I’ve been working on another lino block over the last few weeks, and on Wednesday night after work I finally got down to Edinburgh Printmakers Studio to try a few prints.
Here’s the block, alongside a pencil rubbing I did at home to show up any stray rough bits of lino. The designs are all ancient celtic knots and key patterns, all drawn using techniques from George Bain’s “Celtic Art: The Methods of Construction”
I wanted to try an image in black & white rather than the multi colour reduction prints I’ve been practicing with, and the prints came out great on Wednesday (I’ll post pics soon when I bring them home). I’m now wondering whether to just print an edition in plain black and white or to try a solid background under the design, or try a bit of masking to get a two colour design? Or do a bit of reduction? Not sure yet. Dither dither.
Actually the prints came out a little too well, in that I was a little annoyed to find I’d tidied up the lino a bit too much – it was too crisp! Luckily a few stray pieces of lino, along with some nice uneven cutting, were enough to show that it was a hand-made lino cut instead of something done on a pc but it’s obvious I went too far…. Another lesson learnt – I could easily have taken an earlier test print at home to detect this before I spent time tidying the block.
Pretty chuffed though all the same!
Oh, and as an extra bonus, the lovely Leena Nammari who is a technician at the Studio lent me these two fantastic books:
- Monotype: Mediums and Methods for Painterly Printmaking (Practical Art Books) by Julia Ayres
- The Instant Printmaker by Melvyn Petterson
My 3-year old is off to sleep so I’m away to read them with a cup of tea and a bic.