The Power of Print
CVPA Members Online Show + Sale

Comox Valley Printmakers Association is proud to present our first online exhibition of original prints. This collection of contemporary print work by members of the CVPA is available to view and purchase until January 31, 2021.

If you are interested in purchasing a print for yourself or as a gift please click on the artist’s name below the print to view their contact information and current prints for sale. The artist will arrange for payment and pick up or shipping of your purchase. All prints are unframed unless specified.

Paradise Meadows, Mount Washington
Channing Holland
Hand coloured etching, 1/1
9“ x 6”
$150
Henged
Terri Stelfox
Collagraph, 2/6 v.e.
2.75” x 3”
$35
Jagged People
Gordon James
Woodcut, edition of 11
10” x 10”
$100
Oculus #3
Wendy Morosoff Smith
Collagraph Monoprint, 1/1
7” x 5”
$150
Phases
Gabrielle Moore
Screen print on cotton rag paper, 1/1
22” x 30”
$350
#14
Joyce Lindemulder
13″ x 20″
4 colour screen print with glow in the dark ink, cotton rag, 9/12
$200
Bouquet
Channing Holland
Hand coloured drypoint, 1/1
12 “ x 9”
$125
Setting Sun
Gabrielle Moore
Screen print on cotton rag paper, 1/1
22” x 30”
$350
Strata
Joyce Lindemulder
Collagraph, cotton rag, 1/1
44” x 30”
$340
Comox Glacier View
Terri Stelfox
Linocut, 21/26 v.e.
5” x 7”
$35
Unbound
Gabrielle Moore
Screen print on cotton rag paper, 1/1
22” x 30”
$350
Quadra Island Trails
Robyn Discothistle
Linocut, Stonehenge cotton rag paper mounted on foam core, Open edition
7.2” x 8”
$36
Oculus #7
Wendy Morosoff Smith
Collagraph Monoprint, 1/1
7” x 5”
$150
Post #2
Spencer Sheehan-Kalina
Linocut on Reclaimed Envelopes, Monoprint 
12.13” x 12.13” (irregular edges)
$350
Bacterium Slide #2
Spencer Sheehan-Kalina
Collograph on cotton rag paper, Monoprint
12.5” x 9.13” (irregular edges)
$250
Oculus #13
Wendy Morosoff Smith
Collagraph Monoprint, 1/1
7” x 5”
$150
Bacterium Slide #1
Spencer Sheehan-Kalina
Collograph on cotton rag paper, Monoprint
14.9” x 9.13” (irregular edges)
$250
Dialing In
Gabrielle Moore
Screen print on cotton rag paper, 1/1
22” x 30”
$350
Celtic Cross
Channing Holland
Collagraph, Viscosity print, 1/1
11.5 “ x 5.5”
$150
Entering Voltige
Terri Stelfox
Solar plate etching, 1/1
8” x 10”
$75
Goodbye
Gordon James
Woodcut, edition of 5
9.5” x 7.5”
$80
Untitled
Joyce Lindemulder
22″ x 30″
Screen print, cotton rag, varied edition of 7
$295
The Surprised Girl
Gordon James
Woodcut, edition of 12
10” x 10”
$130
Whole Hog
Robyn Discothistle
Woodblock, Stonehenge cotton rag paper mounted on foam core, 2/5
15” x 11.5”
$75
Oculus #10
Wendy Morosoff Smith
Collagraph Monoprint, 1/1
7” x 5”
$150
I Clap
Terri Stelfox
Linocut, 15/20 v.e.
6” x 4”
$30
Spring
Gordon James
Linocut on Japanese paper, edition of 9
11.5” x 6”
$120
Swirling
Channing Holland
Hand coloured drypoint on artist marbled paper, 1/1
8“ x 6”
$60
Post #3
Spencer Sheehan-Kalina
Linocut on Reclaimed Envelopes, Monoprint
17.5” x 11.2” (irregular edges)
$350

Viscosity Printing

By Channing Holland

Viscosity printing is a multi-colour printmaking technique that incorporates principles of relief and intaglio printing. The process uses the principle of viscosity to print multiple colours of ink from a single plate, rather than relying upon multiple plates for colour separation.

The process works on the principle that inks of high viscosity (sticky, tacky, dryer), rolled over a layer of an ink of a lower viscosity (thinner, runny, wetter) will be repelled. However, if the order is reversed, and ink with a lower, wetter viscosity is rolled over a layer of ink with higher, dryer viscosity it will be attracted to the first layer. Therefore, colours will either mix or juxtapose depending on their viscosity and the order they are rolled onto the plate. The distribution of the colours in the final print can additionally be manipulated by using hard or soft rollers, varying pressure on the rollers, and the depth and number of layers in the printing plate.

Two to three colours of ink are mixed, each of a different viscosity (thickness). This property is adjusted by the addition of solvents such as raw linseed oil, plate oil, or flash oil.

The artist produces images by creating lines or textures on a plate made of metal or cardboard. The metal plate method is called Etching and the image is produced by using acid to incise the image into the plate. The cardboard plate is called a Collagraph plate. It allows an image to be produced by cutting into the plate or gluing items onto the surface. The more layers and levels the better. The plate is then inked in several stages. Usually dark coloured ink of a high viscosity, is forced into the deepest recesses of the plate with a card or stiff brush and then wiped off the plate’s surface with a tarlatan (stiff gauze). This usually brings out details and is called an intaglio wipe.

Intaglio Wipe

The next colour, of a slightly thinner viscosity, is then applied to the surface of the plate with a rubber brayer (roller). The varying viscosities of the ink prevent them from mixing. A second colour, of even thinner viscosity, can also be applied at this point and even a third, thinner colour. The technique works best on plates that have been etched or built to several different depths.

Inked Plate

A damp sheet of printing paper is then placed on the face-up plate and passed through a printing press, which prints all the colours simultaneously. This is an advantage, as registration of the plates in some other multi-colour printing processes can be difficult.

Final Print
Channing Holland, Colour Notes, 1/1, etching

Metal etched plates or hand built collagraph plates are great for this method of printing. The results are not always entirely predictable but they are interesting, exciting and often spectacularly beautiful.

Channing Holland, Celtic Cross, collagraph
Channing Holland, Nap of the Earth, etching
Channing Holland, Celtic Knots, etching
Channing Holland, A Trace of Times Past, collagraph

For a simple demonstration of this process see the following: https://thecuriousprintmaker.co.uk/viscosity-printing/

References:
Hayter, S. W. (1981). New Ways of Gravure. New York, NY: Watson-Guptill Publications.

Reddy, K. (1988). Intaglio simultaneous color printmaking: Significance of materials and processes. Albany, NY: State University of New York Press.