Experiment two with the Open Press Project - Blind Embossing
Now you see it...
As part of my ongoing exploration with the Open Press Project postcard press, I’ve been trying out different printmaking techniques to see what this fantastic tool is capable of (in my hands.)
After starting with drypoint etching in my last post, I’m now moving on to something that has fascinated me for a long time; blind embossing. It is completely different from most other forms of printmaking in that, in its rawest form, it doesn't use any ink…at all. Embossing is often used alongside other techniques to provide a frame for a composition or to accentuate an element of a print but can be used as a primary technique to amazing effect.
In case you missed it - first experiment recap
In my first experiment, I learned that simplicity works best at postcard size and that getting the inking balance right is key. It was a messy but rewarding introduction to this great little press.
Having tried drypoint, I wanted to push myself further with a technique that will complement other forms but extend my thinking about how to add another dimension (literally!).
Blind Embossing
This incredibly delicate but effective form of printmaking results in a raised print that is best viewed when light is shed on it, showing the structure of the print in shadow.
The great thing about this experiment is that, as there is no ink required, it can be done with minimal set-up and equipment. Similar to the drypoint, it is a good idea to use some relatively robust paper as you will need to dampen it for about 15 minutes beforehand (and then to keep it moist, store in a damp pack or old takeaway box.)
You can experiment with card, Perspex sheet or found objects to make the impression and then experiment further with the depth by layering objects up, create small overlaps or carve out features.
As you can see from the picture below the results are wonderfully delicate, even using the thicker card the impressions were no more than a couple of millimetres deep.
On the left-hand side, you can see the experiments using Perspex plates. I scratched, dented, and punctured the plates - which didn’t really work but the block itself produced clearly defined edges to the impression.
On the right-hand side you can see the experiments using framing card, it provided a solid block with a softer edge impression. The real bonus of the card is that you can cut a section from the card to give a multi-layered print from a single block (you can see the result in the short video below.)
I really enjoyed playing with this form of printmaking, although I don't think that I will be using it in isolation, I can see how it could add another dimension to a lino or etched print - definitely a future experiment!!
If you would like to know more and see some amazing proponents of this medium then take a look at Alison Wilson and Jacqui Dodds.
Next time
I am itching to get back to my comfort zone of lino print (I have even prepped a mini registration deck….but I know there are lots more experiments to try.
Next is something I have tried on some larger-scale prints as well as on cards - Chine collé. Chine roughly translates from French as China, and collé as glued or pasted, the name comes as a result of delicate papers imported to Europe from China, India, and Japan were adhered to the print as part of the image-making process, in some cases it was to pick up detail on intricate prints and in others to provide one or more solid colour blocks.
Keep an eye out for it in the next couple of weeks.