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Collagraphs demonstrating both relief and intaglio-inking.

Collagraphy (sometimes spelled collography) is a printmaking process in which materials are glued or sealed to a rigid substrate (such as paperboard or wood) to create a plate.[1] Once inked, the plate becomes a tool for imprinting the design onto paper or another medium. The resulting print is termed a collagraph.

Examples of collagraph plates using a variety of materials

The term "collagraph" was coined by Glen Alps in the 1950s, and is derived from the Greek word koll or kolla, meaning glue, and graph, meaning the activity of drawing.[2]

Artists use a variety of materials in collagraphy, including yarn, fabric, tape, different varieties of cut paper or card, leaves, feathers, and acrylic mediums.[3][2] The application of ink onto the collagraph plate is versatile, consisting of intaglio-inking into recesses, brayer or paintbrush inking onto relief surfaces, or a combination of these methods. A print can be made with, or without use of a press.[4]

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Collagraphy

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Collagraphy is a versatile printmaking technique developed in the mid-20th century, in which diverse materials are adhered to a rigid backing to form a textured plate that can be inked and printed using relief, intaglio, or embossing methods, producing richly tactile and layered images.[1][2] The term "collagraph", derived from the Greek words kolla (glue) and graphē (drawing), was coined in 1956 by American artist and educator Glen Alps, who popularized the method at the University of Washington, building on earlier experimental collage-based approaches influenced by Cubist innovations from artists like Georges Braque and Pablo Picasso.[2][3] Alps transformed collagraphy into a primary artistic medium, emphasizing its potential for abstract expression and multi-layered depth, though precursors like Pierre Roche's late-19th-century plaster engravings suggest deeper roots in experimental printmaking.[2][1] Its enduring appeal lies in the low-cost, experimental nature of the medium, fostering innovation in educational settings and fine art studios while bridging traditional printmaking with collage aesthetics.[2][1]

Introduction

Definition and Etymology

Collagraphy is a versatile printmaking technique in which diverse materials, such as paper, fabric, or found objects, are adhered to a rigid substrate like cardboard or wood to form a textured plate. This plate is then sealed, inked, and pressed against paper or another surface to transfer the design, producing prints known as collagraphs that capture intricate textures and tonal variations. The process allows for both relief printing, where ink adheres to raised areas, and intaglio methods, where ink is held in recessed textures, enabling artists to explore a wide range of expressive marks.[4][5][6] The term "collagraphy" derives from the Greek words kolla (glue) and graphē (drawing or writing), reflecting the foundational role of adhesion in constructing the printing plate. It was coined in 1956 by American artist and educator Glen Alps, who developed the technique at the University of Washington to describe a method of using collage-like assemblies for repeatable print production.[7][8][9][3] Alps' innovation formalized the approach, distinguishing it from earlier experimental uses of textured plates by emphasizing its potential for color and texture synthesis in editioned works.[6][10] While sharing roots with collage art—both involve layering materials with adhesives—collagraphy is fundamentally oriented toward printmaking functionality, creating durable plates capable of yielding multiple impressions rather than singular, non-reproducible compositions. This focus on reproducibility and texture transfer sets collagraphy apart, allowing for the exploration of depth and pattern in series rather than one-off assemblages.[6][10]

Basic Principles

Collagraphy is an additive printmaking technique that involves constructing a plate by affixing diverse materials to a substrate, creating raised (relief) and recessed (intaglio) areas that differentially capture and transfer ink during printing.[11] In this process, raised surfaces hold ink applied directly via a brayer for bold, direct impressions, while depressions trap ink that is then pressed out onto the paper, yielding subtle depths and shadows.[12] This dual interaction allows for versatile ink distribution, where the plate's topography dictates the print's tonal range and spatial qualities without requiring carving or etching.[13] The visual effects of collagraphy stem from its textured surfaces, producing prints with rich, painterly qualities that evoke the organic marks of drawing or painting.[12] Differential inking across varied elevations enables tonal gradations and intricate patterns, while multiple runs through the press facilitate color layering for vibrant, multifaceted compositions.[11] These effects arise from the inherent irregularities of collaged elements, transforming simple assemblages into complex, atmospheric images with depth and movement.[13] One key advantage of collagraphy is its accessibility as a low-tech, non-toxic method that relies on everyday materials and minimal equipment, making it suitable for diverse artistic explorations.[12] The technique embraces material imperfections to yield experimental, unpredictable outcomes, fostering creativity through chance and organic variation rather than precise control.[11] This approach democratizes printmaking, allowing artists to achieve sophisticated results without specialized tools or hazardous substances.[13]

History

Early Precursors

The origins of collagraphy can be traced to 19th-century experiments in Europe, where artists began exploring textured impressions to achieve varied tonal effects in printmaking. One notable early technique involved soft-ground etching, in which fabrics or objects were pressed into a soft, tacky coating on metal plates to capture intricate patterns and textures. For instance, Belgian artist Félicien Rops pioneered such methods in the 1870s, impressing lacework into soft-ground etching plates to produce delicate, lace-like motifs that enhanced the print's surface quality.[14] These innovations built on earlier relief printing practices, particularly in folk traditions where glued elements were added to wooden or other blocks to create raised surfaces for inking and printing. In 19th-century Europe and America, artisans in rural or craft communities often employed simple adhesives to attach materials like string, fabric scraps, or natural objects to blocks, yielding embossed or textured impressions that anticipated collagraphic layering. German-Norwegian artist Rolf Nesch further advanced textured printmaking in the 1920s and 1930s with his "metal prints" (Metallgrafik), soldering diverse metal elements to plates to create deeply embossed, collage-like graphics that anticipated collagraphy's layered approach.[15] French sculptor Pierre Roche exemplified these developments in the late 19th century through his invention of gypsography, a relief printing technique using inked plaster molds to produce textured, colored prints, as seen in his 1893 work Algues Marines.[16] There was no single invention or unified event marking collagraphy's emergence; instead, these techniques arose organically amid the industrial-era expansion of printmaking technologies in Europe and America, driven by artists seeking novel ways to blend relief and intaglio for expressive depth.

Modern Development

The modern development of collagraphy began in the mid-20th century with its formalization as a distinct printmaking technique. In 1956, American printmaker and educator Glen Alps, a professor at the University of Washington, started experimenting with a method that integrated collage elements—such as glued papers, strings, and fabrics—onto rigid supports to create textured printing plates capable of producing both intaglio and relief effects.[17] Alps coined the term "collagraph" (sometimes spelled "collograph") to describe this innovative process, distinguishing it from earlier unstructured experiments with similar materials.[18] His pioneering work, including the 1956 print Collagraph #1 held in the Smithsonian American Art Museum, demonstrated the technique's versatility for achieving rich, painterly textures without the need for specialized equipment.[19] During the 1960s and 1970s, collagraphy saw growing adoption in art school curricula, particularly in the United States, where its simplicity and reliance on inexpensive, everyday materials appealed to students and educators seeking accessible alternatives to labor-intensive traditional methods like etching.[20] This period coincided with broader artistic shifts toward experimental and democratic media, fostering collagraphy's integration into printmaking programs at institutions such as the University of Washington, where Alps taught until 1984.[17] By the late 1970s, instructional resources further solidified its place, including Donald Stoltenberg's 1975 book Collagraph Printmaking, which detailed plate construction and printing approaches for educational use.[21] By the 1980s, collagraphy had spread to international workshops and studios, gaining traction in Europe and beyond as a non-toxic option amid heightened environmental awareness following events like the first Earth Day in 1970.[11] Unlike acid-based intaglio processes, collagraphy employed adhesives and household items without hazardous chemicals, aligning with emerging calls for safer studio practices in professional and academic settings.[22] Key milestones included its inclusion in major printmaking syllabi worldwide and exhibitions that showcased its evolution, such as the 1975-1976 Pratt Graphics Center show highlighting collagraph as a "new print medium."[23] This growth transformed collagraphy from an experimental technique into a staple of fine art printmaking, emphasizing tactile expression over mechanical precision.

Materials and Preparation

Substrates and Adhesives

In collagraphy, substrates form the foundational rigid backing for constructing plates, providing a stable surface that resists warping from moisture introduced by adhesives or printing inks. Common materials include matboard, chipboard, wood such as medium-density fiberboard (MDF), and plexiglass, selected for their durability and workability.[24] These substrates are typically 1/8-inch thick to balance stability with ease of handling, preventing deformation under pressure during printing while allowing for precise cutting and layering.[25] Matboard and chipboard offer affordability and acid-free options suitable for beginners, though they demand thorough sealing to mitigate moisture absorption and potential buckling.[26] Wood substrates like MDF provide enhanced rigidity and can contribute subtle natural grain textures to prints, making them ideal for more robust constructions.[24] Plexiglass, or acrylic sheets, excels in transparency for preliminary design sketching and resists warping effectively, often used in combination with other techniques like drypoint.[27] Adhesives play a crucial role in bonding textural elements to the substrate, ensuring the plate's integrity during repeated use. Polyvinyl acetate (PVA) glues, such as Elmer's Glue-All, are widely employed for their strong hold and slow-drying properties, which allow adjustments during assembly.[26] Acrylic mediums, including gloss or gel varieties, serve as versatile alternatives, offering flexibility and minimal added texture when applied thinly.[24] Shellac functions both as an adhesive for delicate materials and a preliminary sealant, providing a hard, quick-drying finish.[2] These adhesives secure a range of textural add-ons, from fabrics to natural fibers, creating multi-level relief surfaces. Preparation of substrates and adhesives emphasizes clean, even application to maximize adhesion and longevity. Surfaces should be wiped free of dust and oils using a mild solvent or water before gluing, promoting uniform bonding and reducing the risk of delamination.[24] Layering adhesives in thin coats allows for building dimensional relief, with drying times of 24 hours recommended between layers to avoid bubbling or uneven curing.[2] After assembly, plates are sealed with waterproof varnishes, such as acrylic spray or shellac, applied in multiple thin coats to protect against ink solvents and moisture; this step is essential for substrates like matboard to prevent warping.[26] Common plate sizes range from 5x7 inches for introductory projects to 8x10 inches or larger for fine art editions, accommodating both hand presses and standard etching presses.[26][2]

Textural Materials

In collagraphy, textural materials are essential for building raised or recessed surfaces on the plate that capture ink and translate into varied prints. Common organic materials include leaves, feathers, string, fabric scraps, and seeds, which provide natural, irregular textures derived from everyday or found objects.[28][29] Synthetic options encompass plastic mesh such as bubble wrap, adhesive tapes, foam pieces, corrugated cardboard, and paper doilies, offering controlled, repeatable patterns.[30][31] Natural elements like tree bark or pressed flowers and grasses further enhance organic effects, often sourced directly from the environment.[28][32] Artists select these materials based on their potential to hold ink, prioritizing porous surfaces like fabric or cardboard for greater absorption and deeper ink retention, while smoother ones such as tape or plastic provide clean lines by allowing ink to wipe off more easily.[33][34] Durability is another key criterion, as materials must withstand repeated pressings; well-constructed plates, when sealed properly, can produce up to 20 prints before degradation.[35][36] Sourcing emphasizes accessibility through recycled or household items, such as discarded packaging, scraps of cloth, or natural debris, which encourages experimentation without requiring specialized or costly supplies.[37][38] This approach aligns with collagraphy's roots in collage, promoting sustainability and creative reuse in the plate-building process.[39]

Creation and Printing Process

Plate Construction

The construction of a collagraph plate begins with the design phase, in which the artist sketches the overall composition directly onto a sturdy substrate such as cardboard, mat board, or Masonite to outline the image and spatial arrangement. This planning includes identifying areas intended for raised relief elements, where ink will primarily adhere to protruding surfaces for bold, textured impressions, versus recessed or carved intaglio sections that trap ink in depressions to produce deeper, more nuanced tones in the final print.[20][40] Assembly follows, starting with the application of adhesives like waterproof polymer glue or acrylic medium to secure textural materials onto the substrate. Artists layer these elements strategically to achieve dimensional effects—for instance, placing foam or corrugated cardboard beneath fabric or paper to build varying heights in raised areas, while embedding finer details such as string, wire, or natural fibers for linear or subtle textures. The assembled plate is then allowed to dry completely, typically requiring 24 to 48 hours depending on the adhesive and environmental conditions, to ensure strong bonds. Optionally, after drying, artists may carve recesses into the substrate or added layers using tools like knives, gouges, or sandpaper to create intaglio elements or refine the surface for precise ink retention.[20][30][13] Sealing completes the plate preparation by coating the entire surface—front, back, and edges—with a thin layer of varnish, shellac, or acrylic gloss medium, often applied in multiple coats and allowed to dry between applications. This step waterproofs the plate, preventing ink absorption and bleed while facilitating easier wiping and release during printing. To verify readiness, the sealed plate is gently hand-pressed to assess the stability of all attached elements and the evenness of the overall structure.[20][13][30]

Inking and Printing Methods

Collagraph plates can be inked using either relief or intaglio techniques, depending on the desired effect from the plate's textures. In the relief method, ink is applied to the raised surfaces using a brayer or roller to ensure even coverage, allowing the ink to transfer primarily from the elevated areas during printing.[41] For intaglio inking, etching ink is worked into the recessed textures with a felt dauber, finger, or stiff brush, followed by wiping the surface with tarlatan cloth or scrim to remove excess ink and create highlights in smoother areas.[41][33] Selective wiping techniques, such as using tissue or clean fabric, further refine tonal variations by controlling ink retention in specific textures.[33] Multi-color inking often employs the à la poupée method, where different inks are applied to distinct plate sections using fabric wads, brushes, or puppets for precise color separation on a single plate.[33] Oil-based inks, such as stay-open formulations mixed with linseed reducing jelly, are commonly used for their workability and to prevent drying during application.[33] Combined relief and intaglio inking enhances textural depth: the plate is first inked and wiped as intaglio, then over-rolled with a contrasting relief ink before printing.[42] Printing typically requires an etching press to apply even pressure through felt blankets, transferring ink from the plate to dampened absorbent paper, which is soaked and blotted beforehand to optimize ink absorption.[41][33] For low-tech alternatives, hand-rubbing with fingers or a baren directly on the paper achieves transfer without machinery, though it yields less uniform results suitable for smaller or experimental prints.[40] Editions are generally limited to 10-20 impressions due to plate wear from repeated pressure and ink residue.[33] Post-printing, the damp prints are hung or laid flat to dry slowly, preventing buckling, while multi-plate color work involves precise registration using corner tabs or transparent overlays to align subsequent layers.[41] Tools and plates must be cleaned with solvents like Zest-it after each session to maintain functionality.[33]

Notable Artists and Works

Pioneers

Glen Alps (1914–1996) was an American printmaker, sculptor, and educator widely recognized as the primary innovator of collagraphy in the mid-20th century. Born in Loveland, Colorado, Alps studied at the Colorado State College of Education and later earned an MFA from the University of Washington, where he joined the faculty in 1946 and founded the printmaking program.[43][18] He is credited with coining the term "collagraph" in 1956 to describe a printmaking method involving the construction of textured plates from glued materials, which allowed for rich, tactile impressions combining elements of relief and intaglio printing.[44][3] Alps' innovation built on earlier collage experiments but systematized the process, making it accessible for artistic exploration of abstraction and texture.[45] Alps' early works exemplify the technique's potential for expressive, layered abstractions. His Collagraph #1 (1956), a color collagraph on paper now in the Smithsonian American Art Museum collection, features bold geometric forms and varied textures derived from assembled materials, demonstrating the method's capacity to capture light and depth through ink application.[19] Through exhibitions, such as the 1957 Brooklyn Museum National Print Annual where his work was featured—one of the first to include collagraph prints—Alps introduced the technique to broader audiences, emphasizing its versatility for non-toxic, low-cost production compared to traditional etching or lithography.[18] As a professor at the University of Washington until his retirement in 1984, Alps disseminated collagraphy through teaching, mentoring generations of students and influencing the adoption of experimental printmaking in American art education during the 1950s and 1960s.[46][3] While Alps formalized collagraphy, pre-1960s adoption remained limited outside academic circles, with few dedicated practitioners before his influence took hold. European experimenters, such as Norwegian-German artist Rolf Nesch (1893–1975), contributed precursors through metal collage plates in the 1930s and 1940s, which explored similar textural effects in printmaking and indirectly inspired later developments.[15] These efforts, though sporadic, complemented Alps' work in popularizing collagraphy as a democratic medium for creative expression.[1]

Contemporary Artists

Belkis Ayón (1967–1999), a Cuban printmaker, elevated collagraphy to a sophisticated medium for exploring Afro-Cuban mythology and secrecy, particularly the all-male Abakuá society, through large-scale, monochromatic works that evoke silkscreen-like depth with intricate textures.[47] Her technique involved collaging diverse materials onto matrices to produce layered, tonal narratives featuring symbolic figures, often in black and white to emphasize mystery and exclusion.[48] A prime example is her 1991 series La Cena (The Supper), a monumental six-panel collagraph (138 x 300 cm) depicting hooded figures in ritualistic assembly, where raised and recessed elements create shadowy, ethereal forms that symbolize forbidden knowledge.[49] Ayón's innovations, building on pioneering influences like those of early 20th-century collagraph experimenters, pushed the technique toward allegorical storytelling in fine art contexts.[50] American printmakers Clare Romano and John Ross further popularized collagraphy through their teaching and the book The Complete Collagraph: The Art and Technique of Printmaking (1983), which systematized the process for broader use in educational and artistic contexts.[1][51] British artist Brenda Hartill, who emigrated to New Zealand in the late 1950s and later returned to the UK, active since the late 20th century, has advanced collagraphy through innovative multi-plate color printing that captures the luminous textures of landscapes and natural patterns.[52] Her process layers embossed plates with carborundum and mixed media to achieve vibrant, velvety hues and abstract forms, as seen in works like Cool Sunshine III, where overlapping registrations build depth and movement evocative of light on terrain.[53] Hartill's editions emphasize experimental inking and wiping techniques, integrating collagraphy into contemporary print portfolios exhibited internationally.[54] In the United Kingdom, Peter Wray has distinguished himself since the 1970s by experimenting with natural and found materials in collagraph plates, often incorporating carborundum grit and organic elements to mimic geological and elemental forces.[55] His plates, constructed from layered card, fabrics, and environmental debris, yield prints with rugged, unpredictable textures, such as in his Fired series, where heat-treated surfaces produce scorched, earthy effects that highlight the medium's tactile potential.[56] Wray's approach, developed in collaboration with fellow artists, expands collagraphy's boundaries beyond traditional adhesives toward sustainable, site-specific explorations.[57] Contemporary practitioner Marta Dyer-Smith, working from Suffolk, England, focuses on landscape-inspired collagraphs that blend textured printing with monoprint and acrylic elements to evoke natural environments in abstract forms.[58] Her works, like Abstract Landscape, employ layered collages of paper and gels on rigid boards to generate undulating terrains and atmospheric depths, printed in limited editions that highlight seasonal shifts and organic motifs.[59] Dyer-Smith's textured results stem from meticulous plate-building with everyday materials, fostering a sense of place through subtle tonal variations.[60] Since the late 20th century, collagraphy has increasingly integrated into fine art editions, with artists producing limited runs that blend traditional craftsmanship and modern themes for gallery and collector markets.[61] This shift is amplified by global workshops and residencies, such as those in international print studios across Europe, North America, and Asia, which promote cross-cultural experimentation and diversify the medium's practitioners beyond Western origins.[62] These initiatives, including events like the Mini Print International exhibitions, have broadened collagraphy's reach, encouraging inclusive narratives and innovative material use worldwide.[63]

Variations and Related Techniques

Technical Variations

Hybrid approaches in collagraphy often integrate elements from other printmaking techniques to expand creative possibilities. One common variation combines collagraphy with monotype, where the plate is inked once to produce unique prints that emphasize painterly effects alongside the textured relief or intaglio qualities of the collagraph surface.[64] Another hybrid method incorporates chine collé, a process in which thin, colored papers are adhered with dilute paste and printed simultaneously with the collagraph plate, allowing for layered compositions that enhance color and texture without additional post-printing assembly.[65] Large-scale plates, constructed from sturdy substrates like cardboard or board, enable the creation of expansive prints.[20] Modern adaptations of collagraphy incorporate contemporary materials and processes to address environmental concerns and broaden accessibility. Non-toxic, soy-based inks, such as Akua Intaglio formulations, have become prevalent for inking plates, offering vibrant colors that clean up with soap and water while minimizing health risks associated with traditional oil-based alternatives.[11] Experimental 3D textures are achieved by embedding objects like feathers, string, or carborundum grit mixed with acrylic mediums into the plate, producing embossed effects that add depth and tactile dimension to the final print.[1] Collagraph plates traditionally face durability challenges due to flexible substrates like cardboard, which can warp or degrade under repeated printing pressure. Innovations address this by mounting materials on rigid supports such as plexiglass or using composite layers of acrylic mediums and varnishes for sealing, enhancing longevity for multiple pulls without loss of detail.[11][64] Viscosity printing further innovates color application by layering inks of differing thicknesses—thicker for raised areas and thinner for recessed ones—creating natural gradients and multi-hued effects in a single pass, as explored in additive plate constructions free from acids.[66][65]

Comparisons to Other Methods

Collagraphy shares similarities with relief printing techniques, such as linocut, in that both involve inking raised surfaces to transfer designs onto paper. However, while linocut relies on carving uniform blocks from linoleum or wood to create clean, bold lines, collagraphy employs an additive process of gluing diverse found materials—like fabrics, string, or plant matter—onto a substrate to produce organic, varied textures. This allows collagraph plates to yield more nuanced, tactile effects compared to the sharper, more predictable results of traditional relief methods, though both can be printed without a press for smaller editions.[67][2] In contrast to intaglio processes like etching, which use subtractive methods such as acid to incise precise grooves into metal plates where ink collects, collagraphy builds texture through glued, raised elements sealed with varnish, enabling ink to adhere to both elevations and subtle depressions. This non-toxic, faster approach avoids hazardous chemicals and allows for easier experimentation and corrections, but it sacrifices the fine, crisp lines of etching for softer, less precise marks with inherent plate tone. Collagraphy can incorporate intaglio-like effects by inking recessed areas, blending the two in a hybrid manner that mezzotint etching approximates but with greater accessibility for artists.[68][69][65] Unlike traditional collage, which assembles materials into a static, one-of-a-kind artwork focused on visual and spatial composition, collagraphy transforms a similar glued construction into a functional printing plate capable of producing multiple editions. The emphasis in collagraphy shifts from the plate's aesthetic as an end product to its role in generating repeatable prints with embossed textures and tonal variations, extending collage principles into the reproducible realm of printmaking without requiring specialized carving tools.[11][65][28]

References

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  3. Glen Alps - Washington State Arts Commission
  4. collagraphy w/Acrylics - Just Paint
  5. Glossary of Printmaking Terms - Print Center New York
  6. [PDF] What is a Print? Glossary of Printmaking Terms and Techniques
  7. What is a Collagraph? | A guide to art terminology - Avant Arte
  8. Collagraph Printing Workshop | Kiran Nadar Museum of Art
  9. Glen Earl Alps Biography | Annex Galleries Fine Prints
  10. Collage and Collagraphy - Sally Hirst Courses
  11. Art and Collagraph - nontoxicprint : Art + Science
  12. Collagraph in the Classroom at a Glance - The Art of Education
  13. Collagraph Printmaking Lesson - Create Art with ME
  14. The Printed Collage – In Focus - Tate
  15. Lithography in the Nineteenth Century
  16. print | British Museum
  17. What Is Collagraphy? - Domestika
  18. Glen Alps papers, 1940-1999 - Archives West
  19. Glen Earl Alps Biography | Annex Galleries Fine Prints
  20. Collagraph #1 | Smithsonian American Art Museum
  21. https://thekeep.eiu.edu/theses/3485
  22. Collagraph printmaking : Stoltenberg, Donald - Internet Archive
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  24. The Collagraph : A New Print Medium [ Pratt Exhibition 1975 - 1976 ]
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  26. Encaustic Collagraph Printmaking
  27. [PDF] Collagraph Printmaking - Blick Art Materials
  28. Collagraph Printmaking: DIY Techniques & Tips for Home
  29. Join the Summer Fun with Collagraphs: The Best of Collage and ...
  30. [PDF] Donald Sultan and Tara Donovan Printmaking: The Collagraph ...
  31. Make a textured collagraph townscape - Art UK
  32. Collagraph Prints - Eric Carle Museum
  33. [PDF] 1 Printmaking- Collagraph - Materials Multnomah Art Center, Trayle ...
  34. Collagraph Printing
  35. HOW TO MAKE A COLLAGRAPH PRINT IN FOUR STEPS
  36. FAQs - Amelia Bowman
  37. Limited Edition Collagraph Flight - Old Chapel Gallery
  38. Collagraph Print Making - Jackson's Art Blog
  39. Collagraph Printing - KB Studio
  40. https://www.belindadelpesco.com/collagraph-prints-from-recycled-paper-food-cartons.html
  41. Teach Your Students to Make Collagraph Prints - The Art of Education
  42. [PDF] The Use of Combined Printmaking Techniques in Color Collagraphs
  43. inking collagraphs enhanced texture - The Curious Printmaker
  44. Glen Alps prints and drawings - Archives West
  45. Glen Earl Alps | Whitney Museum of American Art
  46. Glen Alps | Smithsonian American Art Museum
  47. Glen Alps | Seattle Artist League
  48. Rolf Nesch | Expressionism, Woodcuts, Prints - Britannica
  49. The Masterful, Unsettling Work of a Female Cuban Printmaker
  50. NKAME: A Retrospective of Cuban Printmaker Belkis Ayón
  51. Belkis Ayón - Artforum
  52. Belkis Ayón, “La Cena” (The Supper), 1991 - Newsroom | UCLA
  53. https://www.brendahartill.com/
  54. Interview with Brenda Hartill - Contemporary Art Curator Magazine
  55. Brenda Hartill RE - Biography
  56. PETER WRAY - St Ives Society of Artists
  57. Artists making carborundum prints - The Curious Printmaker
  58. Printmaking 1: Part 4 - Alessandra's learning log
  59. https://collagraphprinting.com/
  60. Collagraph Printing with Marta Dyer-Smith - Mill Tye Gallery
  61. Marta Dyer-Smith | Mixed Media Printmaking - People of Print
  62. (PDF) Printmaking: A multifaceted art in the contemporary art scene
  63. iMcClains.com - Ongoing Printmaking Programs, International
  64. Collagraph prints exhibited in New York - Facebook
  65. Collagraphy w/Acrylics - Just Paint
  66. Workshop | Collagraph Viscosity with Michael Kelly Williams
  67. Nine Types of Printmaking You Need To Know | Artsy
  68. https://thesydneyartstore.com.au/pages/evergreen-what-s-the-difference-between-intaglio-and-collagraph
  69. Intaglio Manual - Collagraph - nontoxicprint : Art + Science
  70. [PDF] Collagraphy: A Synthesis of Color and Texture
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