The Terrace, Lino-gravure

My terrace : photo by Mary M Payne

This is a picture I took of my terrace.... it shows the two silver rocking chairs made from teak that I bought from Silvia before she moved out of her mas ( large french country house) . They are featured here as is their little table where Monsieur and I have our tumbler of water each morning after our walk and our breakfast in summer. 

There are several ways to cut a piece of linoleum for printing and this time, with this photo as a guide,  I wanted to try to create different values by the lines themselves and how close or far apart they were.  

So first I cropped the picture to what I thought would give it more interest.   My thinking is that the brain should work a little bit to figure out what the picture is...it makes one want to move into a picture.  That was the idea of why I cropped it this way. 

   I  like the shadows that are created and I wanted to emphasize those too.

Photo by Mary M Payne

Here is the finished print:  I use the cut lines to create light, medium and dark values.  I used a different cut to indicate the garden but left out any sign of the balustrade.  

The terrace, linocut by Mary M Payne

 This, I think, is my favorite of the prints that I did this year.  Ironically, you won't see it in the end of year exhibition at the school ( although you will see three of my other works). 

 The instructor felt that there weren't enough "darks" in the print and that she couldn't figure out what it was!   I would be interested to hear what my readers have to say about it.  Did you recognize it as a terrace with two chairs?  Does it matter that you recognize what it is ? 

   Art is so subjective, now isn't it? ...... or as was written in 3rd century Greece:  "Beauty is in the eye of the beholder".  

End of Year Evaluation: Gravure

It is a lazy Sunday and there is a noisy summer storm in progress.  I have the summer off from the printmaking class and I am in the process of looking through what I have produced...  seeing what was successful and what was not.

   Examining the finished work,  I can see that there is room for improvement and some prints I will try again.      Too bad archival paper is costly....as it is difficult for me to actually put prints in the "poubelle".   However,  if I were doing an edition for sale , many prints would most certainly end up as trash.  

The biggest problem I seem to have in my current classroom situation is "impatience".     The large press in the studio at school is coveted by all the students as it takes large paper (preferred for exhibition) and is more accurate for lino prints than the book press we have at our disposal.  But though the large press prints both metal and lino, the instructor is reluctant to re-regulate it for each new class every three hours.

To print linoleum blocks on the large press,  it is required that one  take away the blankets and substitute runners the height of standard linoleum.  The instructor must also change the tension on the press.  Since she is the only one allowed to make these adjustments, it is up to her if we get to print our preferred plaque at class each Wednesday.

  I think when she puts on the "green light" for us "lino" students to use the large press....I get excited to do as many as possible.

Lesson number one:   Slow down and concentrate on each print each step of the way. ...  better to do just one then have to throw some away.

I have a single two toned print to show you today.    This is taken from a gouache painting I did years back and I intended to make it into a linoleum reduction print.   However, I found that the size of "lino" I had chosen to work with this year was too small for the number of details required and the number of colors I wanted.

Painting by Mary M Payne

 I have carved the painting as a simple lino and printed it below in a two tone print about the size of standard French A4 paper.  The coral color oil based ink went on and dried for a week before I put over the black layer.

 It is also difficult to roll out two colors at school as we have a very small glass area that everyone shares.    Otherwise I would have tried "wet on wet" which means printing the black immediately after the background.

 I reversed the print on this design as I didn't feel that was critical to the result.   I have experimented with several new techniques this year.  This one reminds me of a silhouette ...as done by paper cut artists like Kara Walker.   http://learn.walkerart.org/karawalker

Linocut engraving by Mary M Payne

Chine Collé : Bike

Chine Collé with Michelin Guide: Mary Payne

 As I have explained in an earlier post,  Chine collé is a technique in which one can affix a piece of paper ( usually colorfast Japanese tissue paper)  under a print so that it becomes the background as the print is laid down. 

Being in France, old Michelin guides are easy to come by so I cut up a piece of the map and glued it with traditional glue starch to make this print. My plate had already been prepared as an aquatint of a bike and shadow inked in black. 

Just the printing process required that I:

1.  Wet the paper and the map thoroughly and set it between two sheets of old newsprint to soak for 10 minutes. 

2.  Inked my copper "plaque" with oil based black, wiped it with three different pieces of tarlatan and hand wiped the plate and set it aside. 

3.  Soaked the BFK Rives receiving paper for about 10 minutes,  dried it with a towel on both sides until it was damp.

4.  Spread glue with a brush... onto the damp paper surpassing the area of the print.  

5.  Removed the damp piece of map and placed it face down on top of the inked copper plate. 

6.  Centered the plate on the press and then measured off the amount of margin I wanted on each side in order to center the paper. 

7.  Dropped the paper on top of the plate (and map piece) and placed the blankets ("linge")over the whole. 

8.  Turned the crank on the press to run the plate through the press. 

9.  Slowly peeled back the paper (in case the glue was not adhering to the paper) and pulled off the print. 

The second time I tried the traditional paper which  is finer than traditional tissue paper to be used under the inked plate.  This time I spattered it with ink before using it.  Next time I will use a wash of acrylic instead of ink because that will not mix with the glue.  I was being absent minded again when I grabbed for the ink.   Also I needed to dry the finished print between two sheets of blotter paper under a pile of books for at least a week.  I didn't do that either and so I have a ripple in the middle.  I will have to rewet it and try again.  Print making teaches Buddhist "mindfulness" if you stay at it long enough. 

Chine collé : Mary Payne