Linocut in Progress: Theatrical Cut

Director's Cut: The movie the way the Director actually wanted it, but the studio said no.

Extended Cut: Really the thing I ALWAYS want. The Director's Cut, plus extra scenes, plus all the BTS (Behind the Scenes) documentaries. And sometimes even the commentaries. I love to hear and watch clever and creative people working together to make something wonderful.

Theatrical Cut: The thing we got instead.

You see where I'm going with this, right? You're about to get a Theatrical Cut, incomplete storylines and all. Sorry about that.

I have struggled to get any work done in the studio for the last 4 or 5 months, and when I did manage to carve lino or roll out ink, I didn't do a thorough job of documenting the process. Posting photos of work in progress felt like posting pictures of a meal or something... but less "Instagrammable." It's all been done before! BOR-ing. 

But here we are. I promised myself that Brush and Baren would see at least a little more action than it has for the last 8 months, and at the moment this is what I have. I'll do better in future.

Hey! That's ink on a block of lino! What's happening here?

But look! Here's some ink! On a block! Ready to print! 

Hm. Actually I think this rollup was for the second, or even third pass at this small image. This seems to be the first in-progress photo I took, though.

Reduction linocut in progress: Step... um... Three? Four?

I worked on this piece back in July, and my memory is fuzzy, but I think at this point there are three ink passes in place. A "peachy" one and two values of ochre. Hard to tell, but I think that's right. (Nope. See below.)

This is a small piece, just 5x7 inches. We had a stupidly hot and humid July this year, and I couldn't bear working on anything larger. But I wanted a couple of new, small things for the local gallery season and a 5x7 felt like something I could manage without disintegrating into a pile of sweaty goo. (TMI? Probably.)

Let's see... what do I have next? There isn't another photo of an ink rollup for the entire process... so we'll just have to do a little sleuthing and see what we can figure out from bad photos of the color stages.

Linocut in progress: Step four?

With a bit of squinting, and tossing about of mental files in the dim, dark recesses of my brain, I now think this might be the fifth color pass. I think the very first pass was a solid rectangle of pale rusty-peachy. No white in this image at all. 

1) Pale rusty-peachy rectangle

2) Mid-value rusty-peachy (These are technical color names, I'll have you know.)

3) Yellowy ochre

4) Ochrey ochre

5) Transparent gray which turned greenish when it covered the ochrey bits. As planned. 100%.

Linocut in progress: Now we're on six!

6) Another gray, a bit more opaque and a bit darker and a bit cooler. (Again, these are very specific and technical descriptions of color. Because I said so.)

Subject matter seems clear at this point, yes? Some rocks and some rock weed. A common view at low tide in Maine.

Linocut in progress: Step 7

7) A darker, bluer gray.

And then I am reminded of this old cartoon (frequently mis-attributed to Gary Larson of Far Side fame, but actually done by a guy named Sidney Harris):

8) and 9) Although in this case it's "be more explicit in steps 8 and 9." Because two more gray passes happened here... not one. 

Intertidal Tapestry, reduction linocut, 5" x 7", Edition of 25

And that's it! A little something for the Underfoot series, although I just noticed that I haven't actually made a page for it on my website yet. Better get that done!

But, hey! When was the last time you saw me get away with finishing a print in fewer than 10 passes? 

Linocut in Progress: (Lucky 13th) Final Step

 I am off next week to head up the Arts & Birding session at Hog Island Audubon Camp in Maine, so I have been feeling the pressure to wrap up the current linocut and get on with workshop prep! 

The 10th color pass was a short and sweet one. There are four little periwinkle snails in this image, and I wanted to lighten their overall tone. This was accomplished with spot inking a semi-transparent layer of a very pale beige-y color. (Sepia plus white.) 

Step 10 - Spot inking and mask

I used a newsprint mask to contain the color even further, and, voila... periwinkles. 

Step 10 - Printed

For Step 11 we were back to a bit of alarming-looking color. 

Step 11 - rollup

I really only wanted a wee bit of that orangey color to get involved, and I did NOT want it in the rocks, so for each run through the press I stopped to wipe the color out of places I didn't want it to go. Tedious, but necessary.

Step 11 - Put the color on, take it back off

Step 11 printed

Okay, getting close now! Maybe just one more dark? How about a transparent sepia with maybe a skosh (technical term) of blue in it?

Step 12 rollup

Step 12 printed

And here's where I paced through the house and gnashed my teeth for a little bit. It could have been finished at this point. It probably was. But I waffled back and forth about putting just a few more darks in the deepest shadows of the rock weed. I already felt like the whole thing was a bit more "contrasty" than I wanted, and another dark would make it even more so. But I also didn't feel like I had quite the value range I wanted overall.

Okay.

One more dark.

Lucky Step 13 rollup

I added a surprising amount of blue to the existing sepia-dominant color. I wanted a little more cool in the shadows... everything is so warm! 

Final color pass. "Rockweed and Periwinkles," reduction linocut, 8x10, edition of 20

I honestly wasn't sure I'd made the right decision when I went to bed that night.... but by light of day I decided it was a good call, and I'm satisfied this piece is complete. 

Now. Will I have time to get another one prepped before I go to camp? Three days to go!

Linocut in Progress: The drama builds!

Okay, maybe not drama. But contrast! We're getting in to a bit more contrast and a lot more of me flying by the seat of my pants. 

I mean, look at this crazy color combo:

Reduction linocut in progress: Step 8

As you can see, I'm trying to keep cooler grays to the outer edges of the image, and to warm up the center.

Step 8 printed

There were two hiccups at this point. 1) I forgot to wipe the color out of the four little roundish shapes that will be periwinkles and 2) while I like the rusty color, when I came back to it the next day it seemed a bit too dark. 

I could maybe not solve both problems with the same step, but I could at least move them back in the right direction. 

Check out this crazy color combo:

Step 9 rollup

The dark looks like black in the photo, but it's more of a transparent dark gray made with sepia, prussian blue, and some transparent base. The peachy color looks good, but it won't print this light over the existing color unless I add some opaque white... and I don't want to do that. Let's see what happens.

Step 9 printed

Okay, that feels better. I think we're getting close now. Two more color passes? I still need to resolve the periwinkles, and I think they will require some spot inking to nudge them where I want them, colorwise. And there's at least one dark to go... probably it will involved some blended color again. I have to think about it.

Unfortunately there will be a bit of a suspenseful delay of progress now, as I am headed out to Massachusetts for a couple of days. A delightful gathering of my wildlife artist colleagues will be taking place at the Museum of American Bird Art on Wednesday, and I'm looking forward to catching up with everyone. Back to work on Friday!

Linocut in Progress: In the Weeds. And the Rocks.

Okay! Carrying on with the current linocut in progress. I did promise things would get a bit more visually interesting from this point... let's see if I was right.

As you have probably surmised by now, I have a certain amount of color moving through the center of this image, and less color on the outside edges. I need to keep building tones in all areas of the print, so it's time to employ some blended color.  

Reduction linocut in progress: Step 5 rollup

For this roll-up I deepened the yellow once again with the addition of some more red, and I mixed a lovely warm beige-y color. I got out my trusty old skool Speedball brayers so I could control the application of ink to the block a little better. I used a small 2" roller to apply straight beige to the rocks (you knew that was what they were going to be, right?), and I used a blended roll on the 4" brayer in a tricky way. I ran the color first in one direction, and then turned the block around to run the blended roll in the other direction! This kept the yellow in the middle-most parts of the block and the blended-to-beige bits towards the outer edges. 

Did that make sense? Maybe it will when you see the result. 

Step 5 printed

You might also notice some lighter-colored blobs in the lower part of the image. I used a paper towel to wipe the color out of these few spots before I printed each time. There are some details going in here that could benefit from being less yellow, and it doesn't hurt to minimize ink layers whenever possible. 

Step 6 rollup

And now it's time for a bit more drama. The ink roll up looks ominous on the glass, but I promise it's not so alarming on the print. Remember there's a lot of yellow in the middle already to minimize the depth of the green.

Step 6 printed

Well, okay. Maybe it does seem a little alarming. But we're in the middle stages of this image, and long time readers (and other printmakers) will know that this is when things often get a bit funky. Nothing to do but cross our fingers and hope I got this right. 

As an aside... you might notice the ink coverage looks a bit splotchy in the lower portion of the image. Not to worry... there is a lot more to be done down in this area and the splotchiness will be covered by subsequent colors. 

Like this:

Step 7 rollup

Back to the big roller, because this color pass is just a semi-transparent gray across the entire block. I would have liked to make it even more transparent, but after the complete fiasco of using a lot of transparent base, I am really, REALLY head shy. 

But I think it worked okay....

Step 7 printed

So! What's next? I think it's time to start working more on the areas around the rockweed (yes! this is an image of seaweed). I think the rocks only need one (okay, maybe two) more darks, and those will be most along the edges closest to the rockweed. Next color? Something orangey-browny, I think. We'll see how I feel after the next stage of carving.

Linocut in Progress: Remember when this was going to be a simple single-color image?

Yeah, it was a thought, anyway. 

But that ship has left the harbor, as they say, so there's naught to do but complicated it all a bit more before wrapping things up. 

I think by now you can see there has been an intense amount of carving to this point. It's a lot to keep track of! But here we are, ready to print Step 6 (colors, um.... 12 and 13, I think). 

Step 6 rollup

In this photo the dark value for the rockweeds looks very blue, which indeed it was. After I took this photo I corrected the color a bit and toned it down before I pulled any more prints. Here's how it all looked after that correction:

Step 6 printed

I'm feeling good about the rockweed, but the crab is a bit behind because of printmaker neglect. (Although notice how even though the color looked intensely orange on the rollup, the crab now looks a light peachy color. That's the effect of putting a bright transparent color over a semi-transparent white that was printed over gray. Are you confused now?) 

What else should I fuss over? Oh, of course. The periwinkles (little sea snails). There are a few in this image, but they've gotten lost. I'll try the semi-transparent white ink trick again to see if I can't lighten them up.

Here's the roll up, spot ink only, on the press:

Step 7 spot ink (colors 14 and sort of 15)

You can probably tell I was doing this late at night (note the dark window behind the press), which is no doubt why I didn't take a photo of the print at this stage. And of course I forgot to go back and do it in the daylight before I went on to the next step. 

Not much changed, although the periwinkles became alarming. Fingers crossed I can tone them back down in the next pass.

Step 8 rollup

Which iiiiiis... press pull Step 8 (colors 16 and 17). This time it's a nice crabby brown and a dark gray made from sepia and leftovers of the previous too-blue dark. (Always save and use your ink leftovers. They can create a tasty color!)

Step 8 on the press....

You can see here that the areas of the block that define the rocks have been mostly carved away by now. I'm thinking this will be the final stage of dark for all of the image except the crab. 

Step 8 printed

We're in the home stretch now! I'm still not thrilled with how the periwinkles are standing out (even more predominantly here), so they'll get spot inked with one more dark. 

Step 9 (color 19) rollup

Aaaaaannnnndddddddd.....

All done! This image slightly embiggenable with a click.
As-yet-untitled reduction linocut, 24" x 18" Edition of 10.

Whew. That was definitely more than I thought I was headed for, but I'm not mad about it. In fact, I am weirdly inspired to jump in to another piece with similar subject matter. I'm a huge fan of an intertidal zone, and there is so much to explore!

But first I think I need a nap.

Linocut in Progress: The Saga of Just One More

So this supposedly simple thing has, as is typical for a certain printmaker you know, gotten somewhat less simple. A single-color linocut idea has turned into a multi-color reduction lino epic, and we're not finished yet.

Step 4 rollup. Tasty, if I do say so myself

But seriously. When one gets a chance to mix and use these yummy colors, how can one refuse?

All the purdy step 4 colors

In terms of individual passes through the press this image is at Step 4, but color-wise we are on colors 7, 8, and 9.  My attempt to try something radically different from my usual process has run right off the rails, EXCEPT for one thing. In my usual process it's likely I would be on a press pass of 7 or 8, because I would have made a point in the early stages to mask areas and ink more selectively. For this image I have done zero masking, and have let colors overlap where they will. This has led to some parts of the image having... what shall I call it? Not really color bleed. More like color creep. 

I am, indeed, allowing color outside the lines. 

Which is all to say that while this isn't drastically different from my usual process, it does represent at least a little relaxing of my (ahem) control issues! 

Here's where things stood after the application of some greens, reds, and more gray.

Linocut in progress: Step 4 printed

I suppose it might have worked to stop at this point, carve for a final black pass, and call it done... but I was teetering dangerously on the fence. Have I gone too far in the addition of color to be able to jump to a single final pass and have it be successful? Am I at the point at which I need to abandon all pretense of trying to keep things "simple?"

Step 5 rollup

I decided I needed a mid-dark value so the jump to a final dark wouldn't be too harsh. Plus... I had unfortunately been ignoring the crab, too. It had gotten a bit too dark and needed lightening.  But surely after "just one more" color pass I'd have a good feel for where I was. Right?

I rolled up a nice olive green for the entire block, and ran a semi-transparent white over the crab.

Step 5 printed

At this point I felt we were at the good news/bad news stage. The good news was that I was starting to feel quite optimistic about the image overall. The bad news was that the "keep it simple" line definitely had been crossed. Plus there's the problem of the crab that needs resolution. Yep. It's anybody's guess how this finishes now!

Linocut in Progress: Back into the studio!

Goodness. 

I knew it had been a while since I posted anything here, but good grief! More than two months? That is rather appalling, and it doesn't seem possible.

But then, that's summer. It always seems to disappear in a morass of busy-ness punctuated by stretches of lethargy when it's too hot and humid to move or even think. 

A couple of weeks ago the weather, my schedule, AND my attitude started to improve, and I got myself back into the studio. I've been feeling for some time that I wanted to try something a bit different, so I dug out a large piece of lino (18 x 24 inches!... about 46 x 61 cm) and drew up a complex image that I (ahem) intended to print in a single color.

If that quote about roads and good intentions just popped into your mind, well.... you're not wrong.

It took less than a day for me to stray from the path and wonder if perhaps a little color wouldn't hurt. I decided to carve for white and then print a layer of rough color... nothing special or careful... and then I would carve for the "final" black layer.

Step 1 rollup

Sure. Why not? I mean, if I hated it, I could always just finish the carving and print as straight black-and-white. Right? Right?

Step 1 printed

I slapped some color on to the block willy-nilly and printed it. Okay. Interesting, sort of. Any edition I might come up with will be variable, but I don't hate the idea. 

Althooooooough.......hm.

This color seems a little too sketchy. It would probably be distracting under a single black layer. "One more" random color pass to even things out couldn't hurt, could it?

Step 2 rollup

I carved the block some more, darkened the leftover inks from the first color pass, and did a second haphazard roll-up.

Step 2 printed

In general I felt better about that decision, but the color overall seemed a little too bright. Too yellow. (Which is hard to tell in this photo... the light has been terrible for photography lately.) If I were to go ahead and carve the entire image and then plop straight black over this...well... I don't think it will look as nice as it might if I tone things down a bit. 

(You can absolutely see where this is going now, can't you?)

I carved some more, telling myself the entire time that I could still print a "plain old black-and-white version" because I hadn't crossed the threshold of removing material from the block that would create awkward visual holes in the image. I mixed a color that was very greenish, and another slightly warmer gray... and printed a third layer.

Step 3 printed

Okay.

That's more like it. I can go ahead and just cut the whole block now for a final pass. Four steps... that's more than I expected, but okay. This is a BIG block. It's taking a long time to carve even for these not-very-intricate stages. It will be good to just focus on carving for several days and be done with it.

Except that, of course, that's not what I did. Because as the prints sat there staring at me with their mottled ochre-and-gray attitudes, the little voice in my head started suggesting that the color could be just a bit more interesting if I stopped and did "just one more" stage. 

Sure. Just one more.