Showing posts with label lino cut. Show all posts
Showing posts with label lino cut. Show all posts

12.10.11

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).

15.9.11

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.