it looks. I used a brush. Next time I will use one of the new silicone tools.
So ,making art isn’t just about pretty pictures. It is about stretching yourself, experimenting, and making lots of mistakes.
Gloss Medium on Newsprint PVA on Thinner Papers
What is a collagraph? (May 31, 2023)
A collagraph is a method of making a plate for printmaking that uses additive and reductive techniques and is a bit like a collage. It is done in layers in an attempt to create shapes, textures, and lines.Different textures hold varying amounts of ink.
Obviously, the additive processes are adhering papers (usually on mat board because of the way it is constructed in layers of paper), and those papers may have textures applied such as the gels artists use to create textures in paintings (gesso, molding paste, various acrylic mediums). Or, alternatively those texture can be applied directly to the board and allowed to dry. The reductive elements are carving into the surface creating lines—or even shapes by pulling up a thin layer of paper.
There is a trick to the madness, but I'm still learning. What makes an area dark? What makes an area light? How do you get midtones? When the plate is created correctly, is inked, and put on the press you can get beautiful prints. Usually, if there are editions, there are only a few since these plates do not last forever (but you can reuse cardboard from packing and other papers that don't need to be archival). I love the process.
That said, I am going to "bare all" here and show you my mistakes starting with my first plate. 
Plate #1
This plate is way too fussy and too representational. I was overwhelmed by the textures in the stones and got carried away inserting tapes, strings, even eggshells. But I printed it just to see what it looked like.
Print #1
It was a good lesson in "less is more." It captured little of the emotion you feel when visiting this ancient site—which is what I wanted. On to plate #2.
Plate #2
So I thought fewer stones and a little less texture.
Print #2
This is a black and white print of plate#2. It's better, but still not what I'm looking for. Maybe I need to do a drawing/painting to loosen up.
A Creative Renewal Grant! (May 15, 2023)
In the coming weeks and months, I will be writing more about my journey to learn new skills and push my creativity—a change brought about by aging and the physical conditions that are now beginning to limit me.
This generous grant from the Arts and Science Council of Charlotte enables me learn new ways of producing and presenting art. In some ways, I began a year ago by taking an online course in collagraphy, which also led to my using some of the small prints in artist books. So, over the course of the next nine months I will be learning more about printmaking and more about artist books and sharing this knowledge with my local community and anyone who reads this blog. I am especially interested in encouraging creativity in older people, since studies show that we are potentially more creative in our later years!
Back to the Beginning
That said, I am beginning my renewal journey where I started—with a 3-part online course in collagraphy taught by UK artist/educator Sally Hirst. I’ve already been through the course twice (yeah, slow learner), and now I am going through it again, step by step. I have found over the years whether in graduate school, in a workshop, or simply with a book that you always get something additional with another read through or as in the case of the online workshop, watching the videos and doing each lesson one more time.
One of the lessons in part two shows how to take a photo or drawing and make a collagraph plate. I am using one of my photographs from Callanish, the 5,000-year-old standing stones on the Isle of Lewis in Scotland. This will be different for me since I normally use less representational designs. But I am hoping the textures will show through. Next is making the plate or collagraph.
Callanish Standing Stones, Scotland
The Penland Experience (June - July 2023)
In two words: all encompassing. For almost two weeks I lived and breathed the bookmaking workshop. And it wasn’t just me or those in my bookmaking class. Everyone eats pretty quickly wanting to get back to the studio. There are no long breaks, except maybe a walk to clear your head. I was dreaming about books, my work, trying to figure out how to do something differently. I sleep poorly, one night actually getting up at 3 a.m. and finally going to the studio. I loved it there in early morning working in the quiet. (But there was someone else in the letterpress studio across the way.) And it wasn’t just me early in the morning. Others in my studio and others all over campus came in early too. Everyone is there to learn, to soak up as much knowledge as they could, and to savor the moments with other creative spirits like them.
My goal for the time I was there was not to make perfect books (and believe me I didn’t). My goal was to learn the structures, so that when I returned to my home studio, I could apply that craft to my body of work. Two of the most helpful things I learned were really very simple: how to hold my fingers when making folds to ensure the edges lined up and how to use metal weights to hold the paper, so the small piece did not move when I was cutting.
And I also learned about paper and glue. If you use a paper that is too heavy, it won’t fold sharply but will crease if it has a “tooth.”. If it is too light, it won’t stand up if you’re making an accordion book. And glue is a whole subject that I’m still working on. Some glues are too heavy for some papers. Some glues are not archival, and some simply won’t hold.
I managed to make quite a lot of bad books in the hope of making better ones in my home studio.
Artist books made by my class at Penland.
What Else Did I Do On My Summer Vacation? (late August 2023)
It’s unlikely that teachers still make students write about their summer vacations (at least I hope they don’t), but I thought I might as well account for a missing two months. June and July flew by and now it almost the end of August. And here I am still catching up.
After spending my two weeks at Penland in the North Carolina mountains, and then a few weeks juggling a couple elective surgeries, it was August. But even during July, I spent as much time as possible making prints and artist books—and painting when I could.
In July, I applied for and was granted a co-op membership in the print lab at McColl Center in Charlotte. This was an important decision because it would prepare me for the monotype workshop in October. Instead of the craft press I was using at the time, the membership allowed me to print large collagraphs on a large press. I managed to produce a quite a few prints and hope to use some of them in books. Unfortunately, by the end of August, I was still struggling with registration (alignment) that would allow me to overprint or add color in specific areas.
One of the books I made this summer re-used a “Simply Mints” tin given to me by an artist friend. This was a fun little project, but isn’t part of a series. Another book I created included a collagraph print, a cyanotype I did with assistance from a friend at Penland, and some writing I have been working on. It is an accordion book with two signatures sewn in with a pamphlet stitch. I also used collage and machine sewing.
“Simply” “I Have Only You”
Upcycle mint tin Artist book 6” x 17”
2.5” x 21”, watercolor, machine with collagraph, hand stitching, stitching, hand-dyed fabric collage, cyanotype cover
Sharing What I learned. (October 2023)
In early October, I taught a beginning bookmaking class in South Carolina. The 1.5-day class involved monoprinting on a gelli plate, and completing four different book structures.
The first morning of the workshop we created monoprints on a variety of papers using gelli plates, mark making, and/or small bits of collage. We then used these monoprints in four artist books: a lotus fold book with a cover, an accordion fold book using one sheet of paper, an accordion fold book with a nonadhesive cover and optional spine, and a pamphlet stitch book with one signature.
Monotypes and More (October 2023)
I arrived a day early for my monotype workshop to acclimate myself to Norwalk, Connecticut and the Center for Contemporary Printmaking. The Center is located in a historic landmark 19th century stone carriage house in the Mathews Park cultural complex.
The first day I was sure I only wanted to make collagraphs since they are my primary interest. To that end, I packed quite a bit of matt board and cereal boxes as well as a few collagraph plates thinking these would be my monotypes. However, after the first demonstration from master printmaker Ron Pokrasso, I saw what could be achieved using the polycarbonate monotype plates.
This changed everything. I decided I really needed to at least “try this.” With Ron’s help and that of several others in the workshop, I quickly got into the rhythm of making plates and ghost plates, adding various textures as I would in painting, applying papers for chine collé, and finishing with other mark making.
I did use one or two lunch hours to print a few collagraphs, but for the most part I used the polycarbonate plates. Perhaps it was my desk mate, but I found myself using brighter color inks than I normally would have—in one case a magenta. I produced about 12 prints during the week, ending with at least a couple collagraphs. Very important to me was I learned a simple method of registration using Ron’s methods. And Ron’s explanation of the importance of paper absorbency and specific glues for chine collé also gave me the basis for making better prints. In fact, I continue to experiment with papers and glues for both printmaking and bookmaking.
There were 6-8 of us working with Ron most days. This meant a lot of one-on-one time, but also allowed for exchange between participants which has turned out to be almost as valuable. There were knowledgeable printmakers who would assist, helping everyone achieve beautiful prints that we shared the final day. I am also excited about collaborating with 3 others in the group on making handmade books.
“In the Pink” “Moments Lived” “Seeking the Bigger Picture”
19” x 19” framed 9” x 11” framed 10” x 13” framed
The Press Is Here!
I had barely gotten home and unpacked before I received the long-awaited telephone call: “Your press will ship tomorrow.” The problem was I had no table for the press. I really did not believe they would be shipping on the earliest day of their estimated window of time.
The Conrad E-15 press is not manufactured until it is ordered. I had been told it would be 60 to 90 days, and they would stay in touch. I even asked once about the status and knew everything was on schedule. Still, when is anything delivered early?
I was both excited and horrified because I had no table for the press. II had opted to build a table because my studio is small, and I needed all the storage I could get for materials. Luckily, my husband has good carpentry skills—but we didn’t even have the materials.
I quickly sketched out a rough idea of what I needed: a place to store clean paper, both for printmaking and for books; another shelf for large prints so I could get them out of boxes on the floor; and yet another shelf for collagraph plates. And finally, I needed a place for inks and rollers and other printmaking supplies. We got started immediately—in fact, that day. After my husband determined what materials we would need, we shopped, cut, and assembled. Each time a piece was cut, I painted.
And it did sit on the floor for a few days because the shipping company was also great. It not only got to Charlotte from the Midwest in two days, they called to arrange delivery within a specific timeframe.
Finally, we got the table assembled, and my press set up in the studio so that I could attach the wheel. I am still determining pressures for polycarbonate plates vs. collagraphs, but I can easily register on the new bed and amazed with the quality of prints.
McColl Winter Market 2023
I have only participated in a few artist markets which are often craft markets, but decided this was a great opportunity to showcase my prints and handmade artist books. Who would have known that was the one evening we would have torrential rains? But no matter, the collectors came possibly because all of the work was original.
I was lucky to be able to interact and talk to perhaps a hundred people including the artists. I also sold a number of small artist books as well as paintings and two or three one of kind artist books.
The WORK of Art (March 2021)
You know the pictures of artists standing at an easel putting paint on canvas or board like the one of me above? Or how about the pictures of plein air painters outdoors enjoying the beautiful fall day while they paint? Well for me, those pictures are not reality about 90 percent of the time. Finishing my art involves much more than just putting paint on a surface. But mounting and finishing is actually very satisfying for me—since I get to finally see the work completed.
Choices, Choices
I often work by painting directly on deep wood panels, sometimes called cradles. Yet lately I am not sure why, but enjoy the freedom of painting on paper and the opportunity to vary textures and materials. However, I am then left with a decision: do I frame them or mount them? I usually prefer to mount them on deep wood panels.
I start by either staining or painting the panel itself. Often, I like the sides to reflect the painting on the front so I will paint and/or collage the sides. Occasionally I stain the panels— particularly the smaller ones.
Glue and Press
When the paintings on paper are ready to mount, I use an acid-free PVC glue or medium. This protects the painting from the acid in the wood which might leach over time. At this point in the process, it is important to get the sides straight and the artwork in the correct position. If the painting and the panel are not the same size, you either lose part of the art or you have to add to the painting if the panel is too big! Measure twice as the carpenter says!
Once the painting is glued, I press it down carefully making certain there are no wrinkles or air bubbles. I use a brayer (a roller with a rubber surface or sometimes a round plastic disk) over the entire painting to get the paper to adhere to the wood. Air bubbles and wrinkles still can be a problem at this point, but you can’t rub too hard because the paint on the surface is not indestructible.
Satisfied that the painting is secure, I cover the surface with acid-free paper (tissue or glassine) and place heavy books (or tubs of paint) while it dries. Now patience is required. I have learned the hard way that the medium will not fully dry after 8 hours. It takes 24.
A Steady Hand and A Sharp Blade
After a full 24 hours, I turn the painting over and trim the edges using a matte knife. Then I am ready to lightly sand the sides with very fine sandpaper and perhaps add more markings to the surface. Sometimes I may need to repaint the sides.
My final step is protecting the finished painting (and the sides) by coating the artwork with a museum quality wax, giving it a matte finish that has a slight sheen.
You may think of this part of my process as more craft than art. My view is that attention to the details is one part of producing a quality product. It is part of the work of art. I hope you agree!