Chine Colle: making to make do

Chine Colle: making to make do

I read about Chine Colle paper online, but still didn’t know what it looked like, but had the impression of something handmade and precious, something nurtured by several generations of Japanese using the same mulberry trees.  The “terroir” philosophy applied to paper.

The one video I found online (Youtube as teaching tool.. hmmm… no option it seems, but not happy about it..) suggested that Chine Colle paper was much more firm to handle than tissue paper, which I was finding curled into a soggy ringlet once it was glued.

I had found a fancy paper in a shop- I can’t say what it is as the writing is all in Chinese- but it was fibrous, with lots of large bits caught in it- some even looking almost insect-like! It was a natural colour, uneven, and quite transparent. Here it is:

I thought I would try to dye it different colours using inks, and perhaps create something akin to Chine colle paper. (I might be totally wide of the mark, never having handled the stuff!)

Here are some pictures of the process which I modified as I progressed, from making a saturated sheet of pure colour (difficult to handle once it stuck to itself) to lifting ink off a glass plate, leaving the edges bare for handling, and also incidentally creating colour variations and texture.

For my first attempt, I thought I’d be careful, and attempt to colour in again… (“Don’t go over the lines!”) And took care to put the colours in the right order, starting with the darks- the dark red, green, peat brown and vermillion, and ending with the yellow. The shadows were to be in angular shapes, to contrast with the rounded fruit, but the yellow would be rounded and reasonably exact. I knew I had to glue each layer carefully- my previous trial had seen bits peeling off.

The results were dire. The colours ran into one another once they were glued, of course, being water-based inks, and the multiple layers were muddy and indistinct. The inks had not printed clearly because of the amount of glue creating a resist. The pear, only two layers, worked best. The glue made colours change, but that’s not a problem necessarily. But the tissue paper I’d added to the front worked best of all, as it was more transparent.

Next, to avoid the multiple gluing problem and to replicate what I thought was the reasonable success of the more abstract colouring, I tried just tearing rough shapes to suggest colour as distinct from form and line. The dyed sheets were very brittle though, and would only tear on one direction. The colours are unsubtle. I ended up making something that looks like a sample colour card for the inks.

Next I tried to combine the tissue and handmade paper, using fewer layers, while trying to use drier glue. It was reasonably accurately cut (the technique for cutting the paper shapes was to place a tracing of the print, reverse side up, under a sheet of plexiglass and cut shapes to fit that.)

This definitely worked better. Still problems with glue lifting off, and the rough texture of the handmade paper makes some parts too lumpy to stick. But I think the rough nature of it suits the finish of the woodcut. The angular shapes match better than well rounded ones. I reckoned I could touch up the glue afterwards.

Still not entirely happy with it, but it was progress.

Meanwhile, with the tracing still under the plexiglass, I tried painting on some pools of ink directly to the glass, then printed onto a black and white print, for a monoprint version. Hard to control where the liquid will end up. I could just paint onto the print with inks of course, but I’ve got addicted to the accidental side of printmaking!


10 thoughts on “Chine Colle: making to make do

  1. I’ve just read all your latest blogs in reverse order! Because that’s how I get the notofications. So I’m now getting clues of answers to questions I’ve asked on later entries – so, apologies for what may seem idotic questions at times.
    I’d also been planning on using assorted Chinese papers for chine collee work. I’ve used several for all sorts of prints already because I had a phase of doing traditional Chinese ink painting and calligraphy, and have masses of paper from that – and it’s so cheap in Chinese art shops. And some of the cheapest, roughest, is seriously wonderful in texture and colour.

  2. I wish I could actually see what the chine collee looks like, but I don’t think it shows up in photos at all – apart from adding blocks of colour if it’s coloured paper.

  3. I’ve not yet the coursebook instructions for this, but until reading your blogs, I realise I hadn’t been expecting to be glueing paper to paper … and if you read this blog, you’ll see what I was expecting: At that workshop they were using a press. Press-printing, I get the impression, forces the two papers to bond by pressure, in combination with ink. With hand printing, I can see that glue is needed, and I was vaguely thinking it was going to be like mounting Chinese painting paper, where you use flour and water paste (or wallpaper paste), and stretch the paper, like you do for watercolours, while it dries.
    I’m now also browsing for more examples online, and am seeing a range of papers being used – which is something I’m looking forward to. It makes me see why they’re doing this at this point of the course – it’s a sort of crossover between relief printing and collage / collography ways of working, isn’t it?

  4. I think I imagined the ink somehow attaching the paper too, before I tried it. But the ink sits on top of the coloured paper, so that doesn’t happen! It has to be well glued. Otherwise it springs back up off he paper when it dries. I was wondering too about stretching the paper, but not sure how that would work physically either since you can’t tape the paper to a board during printing- or do you have another way? I haven’t actually mounted Chinese paper so am not sure how that’s done.

  5. I’ve just read something in another book where pasting and printing are very much done as one – paste the paper, lay it on your print paper, and then print! So the pressure (from a press) of printing, really bonds the chine colle paper down. In other words, do what you want to do? I now think both will work, but work in different ways, and that it’s going to depend both on the papers you’re using and the type of printing you’re doing, i.e. lots of variables.

  6. Yes, that’s the technique for chine colle. All in one go. You’ll see when you get there. Pasting and leaving it to dry would be normal collage. I’ve done that too and am just going to blog on that shortly- watch this space!

    • I sprinkled a fine dusting of powdered wall paper paste on the back of my watercolored Japanese fine paper torn or cut to fit. Ran it through the etching press, it bonded.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s