Studio photographs and work in progress
The Rochat Press 2013 new casting
Studio
based on an 1854 Ullmer press
Preliminary drawing size A4. As can be
seen below, nothing is traced. The sketch
is reversed and redrawn on the lino.
Ink on a glass slab, blending colours
There are two lino blocks used. One of them is the Key Block (black) and the other is the Reduction Block used
several times, cutting away more and more lino.
A finished print is a combination of layers of ink and is in an edition of 50 prints. In this example case, there are four layers
of ink comprising blended colours. The images below are from the linocut ‘Starlings and Poppies’ (Click to enlarge)
Stages in printing a linocut
Lino cutting tools
Design and drawing on lino. This is the Key
Block and will be cut and printed in black. It is
usually the block that is cut first, printed, and
the print immediately put face down on the next
blank block of lino. This offsets an image similar
to the drawing above, and shows where the
final black will print on top of the colours.
First printing. This is the colour Reduction Block
which has had the black block image offset
to create a ghost image of the final black on the
colour block. The first printing has to be done on
the entire edition as this printing block will be cut
again and again.
Second printing. The colour block has been
further cut and the poppies cut out. The sky
area of the block has been completely cut off.
An opaque green, shading to a brown has
been printed.
Third printing. There is now very little left of the
colour block and all that is printed are some extra
details in shades of green. The white in these
prints is the paper. Some artists use translucent inks
but all these are opaque.
Final printing of ‘Starlings and Hares’. The black Key Block brings the whole
linocut together and gives it some depth. This is possibly the most difficult
block to print as there is no room for error. Black is such a strong colour
that the slightest unwanted mark can be seen.
