Cutting the Lino – Alhambra Arches 3rd Block Linocut

I have started to cut the third block for my linocut ‘Alhambra Arches’. You can read about the process so far here:

Starting a new Linocut – Alhambra Arches, First Proof – Alhambra Arches  and Second Proof – Alhambra Arches

This block will be printed second in the sequence.

Firstly I traced the areas I wanted to print from the line drawing proof print. I then went over the drawing again in pencil on the back of the tracing paper so that I would have graphite pencil to transfer onto my third block. Turning the drawing the right way up again and sticking it to my block with masking tape; I retraced the design, pressing hard and so transferring the graphite pencil to the surface of my block. Now I am in the process of cutting the design.

(Note: I made a classic printmaker’s mistake – I should have cut the image the other way round so that it printed correctly. I only realised my error once I proofed the print and realised it was wrong! See post https://catamongthepigeonspress.wordpress.com/2015/01/29/classic-printmakers-mistake-alhambra-arches/)

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(© Catherine Cronin)

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Second Proof – Alhambra Arches

I printed a proof of the second lino plate in lime green under the first plate in red. I have a third plate to cut for this multi-plate print. So far I am pretty happy with the results. What do you think?

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Apologies for poor photos, but my Internet is down on laptop, these are via my phone camera and 4G.

Images copyright Catherine Cronin

And Finally – Peru Bug Linocut Printed!

I have finished printing in a dark green the last print in my Peru Print Series; linocut prints inspired by designs and symbols on a Peruvian textile that I bought in the USA years ago. The last photo shows the green colour in the print better than the other two images. You can read about the three other prints I made here. This linocut will match in form the third linocut; Peru Standing Bird. This one is called ‘Peru Bug’, what do you think?

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(© Catherine Cronin)

Peru Print Series – Linocut cut!

I have finished cutting the fourth linocut in my Peru Print Series; linocut prints inspired by designs and symbols on a Peruvian textile that I bought in the USA years ago. You can read about the three other prints I made here. This linocut will match in form the third linocut; Peru Standing Bird.

Peru Bug

(© Catherine Cronin)

Peru Print Series – Last Print In Progress

I am about to start a new linocut print in my Peru Print Series; linocut prints inspired by designs and symbols on a Peruvian textile that I bought in the USA years ago. You can read about the three other prints I made here.

This fourth linocut will match in form the third linocut; Peru Standing Bird.

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(© Catherine Cronin)

Hand Colouring Linocut Prints

Hello, I have been hand colouring my pomegranate ‘Alhambra IV’ and ‘Peru Flying Bird’ linocut prints. Here are some pictures of them hanging to dry. In case you’re wondering I hang them via magnets on my metal shelves; a great space-saving idea for anyone with little room to work in.

Why hand colour prints? Why not print all the colours? My answer is that I always use any technique to get the desired result. I like the way that drawing ink sinks into the paper whereas the oil based printing ink sits slightly on the paper. The oil based printing ink is printed densely whereas the drawing ink has some translucency, I like the visual contrast. Unfortunately you cannot see this subtlety of surface in these photograph. Also I like the way that each print is even more slightly different, as well as the print impression being varied – the way the colouring is applied differs slightly too.

(All images and works under copyright © Catherine Cronin)

Peru Flying Bird linocut – printing the lino

Yesterday I was printing my ‘Peru Flying Bird’ linocut which is an accompanying print to my ‘Peru Big Cat’; both inspired by the designs and symbols on a Peruvian textile that I bought in the USA years ago.

As you can see I have used a multiple colour roll method for inking up, where you roll more than one colour onto the roller. In this case an orange stripe in the middle with blue either side. I have encountered some difficulty with this method, where the blue ink soon bleeds into the orange ink too much, resulting in the pure orange stripe becoming narrower the more times you apply the ink to your lino. The only satisfactory way I have solved this is by starting afresh with new ink after 10 prints, so not the most efficient method. Perhaps other printmakers out there have some advice on this issue?

I am pleased with the resulting prints; but will probably hand ink half the edition of this print as I have already done with ‘Peru Big Cat’. I like the way that drawing ink sinks into the paper whereas the oil based printing ink sits slightly on the paper, I like the visual contrast.

(All images and works under copyright © Catherine Cronin)