Project 8: Reduction Method Linocut

I started this project before my feedback came back because I wanted to get something on paper - I was worried that I wouldn't have enough time to complete this module because I have two weeks in the middle in which I know I won't be able to work on it at all and I want it to be ready by the time I go to the UK on 23rd July. I, therefore wanted to chose a relatively straightforward image and work on a relatively small scale so that I could complete the project in reasonable time. This meant that if I did have any spare time. If I made good progress through the exercises I could then go back and develop more complex work, but there would be reduced risk of me not completing in time for my next deadline. 

The consequence of this is that I didn't spend a lot of time developing it in my sketchbook as I have now resolved to do with every project before going into print. 

My plan was to use a panting pug in the blues and purples of cyanosis because these animals have such problems with their breathing. In terms of composition I wanted a very claustrophobic feel to I severely cropped the image so the full face is not included and there is little space around the head. 

I made a drawing in water soluble coloured pencil in my sketchbook:

Sketchbook page showing drawing and
overlaid transparencies for planning layers

Then I started thinking about the layering of the image for reduction so I used traced out the areas of the different colours and drew them individually ob transparencies with I overlaid on each other to check my design:

I had encountered problems with the lino curling on my last multi plate print. I, therefore decided to rid myself of this problem by sticking the Lino to a solid base before I started. I placed the Lino on a sheet of metal (this is actually the plate of my tiny student etching press) using double sided sticky tape. I had drawn the registration directly onto the metal with permanent OHP marker. I stuck my registration pins to the metal and prepared several sheets of paper of different thicknesses and varieties by adding the tabs. This registration system worked well. I had been concerned that the double sided sellotape might not hold sufficiently firmly, but in fact it took all the punishment I gave it without budging a millimetre. The advantage of the metal as a base plate over wood is that it doesn't absorb the ink if you contaminate it while inking the lino. I was able to wipe stray smears of ink away easily using a damp cloth or a baby wipe. 


In the first layer I cut out the highlighted areas and also some of the background which I wanted to remain white. I printed this in a pale blue.

Proofs of layers 1 and 2 on newsprint

The second layer was for the mid tones. I carved out the areas which I wanted to remain the pale blue colour. I planned to print this layer in a purple and then a very dark indigo blue for the final layer. I was using process colours. Ideally I wanted to use these purely so that some of the colour underneath would show through as they are not completely opaque. However, it was clear that my fist attempt at a purple was far too dark and there would be little or no contrast between this and the final layer. Also there was too much red in this - it looked more black than violet:

The initial colour for the second layer was too dark.
Proofed onto cartridge paper. 

I tried adding more cyan which created a better purple but obviously didn't help the fact that it was too dark so it required white. This would also make the colour more opaque. It was on the addition of the white that I made a bit of an error. Normally when I use white I add the colour to the white but I wasn't thinking. I just added the white to the dark ink I had made. I required an awful lot of white to lighten the colour. Also because the colour had been so dark to start with it seemed very light in comparison when I stopped adding the white but in reality it should have been much lighter, This didn't really become evident as a problem until I printed the final layer. 

Proofs of layer 3 and the final reduction proofed
onto newsprint.

The final layer required some careful carving as some of the darkest shadows were quite thin wiggly lines in the creased face of the pug. I printed it using indigo as planned. It was at this point that I realised that my second layer had been too dark. The contrast between the second and third layers is insufficient. You can see the darkest shadows up close but from distance they seem to all blend into one dark purple tone. Of course, with reduction printing it isn't possible to go back and correct things because the matrix is destroyed as you move through the process. That's why it's sometimes known as 'suicide printing'.

I had used this exercise as an opportunity to try printing on various papers. I proofed each layer onto newsprint and then used cartridge paper, mulberry paper, Japanese kozo paper, and Fabriano Rosalpina. 

I really love the Japanese paper - it accepts the ink so well. I also think that when I want to work on a larger scale (I can only easily print up to A4 size in my jack press), this thin paper will be ideal for hand burnishing. 

Completed reduction print on Japanese Kozo paper

The mulberry paper comes in a range of colours - I like the textures in this paper - I have no idea whether it is archival though or whether it will degrade over time.

Completed reduction print on off-white Mulberry
paper

The Fabriano paper also accepts the ink very well and in the press there is a pleasing embossing effect. I plan also to try using this wet but this could cause a problem with registration on multilayer prints because the paper expands when wet and shrinks back as it dries. I think this paper would be less suitable for hand pulling prints because it is quite thick so it is difficult to get enough pressure by hand - especially on large flat areas. 

Completed reduction print on Fabriano Rosalpina

As soon as I can scrape together some cash, I will order some more of the Japanese papers to try.


Looking at the print now it is completed there is one more thing I would change if I did it again. I don't mind the incomplete clearing in the background - I think that the directional marks where the carved Lino has picked up the ink add some dynamism to the image. However, I should have spent some more time clearing or cutting away the upper right hand corner because the unintentional marks there are distracting. 

What I learnt:

• Planning, planning, planning!!!!!! (and lots of proofing) are essential
• Plan the colours of your layers before you start and then match the colours of the ink to your plan - don't just 'trust to luck' that it will all work out - you can't go back.
• When lightening a colour, always add the colour to the white. Adding white to a dark colour wastes a lot of ink and it is tempting not to lighten it sufficiently.
• Sticking the plate to a solid surface resolves the problem of curling.
• Double sided sticky tape works well for sticking Lino to metal.
• A metal or perspex solid surface would be better than MDF because it allows wiping away of stray ink. 
• Fabriano Rosalpina and Japanese Kozo papers are great at accepting the ink. The Japanese paper would be ideal for hand burnishing as I move forward.