In the style of … I have chosen for this assignment my favourite American painter, Edward Hopper and his street scenes and landscapes.
July 2017: Another try at Words and Silence, more accurate drawing of the house and different ways of rendering the grass and the sky.
June 2017: Words and Silence – my homage to Hopper’s painting as a lino print. The block is cut into three pieces: the building and base, the grass and the sky. The grass was in the second printing brushed on and will have a beige colour added in the final printing. The sky will have a gradient colour from dark blue to pale blue/white.
The first printing was pale grey, the second is a darker grey and probably too dark. The marks on the grass were made on a blank lino block using a brush to give some texture.
The third printing will include some colour in the grass, a coloured sky and dark windows in the building
The next printing on the above image will be the grass and the sky, the former will be beige/tan streaks with a dark horizon and the sky will be a mid greeny blue to very pale greeny blue
This sky printing did not work – it looks like a flat area and not what I wanted at all I will need to do some monoprinting of coulds and dark areas on top of the colours.
So what have I learned from this printing? Lots! Firstly that you can mix methods on lino as I did some monoprinting with this print which I haven’t done before. Gradients don’t mix with textural lino prints they do work with screenprints which require flat colours.
- a) Do a better more accurate drawing on the lino
- b) have a much larger covered area for working
- c) keep everything spotless especially the tools and paperand clean all stains with oil and soap
- d) Spend longer between printings to work out exactly what you want
- e) Maybe be more experimental in the first printing which is a trial and which leads to a second printing
- f) mix methods, in this print I did some monoprinting on the grass and patio which work nicely for textured layers
- Don’t be afraid to play around but when you HAVE decided on a final print be accurate and all of the above elements.
May 2017: The first lino print one is Cafeteria and is a reduction lino print with two colours only pale and mid grey, it is a representation of a Hopper painting that had two figures inside.
The second one is a street scene: Early Sunday Morning. I love the way the light hits the street in the painting – it’s not so easy to do this with a two colour lino print! However I think it does in some way evoke an early morning with some sunlight.
2. Early Sunday Morning: Reduction lino print
In this street scene lino print I used a different lino which I find much better and less grainy it’s grey and more impacted and less soft, however you need to have sharp tools. I need to get some new tools and learn how to sharpen them.
I like the tones in this one – the white I used is Caligo and much better than the one I got from Cornelissons which is very runny.
Cafeteria printing :
This is the first printing – a mid grey. I had to remove the pen lines which marked the image and had problems trying to assess where to cut the second layer – I’ll have to rethink how to transfer an image to lino that stays.
I have since used less pen marks on my lino and worked much more in detail with the tools from the actual master image – this works much better.
The lino is soft and white – it’s quite grainy but nice to cut. The paper is a rag paper cheap from Cass Art – I won’t be using it again as it expands with the inks and buckles. I need to find a better paper, with size that is lightweight and doesn’t expand. This is a reduction lino print and the next colour will be dark grey and finally black.
Paper: I discarded the rag paper from the first block as it was useless, it expanded badly and lost shape and used A3 paper from a cartridge sketchbook, a smooth sized paper, 120 gsm – perfect! and nice results and I managed to keep the registration intact too.