The best way to transport my Kolladraws from the virtuell into the physical world, is to print them on transparent foil.
It took me quite a while to come up with this technique, so many of my older pictures are printed on different kinds of materials, papers, metal, which is alright for most. Some even look better with the kind of shine satin-paper produces. But the dark ones tend to become invisible on paper.
So the premium way of printing Kolladraw is transparent foil, much like the one used in illuminated advertising.
For that kind of printing, I work closely with an expert printer, an old master of his trade, Achim Schaub, whose huge printing-machine achieves beautiful results.
Everything else, I do myself, hit my left thumb every once in awhile and still enjoy every bit of the process.
To frame the Kolladraws, I bring the foil onto a translucent material. I prefer non-reflective glas, but plexiglas has its advantages, as well. Again, the choice of material depends on the Kolladraw and the future of the picture. The size of the frame, too, because in a huge frame, glass is extremely heavy, and increasingly vulnerably, as well.
This is actually the most difficult of the mechanical processes, and I had to buy special equipment to place the foil as perfectly as possible (for a bumbler like me) onto the surface.
Then I have to put a background behind the glass, again, differering per picture. I like to use Simona-plates, which are smooth, slightly shiny, and create beautiful effects by reflecting light back through the Kolladraw.
Another time, a warm-colored Art-Cardboard might be the better choice.
The most important aspect of the work is now, to bring surface glass and background materials absolutely plane, evenly and firmly together into the frame. To achieve that, there also has to be a sturdy back-panel fitted in. To secure all this, I usually nail it together, and that is of course where my left thumb comes into play.
I exclusively use antique, or vintage frames, or create constructions by myself, using different techniques, which one at a time again depending on the individual picture.
I also like very much to
use my pictures as windows, much like those in churches. For that, they have to be printed in a special 4-time-procedure. This process was developed especially for me.
The Kolladraw is there fittet precisely onto the size of the window, printed on plexiglass and can be fittet into the windowframe, on top of the normal glass.
In any case, a Kolladraw printed and framed by me, is a special experience, multilayered on every possible level, and quite unique.