I thought it would be interesting to write a blog explaining exactly how I make one of my linocut prints. This print, called Vale Raking Light is a great candidate for a thoroughly nerdy piece with plenty of technical detail and hopefully some helpful ideas.
Maybe take a quick quiz to see if this blog is for you before you go on reading: you meet a person at a party who begins talking about the rag content of paper. Do you a) wonder in bemused horror how much scraping your host had to do at the bottom of the social barrel to come up with this freak or b) glow with pleasure as you give up the next two hours and all pretence of socialising while you pin down why Somerset may or may not trump BFK Rives. I leave you to judge, depending on your answer, whether to read on or not…
Raking Light is a reduction linocut using traditional artists/battleship lino, printed in oil-based inks onto Fabriano Rosaspina paper using an Albion printing press. By reduction printing, I mean that the whole print is created from one piece of lino (which I’ll refer to as the block in this blog). After each layer of colour is printed, more is cut from the block until the print is finally finished and the block destroyed. This print has fifteen layers of inking in all.
I use Intaglio Printmakers oil-based inks with the addition of their extender and cobalt drier. Extender adds transparency to the inks, like adding water to watercolour paint. A scant drop of cobalt drier to a tablespoon of ink will speed the drying time of oil-based from days to hours. I use oil-based ink because I find it much more sympathetic to colour mixing: what you see is what you get. With water-based ink, the colours look edgier and often darker on paper as opposed to the mixing slab and can look chalky with the addition of white. Importantly I can work light to dark and, less conventionally, dark to light with oil in ways impossible in water-based ink. I also avoid the danger of the paper cockling with damp ink. This can be a problem with water-based inks, especially since I often work with many layers of ink.
Raking Light began with a sky spotted from the car. I lurched to a halt on the road into Aylesbury and took photos on my phone. Usually I make sketches too, but not this time, not on the A413. I used these photos to work up this design drawing ready for transfer to the lino.I assemble my landscapes in my studio with the help of source material. I’m far more interested in catching the feel of a place rather than making an accurate representation of a specific location. That way the viewer is free to make the landscape their own while I, in turn, am free to arrange the composition to my own satisfaction. You’ll see the land change shape later as the print progresses.
I made a tracing from my drawing to transfer the lino to the block. I use Polydraw plastic tracing film for all my tracings. Polydraw is completely stable, no swelling or cockling even if it is splashed with water, unlike conventional tracing paper. I flipped the tracing over to reverse it (so that the print would appear in the same orientation as the design drawing, rather than as a mirror image) and transferred it onto prepared lino using carbon paper. I prepare my lino by giving it a light sanding with fine sandpaper to key the surface and then stain it with red ink much diluted with white spirit. I wipe the dilute ink on with a cloth, leave it for a few minutes and then rub off the excess and wipe over with white spirit to finish. The carbon paper I use is office carbon and it can transfer to the print unless it is treated. To prevent transfer with oil-based inks, I leave the carbon to ‘set’ for an hour or so and then wipe over thoroughly with white spirit. This reduces, but doesn’t prevent, transfer when using water-based inks, for those I suggest making some sacrificial prints to allow the carbon transfer to fade before starting to print properly.
Below is the final result again showing the finished tree which I printed in one hit, highlights and all. I began with fourteen pieces of paper and ended up with fourteen finished prints. This takes a good deal of experience and nerve.
The reduction process doesn’t allow for test proofing or going back and printing more. If you are new to the process, either allow yourself some extra prints for mistakes or accept you could end up with a very small edition (I do remember going from twelve down to one back in the early days, necessitating a cry and probably some chocolate biscuits).
If you want to see the variation in inking you can look at the prints in succession here. Better still, if you’d like to buy one, click here. If you want yet more advice insight and help, you can scour my resources pages here or join me on Facebook or Instagram where you’ll find me as Laura Boswell Printmaker.
I’m always interested in what others artists do to create an image and the process involved. It’s like the little drops of knowledge that I am able to glean from reading your blog it really helps. The extender making the ink stringy I thought was just me mixing previous days ink with the next days ink to create harmony, and the loss of prints due to being a newbie. Thanks again for sharing.
Laura, I love your free painterly way of printing. It creates the atmosphere you want beautifully. I also think experimentation is essential to us discovering new and exciting things.
Amazing print
Fantastic explanation on your processes and what a glorious result. Thank you for Sharing with us. Bx
I do like that! And the details of process are fascinating , thank you; long time since I tried this!
Very interesting indeed, Laura. Thanks for sharing your knowledge & experience.
Lovely work Laura and so very generous of you to take the time and effort to share the aspects of your artist’s practice
Love your clouds. I would like to rework one of my color stacking prints and use the the reduction method. Your post will definitely give me something to think about. Thank you.
This is really interesting, thank you for sharing ( I found you via the Printfest FB page) . Does the painterly layer mean that each print in the edition is slightly different?
I also loved your post about the things people say to artists… I had to take lots of deep breaths at Art in the Pen last year after one too many people had asked me how it was done and then cheerfully told me they’d give it a go themselves! That or overhearing people standing nearby telling each other how it was done and getting it wrong ( I make cyanotypes and they were going on about indigo dyeing) Anyway, great stuff, I look forward to seeing more.
Kim, you can see the whole edition in this video. https://www.youtube.com/watch?v=1gQP3c7igL4
Thank you very much for such a useful and informative post. I learnt several things; to free up with the use of rollers, the existence of Polydraw (I have been looking for a film which won’t cockle with water based media to incorporate in an artist’s book) and that I definitely go to the wrong type of parties!
Laura, thank you, thank you, thank you! I feel compelled towards linocut, but there seem to be no teaching resources available in my part of the US, so the discussions here on your site are invaluable to me! You are so generous with your time to write all this up, and techniques.
Hi Laura,
I find the process of reduction linocut a little daunting. Let me explain. I understand the process BUT I do not have a press at home so I go to a print workshop where I can use their presses for a fee. That’s great for black and white images but if I want to introduce colour I then have to be prepared at the workshop to ‘reduce’ the linocut. This brings with it a few problems including drying between prints – I would need a few days before the 2nd and 3rd colour could be applied? Also the pressure of having to complete the set within a day or pay another fee for another day. This way the cost mounts up and since I can’t get daily access ( I have to pre-book weeks in advance) it also drags out far too long. And finally the pressure of having other people around when I’m supposed to be concentrating really hard so as not to cut out the wrong bit! Any thoughts please?
Hi Gordon, for what it’s worth, working from home I use a baren (or more often the back of the wooden salad spoon …) for smaller prints, instead of using a press. I built a simple A2-sized plywood jig that enables me to register the paper on the plate, and this process works okay for up to a few colour layers.
I have been seeking out an art form that suits me for eons and discovered lino printing recently, your website has been so informative and has helped me get off the ground!… so thank you for sharing so generously!
An American printmaker who spent three years living in Oxford (Or Upper Heyford), I am delighted to visit almost forgotten places again in your masterful prints…Thanks for your timeless explanations and humor in all things…My teaching (Advice?) is based largely on what I gleaned from time spent listening to and looking at English and Canadian artists such as yourself… Merely a “Thank You” is not enough, but “Thank You” again will have to do….
This is wonderful, thank you! I am teaching a group of 13-14 year-olds drawing and 2D design. The first thing in 6 weeks that they have all been excited about is lino printing, so I was looking for an example of reduction printing and landed on this. Gorgeous and inspiring.