I am trying not to title this post “Bahaha,” though I’m sure you’ll be able to sense my excitement!
I was able to take a trip out to the little art store I wished to go to. Amazingly — I got out of there with a bunch of linocut supplies for under $25. It probably has to do with the fact that I got a bunch of little tiny linoleum blocks — the one I’ll show here is one of the smallest, at 2″x2″ — and the fact that they were having a sale on the hard pastels I bought — which were the most expensive thing, at under $5 for a set of 12.
Last night after getting home from that trip, I honestly felt like going to bed, but I interrupted myself. I didn’t want to go and get the art supplies and then never use them, so I started looking through my cheap little notebook at my designs. I realized fairly quickly that the way I had been sketching was suited to linework, but that printing would probably require a different approach, utilizing blocks of color or tone. With that in mind, I started sketching — in pencil, albeit in 8B pencil.
I actually surprised myself with my initial design, as I’d somehow managed to draw a diamond shape which had a little less than 60º as the angle of the inner corner, making 6 petals totaling 360º.
This is the actual first transfer of that image to (translucent) marker paper, on the right:
I used marker paper because I felt it would hold up better under fineliner (I used a 0.1 mm pen, here), and I intended to fill in areas with black to see what the design would look like in high contrast. As I was doing this, I remembered some examples in a Dover book on the principle of Notan (balance between positive and negative space), and was curious about what would happen if I introduced shapes pushing from the negative space into the positive space — this is why the petals are notched. I also realized in this iteration that I needed to pay attention to the center of the star, because if the petals didn’t have a coherent center, it could throw the design off.
I also realized that I didn’t have to echo the almond shape throughout each petal, and wondered what it would look like if I added a recurve to the outer edge of each white area. So I traced over this shape with the tracing paper (first image, below center), using this idea — and trying to fix the center of the design. I did this first in 2H pencil. Then on the tracing paper, I went over the lines with fineliner again (so I could see them) and traced over that on the marker paper (first image, below left). At this point I could color things in without losing any precious underdrawing, so I did. I had intended to divide the outer rim of each petal into two and let the white space part the outer edge, so that the petals were implied but not fully stated — but when I filled the space in, this detail was not visible. I also joined the positive space on the outside of the petals to save myself a headache.
Once I was happy with the design, I traced over — I think the tracing paper copy — over carbon paper (Saral paper) with a 2H pencil, on top of my 2″x2″ linoleum block. On the first image, lower right, you can see what this did to the Saral paper: it’s translucent where I transferred the carbon onto the linoleum.
I did not take a photo of my block before carving, but I was very happy with the line transfer. What I was less happy with were the performances of the carving tools I mentioned before, which are from my high school sculpture and relief-printing days. Because they didn’t perform all that well, I ended up using an X-Acto craft knife with a #2 blade to do most of the image cutting. The area around the image was cleared out with a large shallow gouge, however.
One thing I did find to my surprise was that the little subtlety of the curvature of the white area was not immediately apparent in cutting. I also found that small circular cutouts are difficult to do in linoleum, and that I would have been better off doing something like I did in the outer petal ring and just cut out an almond, without trying for a circle. When I did try for circles, I ended up cutting out more positive space than I intended to. This will change in the next iteration of this project: almonds all the way! 😉
After the cutting was done, I started looking around for my acrylic plate and the hard rubber brayer. I couldn’t easily find that plate, though — I know where one used to be, but since we’ve cleaned up, I’m no longer sure where it is. But apparently…we had extra picture frames, and I was able to take one apart and use the glass that would have protected the picture, to roll out my printing ink with the brayer!
This is water-based Speedball printing ink, which came in a small tube. I’m really thankful that I didn’t have to buy a 1 lb jar to get any ink at all — at first, all I could find were the jars, but then I found the little packs of ink hanging up in the same area. I picked up a black, then later realized at home that I probably should have gotten white or a color in addition to the black, so I could experiment with duochrome. But — next time.
One of the nice things about this ink is that it cleans up very easily with water; on top of that, it seems to be nontoxic. It also has good tack, meaning that when I put the paper on top of it (I used Stonehenge, which is designed for hand printing), the paper did not move, even as I burnished the back with the back of a spoon to transfer the image from the carving to the paper.
There were barens at the store to accomplish the same thing, but I felt they were overpriced for something that is basically just a flat surface. Of course, if I’d used a baren, it would be less likely that I would get those surrounding marks on my print (see above) which resulted from both tipping the inked brayer as I rolled it (it’s a tiny print, okay) 😉 and pushing the paper down into the background with the spoon during the burnishing process.
In high school, I think we accomplished the pressing by rolling a clean brayer over the back of the paper. And, of course, if I used something like a small press, I wouldn’t have to worry about the stray marks at all…although one of the reasons for starting out with block printing is that you don’t need a press.
And, well, now — I have a good bit more insight than I did before on how to do this, and want to retry the carving process. I have one more little 2″x2″ block of the same type, and found an old opened (throwaway) linoleum block today (it feels like an eraser). Seriously, though, these things aren’t expensive, something I had to remind myself of before I started carving! I think the block I carved today cost $0.66 or something like that.
It is pretty cool to see your work result in something, though! And that’s not a bad try for being (almost) the first time I’ve worked with this technique in 17 years…(and yes, the BAHAHA moment when it works is great…!)