#collagraphy
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kamakru.bsky.social
So, re: print issues. Here's the press I'm using now:
www.jerrysartarama.com/school-etchi...

Like, it's fine I think for the most part. Wasn't cheap even though it's listed as basic. I've been using this since about February 2024 (says my order info).
November 1, 2026 at 5:44 AM
iduhouse.bsky.social
🖤 Artist of the Day: Belkis Ayón

Belkis Ayón turned silence into a visual language. Through collagraphy and layered textures, she reimagined Abakuá mythology around Sikán, exploring gender, power, sacrifice, spiritual life, and memory.

#CreatorsAtWork #Skystorians #BlackSky #BlackSkyArt #Art
Belkis Ayón stands with her arms folded before a section of her monumental color collagraph La cena (The Supper), made in 1988. She wears a sleeveless white T-shirt printed “CUBA 513,” small earrings, and short natural hair, looking slightly past the camera with a half-smile. Behind her, the artwork fills the frame: mouthless human figures in electric pink, blue, green, yellow, red and tan gather around a black table, their almond-shaped eyes floating in mask-like faces. One yellow figure bends over a bowl of blue fish while another raises a hand to its face. The photograph matters because artist and breakthrough work occupy the same frame. Ayón was still a young art student when she made La cena, one of her first monumental collagraphs. Collagraphy begins with a plate built like a collage: papers and textured materials are attached to cardboard, inked, and run through a press. To escape the press’s size limit, Ayón printed separate sections and joined them into an image large enough to confront the viewer almost bodily. She had begun researching Abakuá mythology as a student, despite being excluded from the all-male Afro-Cuban brotherhood whose stories fascinated her. Rather than illustrate its oral traditions literally, she invented a visual language for them and centered Sikán, the woman whose discovery of the sacred fish Tanze leads to her silencing and death. Ayón later described herself, like Sikán, as an “observer, intermediary and revealer.” La cena became a hinge in that project. Ayón was dissatisfied with this bright version and reworked the composition in black, white and gray by 1991, the palette that would define her mature work. Here, before that turn, we see the creator literally standing inside the world she was building. Belkis Ayón’s Nasakó inició (Nasakó Initiated), 1986, is a horizontal early collagraph dominated by three colors. A tall black, mouthless figure stands at the center with arms stretched wide and pale eyes turned slightly upward. White ritual markings sit on the torso and pelvis. Across the white ground behind him, rows of rough red fish swim laterally like a repeated current. Four squat yellow figures patterned with irregular black spots bend low on either side, their rounded heads dropped toward the ground; each has a dark circular opening near the base. The forms are flat, graphic and almost emblematic, yet the uneven printed textures keep every body from becoming a simple silhouette. This is Ayón near the beginning of the language that would occupy her career. Her first works on Abakuá date to the mid-1980s, while she was still a student. Nasakó is the diviner and principal religious figure in the origin story as Ayón studied it: when Sikán encounters Tanze, the sacred fish whose voice carries spiritual power, Nasakó binds her to secrecy. The fish repeated behind him therefore belongs to the story’s struggle over knowledge, authority and who is permitted to possess either. The palette also reveals an Ayón many viewers never meet. Before her famous blacks, whites and grays, she worked in strong blocks of color and geometric compositions; scholarship on this early period connects those planes of color to Cuba’s vigorous graphic-poster tradition. Even here, though, she is not simply illustrating ritual. She is designing an iconography for a tradition with little figurative imagery available to her, translating oral myth through printmaking and her own imagination. Six years before her mature monumental works, the essential questions are already present: secrecy, gender, power, sacrifice, and the right to tell a story from outside the room where its rules are made. Belkis Ayón’s La cena (The Supper), 1988, spreads a ceremonial meal across a brilliant pink field. Ten stylized, mouthless figures overlap in two rows around a long black table. Their bodies are fields of color and pattern: deep blue, burgundy, ochre, green, yellow, orange and black. White almond-shaped eyes puncture otherwise featureless faces. At lower left a tan figure hides part of the face behind one hand; a yellow figure bends intently over a dark bowl filled with bright blue fish; a green figure sits upright before a pale plate; and at right an orange figure leans across a dish holding a long fish. Small bowls, gourds, vessels and branches line the table like ritual objects. Fine incised marks and patterned surfaces complicate the flat, poster-bright color. Made while Ayón was still a student, La cena was first shown publicly in 1988 at Havana’s Galería Servando Cabrera. She built the huge scene from separately printed collagraph sections, pushing a print medium associated with the dimensions of a press toward mural scale. The composition brings different sacred languages to one table. Ayón connected the Abakuá initiation banquet, Iriampó, with the Christian Last Supper, but shifted authority inside both traditions. She explained that the dinner is populated chiefly by women, with only two men. Later scholarship identifies Sikán, the lone woman at the center of Abakuá’s founding myth, as taking the symbolic place occupied by Christ in the Christian model. The silence is visual as well as historical: these figures have eyes but no mouths, a device Ayón associated with women’s exclusion from Abakuá ritual speech. Ayón was not satisfied with this color version. For her 1991 graduation work she remade the composition in black, white and gray, finding those tones better suited to its existential drama. This radiant first version lets us see the moment before that decision, when her scale, mythology and visual rebellion were already fully underway. Belkis Ayón’s Nlloro (Weeping), 1991, is a monumental nine-sheet black-and-white collagraph shaped like a dark, irregular arch. A pale deceased body lies horizontally across the lower right, almost luminous against the black ground. Around it, a dense gathering of mouthless figures emerges through wildly different skins of gray: scales, dots, mottled grain, leopard-like spots and fine ritual markings. At far left a figure carries a drum. Near the body, a white cross cuts through the darkness. On the right, a towering black spirit raises white arms into a pointed shape above its head; its body is covered with linear symbols. Only eyes break many of the faces, making the crowd feel simultaneously watchful, mournful and unknowable. “Nlloro” means weeping and names an Abakuá funerary rite performed after the burial of an ekobio, a religious brother. Ayón did not document it as an ethnographer. She altered the ritual’s order, placing the dead man visibly at the center in a configuration scholars compare with a Cuban Catholic wake. Estate and museum research identifies the drum-bearing figure at the far left as Mpegó, priest of the signs, responsible for drawing anaforuanas, or sacred graphic marks, during ceremonies. The marked black figure at right is the spirit Anamangüi, charged with guiding the deceased spirit upward. That fusion is essential to Ayón’s method. Abakuá provided a structure, but Christian iconography, Cuban experience and her own imagination entered the image with it. By 1991 she had also abandoned her earlier bright color. Using cardboard matrices built from papers, sandpaper, carborundum, gesso and other humble materials, she produced an extraordinary range of blacks and grays, then aligned nine printed sheets into one 215-by-300-centimeter scene. The result is not a secret ritual “revealed.” It is Ayón’s authored mythology of grief, passage and power, made on a scale that turns printmaking into an environment the viewer must physically face.
October 18, 2026 at 2:04 AM
sillycored.bsky.social
it was a test print for when we were learning collagraphy
October 10, 2026 at 2:50 PM
myshezhabka.bsky.social
Cardboard collagraphy

self-portrait
September 23, 2026 at 2:07 PM
myshezhabka.bsky.social
Cardboard collagraphy

trial work - Still life
September 23, 2026 at 2:06 PM
highlandscurrent.bsky.social
"Rooted" presents an array of printmaking techniques. The show includes linocutting, lithography, chine-colle, etching, line etching, copper plate etching, wood engraving, wood block printing, collagraphy, silkscreening and cardiography. There’s also a cyanotype and a direct print. buff.ly/mylKx5m
August 12, 2026 at 2:45 PM
frasconi.bsky.social
Meanwhile, here are some pomegranates on a table.
“Still Life,” by Antonio Frasconi, 1959. Color woodcut & collagraphy, 34”x25” #antoniofrasconi
February 11, 2025 at 4:52 AM
oakmarie.bsky.social
Playing with collagraphic gel printing. #Art #Printmaking #Collagraphy
Shades of green geometric stacked house shapes.
January 4, 2025 at 8:27 PM
rodduncan.bsky.social
Collagraphy
This word is a nightmare for a dyslexic like me...
January 18, 2025 at 12:35 PM
gr8flbluejay.bsky.social
Alfred Kubin, Austrian (1877-1959), Vergessen-Versunken, 1903, photo-collagraphy, 36 x 45 cm
August 2, 2026 at 1:24 PM
apresnoonsky.bsky.social
Continuing experiments with collagraphy.
April 10, 2025 at 1:49 PM
alexfullerart.bsky.social
Collagraphy workshop by Dasha Klein at Spudnik Press with my friend Abby. We are both feeling like these classes have given us enough techniques to work with, and we’re ready for independent work. Time to let ourselves loose in the studio! 🔜
📍West Loop, Chicago
July 9, 2026 at 3:24 PM
sarahrossthompson.bsky.social
Everything is collagraphy
March 15, 2025 at 6:48 AM
rigbymel76.bsky.social
Love to local artists! This piece "Harvest Moon" (2013) is by my friend Aijung Kim. It is a collograph on paper and I bought a print of it which hangs proudly in my home. Here is her website, you should check her work out: aijungkim.com/home.html
#art #moon #printmaking
"Harvest Moon" collograph print (2013) by Aijung Kim A yellow harvest moon is seen in a blue sky with leafy plants in brown and greyish blue in the foreground. Collagraphy is a printmaking process in which materials are glued or sealed to a rigid substrate to create a plate. Once inked, the plate becomes a tool for imprinting the design onto paper or another medium. The resulting print is termed a collagraph. Support makers and artists!
February 11, 2025 at 2:35 PM
notbeforenoon.bsky.social
Art archive March 13. Pomegranate, collagraph. Collagraph is a process of using various materials on a rigid plate to create a textured effect.
Pomegranate , a collagraph print. The shape of a pomegranate in fine lines, cut in half with seeds inside. The ink is dark red and the unprinted areas are raised. From Wikipedia: Collagraphy is a printmaking process in which materials are glued or sealed to a rigid substrate (such as paperboard or wood) to create a plate. Once inked, the plate becomes a tool for imprinting the design onto paper or another medium. The resulting print is termed a collagraph.
March 14, 2026 at 9:56 AM
jadeddrag0nz.bsky.social
Separate post just for this specific #print. I loved how it turned out! #art #printmaking #collagraphy #blackandwhite
Textured Collagraph print.
February 23, 2025 at 5:08 PM
jadeddrag0nz.bsky.social
Hey, everyone🐲👋🏻👋🏻 just joined.
I wanted to share my very first #print ever! I just got access to a #printmaking shop, and it's been a very fun learning experience. Especially using the #collagraphy method.
A collagraph board with multiple textured items glued to it. Print #1 print#2
February 23, 2025 at 9:25 AM
printmakerscouncil.bsky.social
Our members use:

• Intaglio – Etching, Aquatint, Drypoint, Mezzotint
• Relief – Linocut, Woodcut, Wood Engraving
• Planographic – Lithography
• Stencil – Screenprint / Serigraphy
• Monotype / Monoprint
• Collagraphy
• Digital & Hybrid Media
• Photo-based Processes
• Experimental and Expanded Print
April 25, 2025 at 9:33 PM
normandiecj.bsky.social
Morning. ☕

I hope you have a moment to share some of your collagraphy efforts with us next week.

Bonne journée. 🌷
February 25, 2026 at 7:36 AM
danwoodswriter.bsky.social
A #bts look at a section of my ergodic anthology "Star-Spangled Serpent"

Available only on my site and high-quality copies can be gotten by request!

www.danwoodswriter.com/appendix
"An Appendix" - Political Art Collages by Daniel Woods - Collagraphy Gallery — Daniel Woods - Writer
Explore Daniel Woods' political collagraphy art collection featuring "An Appendix," a supplement to WIP "Star-Spangled Serpent" anthology, with political commentary.
www.danwoodswriter.com
June 14, 2026 at 5:09 PM
danwoodswriter.bsky.social
Behind the scenes look at my #WIP "Star-Spangled Serpent"!

This is an ergodic section called "An Appendix"

www.danwoodswriter.com/collagraphy

#amwriting
Collagraphy — Daniel Woods - Writer
"An Appendix" - A behind the scenes look at Daniel Woods' upcoming ergodic, speculative fiction anthology: Star-Spangled Serpent.
www.danwoodswriter.com
June 25, 2025 at 3:29 AM
danwoodswriter.bsky.social
Alternative Media (2024)

Digital Collage of Historical Media; by Daniel Woods

Part of a WIP collection of short stories.

#art #digital #collage #history #news #media #booksky #writer

www.danwoodswriter.com/collagraphy
"Alternative Media" - Digital Collage - Daniel Woods A collection of news stories and clippings displaying resistance in average American media of the past.
January 20, 2025 at 2:47 AM
hmmgrr.bsky.social
After over a decade of cartooning, I'm finally embracing speech bubbles
Collagraphy plate drying Second collography plate drying
March 20, 2026 at 7:16 PM
hmmgrr.bsky.social
Most people seem to spell it collagraphy but i think collography looks funnier so I've been spelling it like that. Here are my first two test prints
Collography print Collography print
March 19, 2026 at 5:53 PM