Dunnock linocut

Following on from my Siskin linoprint, I have finally finished carving the first block of a Dunnock linocut.

Its about a5 size. And now I’ve carved it, I need to decide what to do next. I hear you cry, but didn’t you have a plan!? Well yes I had in mind what I thought I wanted this print to look like. But now I have printed the proof of this first layer, the black background again is very striking.

Proof on tissue paper , printed by hand

In my idea I would carve it out of the surrounding lino. But leaving it stark black and white with the inky blackness behind has an appeal. I found this with the siskin print, so left the block so I could print it like that as another option.

Any who, decisions to be made and my troble is I usually quite like all the options so find it hard to choose. I should do some sampling to help me decide, but that usually leads to me being distracted and not finishing original idea. Arrrgggh . These are all nice problems to have though, and this is just a nice place to write then down and have a think.

Putting things into the public domain makes me finish things more so than if I don’t share them , so thanks person reading this šŸ˜‚

Block before being inked

Viscosity printing on laser etched woodblock ?

Here I found a lasercut piece of mdf that was hanging around the workshop, and I thought I could use it to try a multi colour print.

It was engraved by the laser so I could of just inked it with a roller and printed, or printed it like an intaglio print. As there were different levels to the engraving I thought I would blend the techniques.

And at the time I thought I was doing viscosity printing but doing more research after, I did it slightly differently to the general way you apply ink in viscosity printing.

Viscosity printmaking is a way of applying different coloured ink onto the same plate, utilising the way ink will react to each other if they have different viscosity (thickness or oilyness)

Here is the plate after I had scraped yellow ink into it, as you would an etching or collograph plate. Yellow ink or at least the etching ink here is naturally runnier than other pigments, I don’t think I altered it with anything, thinking as it was going to be the lowest inked bits it wouldn’t matter ( not quite right!)

Then I wiped it with scrim…

Then I mixed an orange ,

I applied this layer of colour with a soft neoprene roller, the idea being the soft roller deposits the ink on some of the lower areas. When I rolled it over though, the orange covered most of the yellow I could see! Anyway I carried on with my next colour.

Contrasting pale blue I thought would pop out, and the idea behind viscosity printing is the layering of colours without them blending, so this colour would be a good test of that thought I.

Here is the plate before I rolled the blue on, which I made a stiff ink , by adding some chalk to, or magnesium carbonate works as well.

When I rolled the blue on with a firm roller, it did not stick very easily , because I had got the order muddled up. A stiff ink wont stick to an oily ink , but oily will stick to stiff.

Either way , into the relief press it went. I used damp paper and some felt blanket for a soft packing so the paper would be pressed into the blocks low places.

Here is one of the prints I took. I like the way the ink had blended on the highest points, but that wasn’t what I was going for. But cutting myself some slack, the ply wood had a textured surface so it wouldn’t have been a solid colour whatever I did perhaps .

It was an interesting block to ink up, and I learnt a lot about layering ink by doing it wrong and I’ve almost remembered the mantra stiff wont stick to oily… I think..

Thanks for reading, happy printmaking.

‘Kitchen lithography’. Its so easy !

You know those things that have been on your to do list since time began? 

Well one of mine was to have a go at kitchen litho, since I found an article on it at university. That was some time ago now! 

I finally had a go at it , and its amazing ! I will post a more in depth blog on it once i have practised it a bit more myself, but you can find information on it if you search kitchen lithography or something similar. It, compared to lithography in a studio , is a much faster , nontoxic way of getting drawing-like prints at home. Your print run would be small but it’s so exciting to be able to do it at home. 

Here are some pics of my first go…

The plate made of aluminium foil taped tightly and carefully to a piece of perspex, next to my first print from it.

Three prints, it started getting ink on the rest of the plate after this not sure why, more experimenting needed.

 I drew onto the tin foil with soft graphite, 8b and above. This was a quick sketch of a Dandelion. 

Any questions please ask