Printed off a test print of Diver III, but really unhappy with the wonky lines. I’m already working on a redo! Hoping to be able to print a test next weekend.
Tried printing with silver ink today under my two Diver prints. They look great, although the silver is quite subtle. I need to clean up the silver plates because there are registration issues on both. And I’m not sure whether it’s because inks don’t layer over metallic ink very well or whether it’s because the silver ink may not have been 100% dry, but the blue ink is patchy in places. I don’t hate it, but it would be good to know why it’s happening for future reference.
Second in the series. Things to fix: her face, the size of the board and several of the lines.
I also have the remaining 3 in the series thought out. I just need to start getting them onto paper now. All added to my To Do This Weekend List (also includes finding kaya jam on Victoria Street in Richmond :-/).
Woohoo! My first multiple plate print! This smaller print (using up spare bits of lino) was useful in showing me what does and what doesn’t work with multiple plates. I still have a few things to work out in terms of that process and I need to think it out first before trying again. But this… this was helpful.
On a very positive note, I feel that the 3 shades of grey that I used were well distributed in terms of shade. (But her hair is too dark.)
I based this print on a photo I took several years ago in London. I just loved the curve of the belly of the underpass and I thought I’d try a different inking technique in an attempt to portray the curve. I think that, at least, was quite successful. Other things were not. This was another reduction print and in this instance the limitations of the reduction process were pretty obvious by the time I had printed the second layer (of 6, I think). As a result, I’ve only got one fairly decent AP print. My intention is to do it again – larger – using multiple plates instead of reduction.
Finished this 5-layer reduction print. I’m fairly pleased with it but there are bits that I wish I had done differently. Actually, I think no matter what I do with these linocuts/prints, I’ll always feel I could have done things a little differently or better. I suppose that’s just part of the learning process and I accept that’s how I’m probably always going to feel.
One in a series of 5 prints I have planned. I’m pleased with the way this came out. I printed two versions – one with dark grey over a pale grey background and another in process blue. This was a reduction print but I think in future the other 4 divers I do will be multiple plates.
I have two plates ready to go tomorrow and I’m planning a third one in my head. Hopefully, I’ll be able to get that done and ready for printing along with these two. All three will be reduction prints in several shades of grey.
The print below is based on a photo I took several years ago in London. I loved the curves of the overhead freeway and the path along the river.
I also have some blue ink to try. I’ll be pulling a couple of prints of my anemones/circles in the blue. The new ink is soy oil based, which apparently dries quite slowly. Off to MES for cobalt drier tomorrow. And… maybe… a couple of Pfeil cutting tools!
I’m so pleased with this! For the past several weeks I’ve been working out the best way to register prints to ensure these reductions print well. (Registration means to keep the plate and paper in much the same position for every layer of ink.) The WetCanvas forum was very helpful in my research and I also purchased online from a company in the US (Ternes Burton) a package of registration pins and tabs.
This has 5 layers of different greys, starting with the lightest grey and finishing with the black. I printed them all over the course of last weekend and they’ve been drying on the floor. I need to find a different way (ie. less space consuming) of drying prints.
It’s an edition of 10 and is 30cm x 30cm, printed on Somerset 250gsm Satin White.
I once saw a photo of a collection of dried anemones (shells?). They looked so beautiful all clustered together in their varying colours and that image has stuck in my mind for decades. I guess this linocut was inspired by that memory of the photo. I’m keeping this cut as a varied edition of 25. I intend to print it in different colours in the next few weeks. At the moment I only have black and white inks, but the intention is there to experiment a little more – especially with the reductions.
Hooray! After all those months of trying to print this linocut using a baren and everything else I could think of and ending up with very sore hands and wrists, this is how my new press prints my linocut! Love.
Unfortunately, I’m so sick of printing and reprinting and rereprinting, I’m going to stop at a very small edition of just 3 (I don’t even have an AP). But I’m so happy with the results! So much better and more even than my wooden spoon efforts!