Work in Progress- Day 3 of carving the Lino Cockerel

When carving a lino it is the negative (what will be white) that I am removing from the lino. With no tone it can be difficult to see what lines you want to keep, the positive (colour) and visa versa. 

TIP: I find a really good way to see what the image will look like as you are carving is to use at least a 9b pencil and rub over the lino surface, similar to a paper rubbing. Saves ink and paper if less proofing is needed.

What I find irritating about paper rubbings, when you want to see the positive line impressions as it would print,  is the paper moving and also it doesn't pick up the finest detailed lines.

I think about another half a days work and then it will be time for proof printing. Really excited about this print, will keep you posted as the first print will be given away in my first big freebie and we all love those right? :)

New work...

Carving a beautiful bird lino tonight, a sneak peek... Think I may give the first print away in a competition, watch this space :)

Collagraphs and Inspirations

Collagraphs and Inspirations

Ursula Leach- Seeds Escaping

When I attended university I experimented briefly with creating collages which I then went on to print images from but never really pursued this method further and focused on etching. Having come back to my roots recently and studying different methods of printing I have been particularly interested in Collagraphs.

Brenda Hartill and Anita Klein-Heavenly Bodies 

This method is largely experimental and can combine both intaglio and relief techniques. A good book which illustrates some of the techniques involved is published by A C Black;

"The Printmaking Handbook, Collagraphs and Mixed Media Printmaking" by Brenda Hartill and Richard Clarke.

Above: Sean Harris, A series inspired by retelling childhood nightmares and Welsh Pagan Folklore and Legend

I am looking to combine plates and methods in the coming months and I hope that using Collagraph techniques will allow me to explore texture in a much more experimental way using found materials rather than acids involved with etching.