Antebellum 4.25 x 4.75 Glue Collagraph with colored pencil Sold
Process shots start at the bottom. And let-me-tell-you, this is a FUN process. :) May I suggest that you collect the supplies and get started, pronto. :)
This is what the print looked like before I added some colored pencil. There are a variety of things you can do to the print after it's dry - which is why you don't have to be too fussy with the inking. Colored pencil, pastel, acrylic and oil all work wonderfully on top of the print.
After a trip through the press, *or* a good hand-rub on the back of the paper with a spoon or a wood drawer knob, the print is pulled from the plate to reveal this very painterly image. At this point, you can add more ink to the plate and print another one, or wipe the plate clean and add completely different colors to print it again. (Unfortunately, this plate was stolen at an art exhibit. I had it out to discuss the process - I was talking with a client, and when I returned to the counter, it was gone. Grrrr. All I can say to whoever stole it is Karma, people. What goes around, Comes around.)
Here is the plate, inked with brushes in the background, and then rolled with the dark blue on the raised glue linear elements. You can see that my brayer touched the background in some areas. but no matter, because this is a pretty loosey-juicey method with lots of wiggle room for ooopses and darnits.
This plate is so simple, I just love this process. This is a scrap piece of matboard, sealed front and back with Liquitex Gloss Medium and Varnish. The suggested figure in the hat is just drizzled elmer's glue. That's it. (If you have a choice, I'd recommend buying Scotch 3M glue instead because it has a tiny applicator and you can get a bit more control as you're squeezing the glue out onto the board.) The piles of printmaking ink in the background were added to the plate with bristle brushes, and then a darker color was rolled out with a brayer, and carefully laid on just the raised glue areas.
One authentic portrait of Leonardo by his own hand exists in a red chalk drawing at the library at Turin. Dating from the last years of his life, it shows the face of a seer, moulded by incessant thought into firm, strongly marked lines. The eyes lurk deep beneath shaggy brows, the hair and beard are long and straggling - it is the face of a man who has peered into hidden things and who has pondered deeply over what he discerned. The beard is no longer "curled and well kept," in the words of a contemporary document, wherein he is described as "of a fine person, well proportioned, full of grace and of a beautiful aspect, wearing a rose-coloured tunic, short to the knee, although long garments were then in use."
Mr. Berenson has suggested that the youth in armour, who alone among all the figures in Leonardo's Adoration of the Magi in the Louvre turns away from the scene and looks towards the spectator, is a portrait of Leonardo himself.
~The Drawings of Leonardo da Vinci by Charles Lewis Hind (1907)