Pear Pop Linocuts

Here are some of the final prints of ‘Pear Pop’ linocuts with added collaged leaves after printing. I am planning an edition of 10 for each pear design. These linocuts are companion pieces to my ‘Apple Pop‘ linocut from last year.

Printed with Caligo relief water-based ink on specialist printing paper, Zerkall 150 gsm. The colour collaged paper is Japanese straw silk paper.

I will be listing them in my Etsy and Artfinder online shops soon. Apple Pop linocuts are available in these shops now.

(© Catherine Cronin)


Printing Pear Pop Linocuts

At last I’ve been able to start printing some new images this year; these are the first prints of ‘Pear Pop’ linocut with chine–collé (collaged paper), companion pieces to ‘Apple Pop‘ linocuts from last year.

I do intend to add more collaged leaves to these prints once the ink has dried – similar to the ‘Apple Pop’ prints.

Printed with Caligo relief water-based ink on specialist printing paper, Zerkall 150 gsm. The colour collaged paper is Japanese straw silk paper.

(© Catherine Cronin)



I visited the annual exhibition of work from the Society of Wood Engravers at Bankside Gallery this week – if you are interested in printmaking you have till tomorrow to see this exhibition.

Here are my favourite three prints from the exhibition in no particular order – it’s always the birds that get my attention time and time again. Click on the images to be taken to the artists’ websites.


Julian Witts, ‘Black Grouse’, Black & White Woodcut.



Peter Brown, ‘The Stalker’, Linocut



Rosamund Fowler, ‘Cherry Blossom’, Wood Engraving

Japanese Anenome Linocut in Progress

I have been working on my Japanese Anenome Linocut, 3 colours down and 2 more to go. This is a reduction linocut, which means after I have printed a colour, I remove more material from the lino block to print the next colour.

The design has changed a bit as I’ve been cutting and printing the block in reaction to the colours I can produce with the inks I have.

I have been using strips of mountboard glued to a plastic sheet to register the lino block with the paper. The registration has been excellent, but the strips of mountboard have embossed their shape on the paper print. Once I have a final edition of prints I will window-mount them so that the unwanted embossed effect is hidden.

(© Catherine Cronin)


Apple Pop Prints

I’ve been proofing linocut prints of apples. Initially conceived as a print exploring positive and negative space; I found it hard to resist adding colour. In this case I’ve added colour using the method of chinecollé; which means collaging coloured paper onto the white paper surface and then printing on top of that coloured paper.

To get the registration right you glue the coloured paper at the same time as you print. So once your linocut block is inked, you place your cut out coloured paper forms on the inked linocut block with the glue side facing outwards, then you lay your white printing paper on top and press as normal. 

For the below images I added the coloured forms for the apples and their attached leaves at the time of printing. Afterwards I collaged the other two floating leaf forms. I intend to edition these as I really like their retro mid-century modern feel. I’m calling them ‘Apple Pop’ because of the bright ‘popping’ colours of the collaged paper.


ApplePopPair1CCroninweb ApplePopPair2CCroninweb ApplePopPair3CCroninweb ApplePopPair4CCroninweb

(© Catherine Cronin)


Japanese Anenome Linocut – First Cut

I designed a Japanese Anenome linocut last year; you can see the different designs here. I am going to print this using the reduction cutting method; I have cut the block for the first colour, which will be a pale blue.




(© Catherine Cronin)

Letter G Linocut Design – Third & Final Colour Printed

I have joined a linocut group on facebook, where members can sign up to print a linocut letter for different themed alphabets. I have chosen the letter ‘G’ for a freestyle alphabet, image size 15×15 cm. You can read more about how I came up with my design here.

Here is the final print, the third colour printed was raw umber. I did this as a reduction linocut, where you keep cutting away more material from the block to print subsequent colours. Overall I am pleased with the result, though I need to improve my registration technique as I only had 5 good prints at the end – available for sale here. Printed in Caligo relief water-based ink on specialist printing paper, Zerkall 210 gsm.


(© Catherine Cronin)