Sheep and Poppies safely graze

My most successful designs come when I am drifting off or doing something else, and my latest lino cut, 'Safely Graze' was scribbled out during a meeting. My ADHD means I find it hard to do many everyday things, but I find I can concentrate better on what's being said if I have a pen to doodle with on my works notepad. Thankfully I work in an enlightened and supportive environment, so I'm not only allowed to do this, but am encouraged to do so. Once I had the basic idea down, I worked it up at home into a more solid sketch and began carving it out. It's a tense time, as I fear making a wrong cut and stuffing the whole thing up. 

As I was shaping the framework of the landscape, I realised it would work better with an extra tree line; the extra weight gives more balance to the weaker side of the design, where the white sheep's head is resting.  

I had thought this would be a straightforward printing, as it is only one colour with the red poppies tipped in by hand. However I had to sort out a recurring slippage problem with my proof press and went down a rabbit hole renovating my old nipping press, before finding a solution which worked with the proof press...all good fun. So that took several days off my schedule. But eventually, by the end of the week, I had a run going. I've decided to keep this one as an open edition, to make it a little cheaper than my last 'Summer in the Park' print, which was an editioned run due to how darned tricky it was to get the registration right. 

This one hasn't been all plain sailing, as the poppies are hand stencilled with pigment ink and I can only do a few prints at a time before my concentration slips and I start making mistakes. (I have a little cat design lined up next and it really is going to be simple and sweet!)

I have the first batch of 'Safely Graze' for sale here, in my Etsy shop; selling prints is helping me get through a difficult summer (as needle felt sales are very seasonal) so every purchase is valued and enables me to stay here a little longer. 

            

'SAFELY GRAZE' FOR PURCHASE HERE

Summer in the Park

This is the photo which inspired my latest print 'Summer in the Park'. Taken in early Spring when I met some co-workers for a rather chilly 'Wellness Walk', it captures one of the long, magnificent avenues of lime trees, which are later plantings from the 1950s, replacing older trees from the early 1700s. This was instigated by the then Park Superintendent, the renowned gardener Percy Thrower, who felt the older trees to be dangerous; at the time it caused quite a controversy, but seventy years on there are still around 250 elegant mature lime trees which seem to draw people to them, like bees to flowers. I began imagining what might be happening under the trees - picnics, reading, babies in prams sleeping - and perhaps, a little dog and its human enjoying a pleasant game of ball. So I began my first doodles and scribbles. This for me is the most interesting part; tweaking the design and making tiny alterations until everything works in harmony. 

Then came the lengthy process of registering the two colour blocks so that everything lined up correctly over the course of two printings per piece. 

This is quite nerve wracking, especially using a premium paper and I pulled each print through the press with great care and gentleness. I eventually had a batch of over 40 good prints which just needed the final, painstaking touch; the tiny red ball which the little dog is leaping to catch. I spent an evening experimenting with various methods, trying different printing implements and techniques, but I couldn't get a consistent result and one mistake would wreck the entire print. 

In the end I bought a little pigment pad and used a big type piece full stop, which did the job. Despite it's miniscule size, the ball is the focal point of the whole picture. 

Earlier this year, I reprinted an old lino block from my college days over thirty years ago, 'Little Red Coat'. I've been creating these little figures since I was a teenager and it's interesting to compare what I did then to what I do now. I can pick out similar characteristics, but there is something more joyful in my new print, as opposed to the quiet solitude of the older one. 

From a limited print run of 42, I have thirty 'Park' prints for sale here in my Etsy shop, and a few 'Red Coat' prints for for sale here, from a limited run of 30, as they sold very quickly. (Or click on the pictures for a direct link).

The old lino plate was pretty flattened by the time I'd finished and I won't be using it again. Now I have to do a quick tidy up and move on to the next one. 

Solstice Morning

The dawn view from the top field at 5am this Solstice morning. I find it hard to stay in bed when the sun is up and the birds are singing so loudly and so early. Even in the farm was quiet and for a short while, it felt as if I had the whole world to myself. 

I’ve been working on a new two colour lino print, using some lovely Cranes paper which a kind blog friend from long ago sent me. I have to work slowly, as my concentration isn’t very good, so it’s taken a few weeks to get it to the final printing stage. 

I’m using a lovely thick Cranes printing paper which was sent to me in 2008 by a kind blogging friend in America - I have kept this paper safe, even back when we had a chimney fire in the old cottage - hard to imagine that this photo was taken 16 years ago and how different life was then. 

I managed to get 18 sheets printed and hopefully can resume tomorrow after a nights sleep. 

Did you know - you can sign up as a free, non-paying member to my Patreon page, and access many posts for nothing, including this recent piece ‘Treasure in the Attic’, about how my ADHD affects my ability to do complex tasks such  as printing.

Monsieur le Roitelet and the Birds

Nearly everything I buy comes from the internet; the village has a couple of food shops, but that's it for anything useful to me; I don't drive and what buses there are, are infrequent, expensive and take a long time to get from A to B. Buying something like good paper, which really needs handling, is a problem.

However, handily, there is a brilliant paper merchant Paper Resources, literally just down the road from us. So in search of some really nice papers, I popped in to see them. Unlike a lot of paper suppliers, they are more than pleased to sell small amounts to individuals and the choice is fantastic; hence I emerged with a decent amount of gorgeous smooth, specialist papers, for about ten UK pounds, all handpicked by the merchant and myself, with much deliberation, including a wodge of hard-to-find Mohawk paper from the USA. Happiness!

So commenced another round of remembering how to print. Lino printing seems to be a bit of an ugly duckling in the art world - not regarded as sophisticated as etching, more akin to stamping or potato printing. However, there is a bit more to it than that. For a start, to get a really good, smooth print, the ink has to be rolled just so, the paper chosen to go with the ink viscosity and then the actual rolling of the ink onto the lino block is in itself a delicate operation, to get an even surface. I don't want edges on the print, so it mustn't be too thin or too thick.

That up above is a nice vintage Speedball brayer, which I was trying for the first time; I'm going to stick with it from now on as the roller is nice and densely soft, making the ink go into the block better than the harder rollers on my other brayers. I roll the ink out about an hour before using, to let it harden a little and get the right 'tack' - then it is rolled out thinly and again on a tray and then on a glass slab, until it starts making the right kind of light hissing noise. And only then it is carefully rolled onto the block, checking it from every angle to make sure that all areas are covered evenly. I look for a velvety surface like this;

To minimise ink getting where I don't want it, I use a mask while I'm inking up the block. The bed of the proof press I use has also been carefully raised up with various layers of paper and card, to get the depth of impression I want - even slipping a single sheet of newsprint underneath makes a difference.

And then yet another mask, for the actual printing.

The paper is held into place with a bit of tape, but I also like to hold it down lightly with my thumb as I make the first pull across, to stop slippage and misprinting.

I do two 'pulls' - quickly but carefully, not taking the roller off the paper, or it will slip minutely and give a double, blurred impression. It's a single, smooth movement and often goes wrong for me, with the first practise pulls. Here we go, with the first - the impression showing through.

And after the second pull. Now you can really see the deep indentation. Taking care to remove the paper so that you don't smudge anything, you peel the print from the block...

Breath a sigh of relief, as this time it came out well.

A now familiar sight in our little front room-cum-print-studio. Much has been discarded over the three hours of work and out of this lot, only a handful were deemed good enough to put in my shop.

Printed on the gorgeously smooth Mohawk Superfine heavy ivory paper, there are 14 copies of this printing of 'Monsieur le Roitelet and the Birds' for sale here at a princely £5.25/$8.

I'm really pleased to have managed that many, as it's a vast improvement on my other print runs and I think I'm getting back into the swing of it at last, after an 18 year break. Less bodge, more hurrahs.

If you are in or near Oxford, Simon of Paper Resources is going to be selling similar packs of paper at the Fine Press Book Fair on the weekend of 5/6 November at Oxford Brookes University, details here. I may well be going myself, to look up some old friends and seeing what's new.

(PS - There is a reason why my little man is called Monsieur le Roitelet, but I'll let you Google that one yourselves).

Printing little hare

I have been trying to organise my working days so that I don't spend it needle felting all day, every day. Love it though I do, I have many other things I want to produce. So I have been trying to take at least one day off per week to do something else. Time to unearth the old proof press, which has become swamped by books and magazines.

Time to find the little lino block of a hare I cut sometime in the winter and the block inks which I bought a few years ago and have barely used. Still in perfect condition.

A patchy first pull, but remembering that it takes a few inkings for the block to saturate with ink I do some more on test paper. The quality improves.

And with a bit of sweat and swearing, progress is made. Nice thick paper which has been saved for such an occasion is finally utilised. The eagle eyed long-term readers of this blog may spot the fabric hanging on the other side of the beam - yes, it is still there, my fabric stamping efforts from - goodness me, March! What happened to the time?

Some of the prints even come out moderately well. (Considering it's been a very long time indeed since I last did this).

At the end of the afternoon, everything is mopped down and replaced. It is as if the flying print-room had never existed. Except of course, for the long washing line of drying hares.

Later, a few of the best ones are popped into my Etsy shop, at pocket money prices. Just to see if it's worth carrying on with.