Starting printmaking II: cutting lino

printing experiment 3

Fast and clumsy would describe this. I couldn’t at first find a fine gouge to take out clean lines to show the beaks. The cuts on the tail on the right would have worked better the other way round. Amazingly, the stark contrast of black and white still drives a striking image for all its defects, showing the power of this technique. Practice and more time and care will help this.

Below are the field sketches of the warring gannets used as the reference. I begin to see how I might collect the information on contrasts and shapes in the field sketches with the future prints already in mind.

20130618 Bass Rock gannets 4

20130618 Bass Rock gannets 10

printing experiment 2

printing experiment 1

I had another shot at this, trying to abstract from the sketch, putting in a first layer of colour and cutting more finely. Even so, ink filled my gouges and obscured the beak on the left (there was not time to clean this out and make a further print).

This was the second technique we tried in Kerry’s taster session at the Birmingham Printmakers

7 responses to “Starting printmaking II: cutting lino

    • Hi Cindy
      I just called by at your blog. You surprise me. You are an accomplished artist. I particularly like your varied “gaze” in a series of female faces.
      All I did was google “printmaking” and my city and found Birmingham Printmakers. They do courses. Actually, Birmingham Museum and Art Gallery is doing short courses this month. But is this near enough for you also?
      Good luck.
      Neil

  1. The marks you’re not happy with in my opinion give energy to bird movements. Some times lino or wood cuts can look a little too precise which can have a flattening effect which is ok if that’s what you want. To me these are strong images depicting a sense of movement.

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