Lockdown printing

This work started before lockdown, but was only completed well into that time here in England. A multiblock linocut on Chinese rice paper that I called Dance of Hope. The central figure is in the Nataraja pose against a Sikkimese endless knot. This was a Bhudist symbol we saw everywhere in Sikkim in February, a time which seems a life time ago, but was only earlier this year. Hand burnished with a wooden spoon, this is the largest print I have made to date. Until I put the final black layer on, I thought it was a complete failure, the colours just didn’t contrast enough. But with the black it just worked. I only produced about five as hand burnishing is really slow and the paper is very fragile.

One copy is framed at the top of our stairs.

Linocut landscape

This has been months in the making and I don’t know if it has been worth it. Last summer I caught a glimpse of a landscape as I drove through Wiltshire. A single bent tree on a horizon of ploughed fields, with sun lit masses of cloud either side. I must have seen it for less than two seconds, but I have been trying to recreate it ever since. Final layer of colour on it today, but I am unconvinced. I may tackle it again one day.

New sketchbook

My wife had made some albums using an open backed spine bookbinding technique that I liked. It allows the book to open absolutely flat. I’ve made a sketchbook on the same format, using a variety of Japanese papers that I had. I’m not sure how well they will work in a sketchbook, but only trying will tell. I’ve used two lino prints as cover papers. I’m pleased with the result, but yet to try it out.

Lino printing with a press

I bought myself a small, manual press, which works surprisingly well. 

Basically, it is a lever press which about doubles your force. I use a bit of felt on top of the paper. I might try just turning it all over as the base is a dense foam. 

I’ve been working up another two colour print based on one of my favourite life sketches, my Neuroscientist. 

I took the easy approach. Photographed the drawing and traced it directly off the tablet screen at the block size. As a neat, simple outline, I think she looks good. 

Then another tracing, coloured up to show a white body on a black background. I thought the seat was far too prominent so had another go. Tracing paper is wonderful stuff. 

The balance between body and chair is better. As I did the body on one sheet of tracing and the coloured chair on another, it was easy to try out a black body on a white background. 

I went for this. It really emphasises the slanting composition. 

The block had to be carved in reverse, which tracing paper excels at. I used a proper transfer paper between the tracing and the block, which worked beautifully. Before I carved the body block, I decided to cut it down to square. This removes most of her face, which wasn’t working out well and would be hard to cut in lino. I think the balance works better as well. 

The first print from the press. Far better than I was getting by rubbing the back with a spoon. I really liked the look of this and wished I hadn’t bothered with the second colour. The line work has stayed clear. 

The whole printing area after I had pulled three prints. 

Second colour added, which looks good, although the registration is not great. I still think pure black would have been better. 

Mother and daughter, if that’s the appropriate expression. 

Two colour lino prints

I’m enjoying the lino printing. One thing I find hard is that it is slow. You need to take more time than I naturally do. 

I thought my dancing nude would look better with no background at all, a la Eric Gill (an artist whose work is a problem to me. I think it is wonderful, but I find him abhorrent personally. Always a difficulty.) 

I think she does look much better this way. Good thing as there is no going back when you have carved the block. This is on a light, Italian printing paper. 

Then I thought I would try a second colour. 

I like this too, on thin Japanese paper. The burnt sienna is just rolled onto a cut out bit of soft cut lino and hand positioned. 

The problem is I will soon have a house full of prints. 

Lino printing tools

Carrying on with the lino printing. I have made a simple bench hook, Eric gives a very solid support for the printing block whilst you are carving it. Again, an idea from YouTube. I have used bench hooks for normal wood working for years, to hold wood still whilst you saw it. This works just as well, especially if the link is glued to a baking block. Just three bits of wood, a piece of plywood and some glue. You can buy one for £20…

Looking through some remaindered books in a local discount store, I found a book on “Anatomy for Plates Exercises” which is actually one of the best artists anatomy books I have found. Strange what you find. 

Linoprint

This is something new. I was giving a beginners lino printing kit for Christmas and finally dug it out. Brand new medium for me. I tried to copy a pen and ink book plate which u drew when I was at school I think. Don’t know how it survived. The outcome is poor, but you only learn by trying.