Linocut in Progress: Finishing the goldeneye

Okay, then... let's try to find some sort of resolution for this piece, shall we? 

Of course there must be more chaos first. 

The male goldeneye is a wonder of bold, graphic, black and white plumage. Which is why I needed to stop and make the head green.

I assure you, this makes perfect sense. Well, maybe not perfect. But some sense, certainly. Because of course there is some light shining in this world of ochre and brown water, and when it does it will create a patch of sort of iridescent green in the dark feathers of the bird's head. So: Green.

Reduction linocut in progress: Step 11 rollup

The roll-up looked alarmingly green, but remember it's printing over a mid-tone ochre (excuse me... I've been told I should call it caramel) color, so it will lose some of its green-ness. Like this:

Step 11 printed

Yep. This all looks like a chaotic mess right now. Time to try a bit of unifying... um.. brown... to bring it all together and help me see what needs to happen next.

Step 12 rollup

And it does help. I think the water is 95% finished now, so most of that material will come out of the block. However, there is the little problem of the bird's eye and the reflections of the eye needing to be more yellow. 

Step 12 printed

Here was an opportunity to make the concept of "spot inking" quite literal. Little spotty masks and some brighter yellow added... let's call this Step 12.5:

Step 12.5 printed

Okay. I think that will do for the yellow. Let's focus on these last dark bits to bring it all together.

Step 13 rollup

Some not-quite-darkest shapes need to go in the water, and I want to get another bit of subtle tone in the bird, so I rolled up this not-quite-black.

Step 13 printed

Ooph. This is a super-contrasty photo, so it hardly seems like there's room to add one more dark, but there is, and it must be done! The bird and its reflection get the only ink application here. You might notice that I didn't carve away the rest of the block. The prints were dry enough that the remaining un-inked areas weren't going to cause any problems, so I just left them. 

Step 14 rollup

Finished! And here's a proper scan that gives you a better idea of the value balance than the previous in-progress photos. It took me a silly amount of time to settle on a title, but I got there eventually.

"Spot of Gold"
reduction linocut, edition of 20
©Sherrie York

A larger image can be seen on my website... and the first print of the edition is already winging its way to Ann Korologos Gallery in Colorado. If you find yourself in the neighborhood, stop by and give him a wave. 

Linocut in Progress: Changes big and small

Back to the current linocut in progress. (Although, spoiler alert: It's already done and a framed print is already on its way to Ann Korologos Gallery in Colorado. It's probably not correct to call it "in progress" if it's already finished. But maybe I'm overthinking this.)

ANYWAY... After all that mucking about trying to find the right blue, it was a bit of a relief (see what I did there?) to get some straightforward swaths of ink on the block.

Reduction linocut in progress: Step 7 rollup

It feels a bit odd to be using all this warm color to create water reflections, but that's what drew me to the image in the first place. Getting the mixes rights has been a bit more challenging than expected; it was easy to go too dark too quickly.

Step 7 printed

And then, as if a lot of ochre water wasn't weird enough, it was time to start adding brown.

Step 8 rollup

But wait! This is a goldeneye, if you aren't from the Americas and haven't already guessed. Golden. Eye. Can't let the bird's head get all dark and gloomy before its eponymous feature is added, so it was a good idea to mask out the bird at this stage.

Step 8 mask

Okay, then. This is looking... odd. It was at this point that I really started to question all my life's choices. Was this going to end up looking like anything nice at all, or was the entire thing a bad idea? These thoughts are pretty typical in the middle stages of a reduction print, though. At least that's what I always tell myself. "Keep going. It might resolve okay. Hopefully. Surely. Maybe."

Step 8 printed

But if you think the water looks rather busy NOW, just wait. It's about to get really psychedelic. 

Step 9 rollup with mask

Look at all those crazy squiggles! Honestly, this was quite fun to carve, although it took longer than expected. I believe I added a bit of blue to the brown at this point... feeling a need to pull a little more coolness into this overly warm color palette.

Step 9 printed

And now for the point at which I had to summon all my patience. The temptation to run on and just finish this crazy water was high, but I have put off some of the bird details too long already. The most immediate need is to get that golden eye (and its reflection) on the paper.

Step 10  spot ink rollup

I realize this yellow looks almost absurdly bright, but remember that it is going on over a bunch of mid-value ochre. I made this ink as opaque as I could while still staying bright yellow, and then cut a mask to at least roughly contain it. I'm not worried about these shapes being much larger than they need to, because I know I have a couple of much darker passes to go over them later.

Step 10 mask to contain color

As expected, the yellow wasn't opaque enough to cover what was already in place, especially in the reflection. At this point I did kick myself a little for not tackling this yellow a little earlier... but the fussiness of the blue had been so aggravating that I just wanted to print some stages that would show actual progress. Instead I've created one more "fussy" step for myself, since I had to print the yellow twice to get the coverage I needed. 

I am reminded of a mug my friend Brenda gave me many years ago. It says, "It could be that the purpose of your life is to serve as a warning to others." She knows me so well.

Step 10 printed

Here was the print before the second application of yellow. Another, different, odd bit of color also needed to be applied to the bird's head, and I did that before I beefed up the yellow again. But I'll leave all that as the cliffhanger for the next post!

Linocut in Progress: That missing blue, and the trouble that came with it.

Part of why I decided to tackle the current linocut in progress was that it gave me an opportunity to work with a different and unexpected color palette. Spoiler alert: This image is mostly ochres and browns. 

But one of the most important elements of the image IS the blue one might expect from reflections on a bird on water. However, I've already got significant amounts of yellow ochre on the paper. I considered doing the blue patch immediately after the lightest yellow... from a get-the-color-right-and-give-it-some-luminosity standpoint it would have been the correct decision. But even when I cut a mask to try to contain the very distinct shapes, this blue is going to affect everything that goes on top of it. By cutting away and printing a second yellow before this step, I narrowed down the size of that affect.

It's hard to explain... so let me show you how it went. 

First... I cut a mask.

Or, more precisely, I cut a stack of masks. In a perfect world I would have made even smaller, more precise shapes... but it's just too difficult (read: impossible) to hand cut more than a dozen identical masks out of newsprint. Maybe if I had some sort of machine to cut them. But, no. I have me, and I have an Xacto knife.

Masks cut, it was time to mix the blue. It needs to be fairly opaque to cover the ochre that's already here, but I don't want to add so much white it looks chalky. Careful. Careful.

Step 4 rollup

You can see several color attempts at the upper edge of my work surface here. I knew the yellow underneath would darken this blue, so I made it as light as I dared without going chalky. Here it is masked on the press.

And printed.

Step 4 printed

Meh. I didn't love it. It looks quite dark, and a little bit gray... which was expected. I decided to go ahead and put this color on all the prints anyway, and resigned myself to a second blue run over the top of this one that would hopefully push things the direction I wanted.

I tried this:

Test blue for Step 5

Which brightened the blue but made it too dark. I am pretty sure I went ahead and printed this on all the prints, although I don't seem to have taken a photo. It's too dark, but it's very transparent and it will add some more "influencing" color to the blue that ultimately goes on top.

Because of course I mixed and tested a couple more blues and eventually settled on this. More white added than I wanted. Chalkier color. But not much else to be done. I had already sent a couple of prints to the reject "tester" pile.

Step 6 ink rollup

 I think you can see that I took advantage of having a sub-optimal blue already on the prints by carving a few little areas that would allow the "wrong" blue to still be present. Why not? A little more color variety never hurt anything.

Same mask shape applied:

Step 6 mask

And the resulting prints:

Step 6 printed

It wasn't perfect, but it was time to move on. There were several more darker layers to go around these blue shapes, so I just hoped additional darker values would visually brighten things up. 

Whew. That was a lot of work to get a little color on less than a third of the entire image. Let's hope the rest of this is a little more straightforward! 

(Spoiler alert #2: It wasn't. Not particularly, anyway.)

Linocut in Progress: New year, new image

 Okay... I realize we are already halfway through February, but I've studiously avoided too much social media since the beginning of the year, which somehow has included not posting work in progress.

And, full disclosure: This image gave me some headaches early on, so not posting took away at least a little of the "performance anxiety" that gets added when I'm publishing progress in real time. 

Enough excuses! Let's start a linocut!

Reduction linocut in progress: Step 1 spot ink rollup

I don't think I've had an image start quite this boring in a long time... but here we go. No surprises here– the subject matter is a bird on the water. But it's a bird with a white belly, and I wanted a slight value shift in the reflection of that belly. Just a skosh of light gray needs to be here, so I did some spot inking and cut the first of what would end up being several newsprint masks.

Step 1 mask

Step 1 printed

Honestly, it hardly seems worth the effort, since most of this little patch of gray will still be covered by other colors, but there are few things worse than getting all the way to the end of a process and realizing if you'd only done one small thing FIRST, the end result would be better. *

(* Okay, there are a LOT of things worse than this. But when it happens, the disappointment is real!)

On to Step 2! A very straight-up color roll. But... whhaaaaaaaaaaat? What is with all this yellow? Where is Sherrie Standard Step 2 Blue?

Step 2 rollup

Step 2 printed

Yep, that's yellow. (Well, a pale yellow ochre, but you know what I mean.) And just wait. It's going to get worse. 

But as an aside– Come on, birders. I bet you already know what species this is.

Remember how I said three sentences ago that the yellow was going to get worse? Not kidding. No photo of the ink rollup, but it's pretty obvious what happened here.

Step 3 printed

At this point I was already questioning the wisdom of getting this much ochre on the page this early. Let's call that foreshadowing, and leave the headache that resulted from this decision for my next post, shall we?

Linocut in Progress: Finishing up the dipper

 It can't be avoided anymore. It's time to address the details of this bird. 

As many have figured out from the bird's silhouette and its habitat, the subject of the current linocut in progress is the American Dipper. The dipper is a unique and delightful little thing–– a songbird that swims and walks along underwater to glean aquatic insects from rocks. But it's also... gray. 

Just. Gray. 

Okay... the head of the adult is a brownish gray, as you'll see. But in general it's just gray. For the entire process up until now I've been worrying about whether or not a little gray bird will get lost in the chaos of this background. Can I make a subtle bird the focus of a chaotic environment without making it look like it's cut out and pasted onto the background? 

And what the heck was I thinking?

Naught to do but carry on, I guess. First let's do something to give the bird some form. Because here I am, working in a graphic media, using flat, hard-edged shapes to give objects subtle form. (Insert eyeroll emoji here.)

Reduction linocut in progress - Step 12 rollup

For Step 12 I rolled up a light-to-dark gray blend, just for the body of the bird.

Step 12 printed

Of course the top edge when printed isn't nearly as light as it looked on the block, because there was already color underneath and my new ink layer was semi-transparent. But this is fine. I think.

 I hemmed and hawed about how fussy to be about the brown head. Should I cut a mask? In the end I decided to just roll the ink on and wipe extraneous bits with a rag before printing and call it good enough.

Step 13 rollup

Step 13 printed

Yes, these photos are pretty awful...such inconsistent color! I've been working at night or on cloudy/rainy days a lot recently, so photography has been a bit rough. I promise you'll see something good at the end!

Now where were we? Oh, right! Enough fiddlefaddling around with "big" shapes, it's time to get on with some details. 

Step 14! (Will this thing never end?)

At least I'm only working in a very small section of the block now. You can probably see that I didn't bother to take the last of the background material off the block at this stage. I have a theory that a little more material to support the paper when it goes through the press can make it less apt to slip and smear. I don't know if that's true. It might just be an excuse to not have to carve all that material away.

Step 15 was more of the same transparent gray after a bit of carving, and apparently I didn't take a photo in between... so here are both rollups together:

Step 14 rollup

Step 15 rollup

After Steps 14 and 15

I was feeling pretty good about the bird at this stage. In a less chaotic background I might have been tempted to leave it at this stage... nice and subtle as a dipper should be. But I can't have it getting lost, so I have to push for just a wee bit more contrast.

Unfortunately at this stage the ink was all very wet. I tried to press on (see what I did there?), SO anxious to finish, knowing how close I was. But I got a bad case of wet rejection... a situation in which the new ink not only won't adhere to the already-printed-but-still-wet ink, but it will also pull the wet ink off the paper. I had to give it up and go to bed. 

So now.... Step 16! Holy cow. Will this be the end at last?

Step 16 rollup

Step 16 printed

(Sigh) Nope. In any other situation this would probably be great. I am really happy with how this bird looks. But it needs one more teeny-tiny bit of oomph to bring it over the line. 

Step 17 rollup

Really. A teeny-tiny bit. Could this be the most ridiculous color pass ever? Nah. I've actually had smaller ones. 

But it was worth it.

Tentative title: "A Dip at Dawn" or "A Breakfast Dip" or.......
Reduction linocut, 12" x 12"
Edition of 22
@Sherrie York

Linocut in Progress: Where were we?

There have been a few distractions and deadlines taking me out of the studio lately. In fact, I've just returned from a couple of days away in New Hampshire and Massachusetts... in part to attend the opening of the Rockport Art Association & Museum National exhibition. It's my first time applying to this show, and I was delighted to have a piece selected. Good friends and colleagues James Coe and Cindy House also have (award winning!) work in the show, so going to the opening gala was an opportunity to both check out a new (to me) venue and to see my peeps. 

But I'm home again and back to work, trying to wrap up the current linocut in progress. I'm further along now than this post will show, but not quite finished. IRL (In Real Life) I am at the Hard to Remain Patient stage. I have only the details of the bird to print, but the layers that have already been printed are still a bit too wet to add another. I tried to print today... but made a mess with wet rejection and had to just stop and clean up for the day. 

SO let's back up to what was happening before I left for the NH/MA adventure. 

Apparently there were some gremlins that got into the studio and destroyed some documentation while I was away... because the next photo in my camera looked all kinds of different, but I didn't have any shots of either the inked block or my rollups. It appears that I might have printed both a darker blue across the entire block and then a gray along just the bottom 1/4 of the image. Or maybe someone else did it when I wasn't looking.  But here's the next progress shot that I have, so we will pretend it was Step 7 and move on.

Reduction linocut in progress, Step 7 (?) printed

I seem to have gotten back on track again after this, since I have a nice gray rollup to show you...

Step 8 rollup

You might notice that the bird doesn't have any ink on it. Because most of the material around the bird has now been carved away it wasn't too difficult to roll ink around it and I didn't need to mask it. If I accidentally got ink on the bird it was easy enough to wipe it with a rag before printing.

And now we are here:

Step 8 - printed

The color is looking quite rough here, but don't panic. Let's roll up Step 9.

Things started to get super tweaky at this stage. You can see that most of the material has been carved off the block now... certainly most of the water is gone. 

But everything was feeling too blue and gray and I wanted to warm up a few reflections. I also wanted to lighten that foreground stone a little bit.

I mixed a crazy-bright-looking pumpkin color and spot inked the reflections in question. I also hit the top of the rock with a transparent white. 

Masking the bird might not have been entirely necessary here, but I didn't want to risk the escape of any of that pumpkin-colored drama. I had some bird-shaped masks left over from previous stages so it was easy to just pop them in place. 

And here's the result:

Step 9 - printed

The overall color looks slightly less alarming here, but this thing is turning out to be a challenge to photograph. 

Let's take a look at one more color pass before we take a break.... perhaps the last one before we turn our attention to the bird. (Speaking of which... have you identified it yet? Eastern US peeps might struggle with it, but westerners should be able to sort it even in silhouette.) 

So here's the Step 10 rollup:

Step 10 - rollup

Yes, it's a nice dark swirling its way down the remaining bits of lino surface. Once again I just wiped stray ink out of the bird shape rather than use a mask.

Step 10 printed

I really hoped to be done with all the water and rocks at this stage, but felt like it needed just a wee bit more oomph. I did a bit more carving and then hit the whole thing again with the same dark ink.

Step 11 printed

Yes, okay... even the camera thinks it feels a bit more balanced now and is taking slightly better photos. I think it's time to turn our attention to that bird and see if we can't wrap this thing up! Stay tuned.