10 – 12/08/16
Choosing an Image
Look around you for inspiration. …contains strong light and dark contrasts as well as a variety of textures and shapes.
In my new location in Lanzarote, I don’t have to look far for inspiration. From my window I can see picturesque little villas that follow a similar blueprint but that have been modified by their owners to incorporate their individuality. From my front door, I have a view of a spectacular volcanic mountain and at the end of our road there is a dramatic rocky, volcanic coastline with the Atlantic Ocean crashing against it.
I made sketches of a neighbours villa and, during my morning dog walk, I sat on the rocks and drew a little view of the coast. I had previously begun a painting of the mountain, Montana Roja, from a sketch so decided to use that also as an option.
To help me decide which image to use as my main single colour linocut, I made simplified drawings of each on black paper with white pencil to aid the visualisation of any subsequent print. This was extremely helpful, as the thinking in reverse or negative is quite tricky if not used to doing so.
As noted in my sketchbook – I was definitely leaning towards choosing the mountain as my image, but decided to wait until the next day and sleep on it.
Planning your Image
Using your developed sketch you are now going to transfer the design onto black or any other dark coloured paper. This will represent the way your cutting in the lino will appear when printed. It also helps you understand the way cutting areas away to represent the white in your design works.
Ah – and there was me thinking I was “cheating” yesterday. This was definitely worth doing and has endorsed my first choice of the mountain to make my main image.
Reverse your Design on the Lino
Now this will teach me for thinking I was clever earlier. With so much brain intervention, I did indeed trace the image to transfer it to the lino but inexplicably, forgot the “turning over” bit. I reproduced a simple outline of the image and transferred it the same way round on to the lino!
As advised, I cut the basic outlines to establish placement and then using the white on black drawing as a guide, cut textured marks to help describe the fissures, contours, shapes and tones of the mountain. I referred back to the mark making exercise linocut to help inform which tools to use and how. I was keen to ensure that the silhouetted rear peak was clear against a lighter sky, yet maintained the dark sky where the sun hit the main summit.
I took a few proof rubbings to test the effectiveness of my cuts, and found I needed to lighten the sky over the dark peak, sharpen the outline of the mountain and also integrate the light and dark areas of sky. (Some of this was clearer after the first one or two prints I must add.)
Even the proofs did not alert me to the fact that I hadn’t reversed the image – they, of course being rubbings, came out the correct way!
Printing your Lino
I decided to stick to black ink as it commands a sense of drama that is befitting a mountain! I prepared some A4 sheets of paper, using newsprint, some inexpensive cartridge paper and some specifically purchased medium weight printing paper. I had bought some equipment and paper prior to leaving the UK, however, as it was in a container goodness knows where for 3-4 weeks, I’ve completely forgotten what paper I’d ordered – so a surprise for me!
After printing a couple of runs on newsprint first, I decided to sharpen some cuts and extend the lighter sky as mentioned above. My initial euphoria at viewing the printed image was dampened by the frustration of the realisation that I had not reversed the image before cutting! How disappointing! I am still pleased with the marks and texture, it’s just back to front. Well, mistakes are for learning from!
Below are the three best prints out of the batch:
I think my favourite, being on bright white paper and probably the sharpest print is the cartridge paper.
What went wrong?
- A little more sharpness and clarity in the main outline would be better
- The lighter sky area could have been stronger on the left edge
- Yes it would have been a truer image if it was reversed
What went right?
- The effect of the sun worked just as I’d hoped
- Using hatching techniques for the distant tonal variations
- The silhouette of the most distant peak
- The contrast of black on white, and white on black contour lines
- The fissures, peaks and troughs
- Textural marks
All in all, if it wasn’t for the main error (probably don’t need to point it out again!), I am really pleased with this. It is something I have noticed previously, in human and animal portraits and some landscapes, that if I have an affinity with the subject, I feel I have a more successful outcome.
What do you have to take into account in order to create a strong single-colour design?
- A definite focal point or subject
- High tonal contrast
- Simplicity of motif
- Opportunity for textural mark making
Can you find suitable new drawing techniques which translate into a linocut that have not been included already?
- Making strong 3 dimensional shapes with blocked tone
- Using contour lines to describe shape and form rather than outline
I know I will be tempted to try this again – the right way round – in the future. I have after all done all the planning – it’s just cutting and printing!