Reverting to black today with two bird linocuts. I’m still coming to terms with when to cut and when to leave even with just one layer in play. The first one was made some days ago required additional cuts. The second is a case of gone too far and I’ve learned some more about playing with negative space.
Ibis at Adder Beach, Stradbroke Island
White-faced heron in local wetlands
I spent a rainy Saturday afternoon learning more about the joys of block printing. Messy is my middle name. I need to work cleaner with both the pencil and the inks, and be more consistent with the techniques. Still, there are many levels of forgiveness in the process and the results are never known until you peel off the paper. And learn as you go is the mantra.
It’s definitely paying off being a little more patient as far as the cutting of the block goes. Less is definitely more, and each level requires more concentration around what to leave and what to cut.
The starting point for this print was an old computer altered image of mine. The subject matter, and the fact that the image already had effects applied, leant itself to a little more freedom and play.
The reverse side of the tracing paper line drawing gets pressed onto the block
First cuts – what’s going to stay white.
It took a few proof prints before all the cutting was done.
The second stage determined what would stay gray.
One of the final prints.
A few weeks ago, spurred on by someone else, I started to play with linocut block printing. So far it’s going really well if you take the fun factor into account. Am seeing improvements each time, although still working out the right amount of ink to apply.
The biggest lesson is knowing when to stop cutting.
I’m using my old photographs and selecting those that don’t require too much detail while I’ve still got my L Plates on.
sentio 