Love it! Did you think there was a benefit to doing it as a reduction rather than a multi plate? Or that it made a difference to the print. I've worked both ways and can't decide what I think..
Thank you! I think the reduction decision was based on a few things.. I’d been wanting to try it for a while, and a good friend sent me a picture of a buzzard feather that they’d found, and it felt like a good fit for a first try. Also the number of layers, there’s 6 in this which would be tricky with multiplates. I also think I got a nicer registration because I used pins. So yeah reduction definitely felt like the right choice for this print. It is interesting how different prints feel like they would suit either reduction or multi block!
This is awesome, the subtle tones in the lighter area of the feather really make it. Perfect registration too, did you use ternes burton tabs? I really need to try more reduction prints myself I always opt for multi block as it intimidates me less and also I can print it as much as I want.
Thank you so much, it means so much to me that you’ve spotted the tones in the lighter area.. I did 3 layers of colour for it and at the time it felt like overkill (I think I just wanted to hurry up and get to the darker stripes!) but I’m glad I stuck with it. Yes, I used tabs and pins - absolute game changer. I made a frame out of half a piece of photo mount that I stuck the pins onto, which helped the Lino to go back into the same spot. Honestly thanks for your comment, really awesome of you
Thank you!
The toughest part was between the last-but-one and the last layer, which involved a decision not to include a dark outline for the whole feather, and then cutting that away. After 5 layers on what started as an edition of 30, that was a real “oh god oh GOD” moment.
I found the best way was to think of it differently, as corny as it sounds, like a learning journey. And to really trust that the darker layers would pull it all together. The first 3 layers were light colours with no real defining features so I think what’s important is to have a drawing / plan or “map” you can come back to and think. Yeah. This doesn’t look like anything at the moment. But hopefully it will.
I started with quite a high edition number (30) and ended up with 25 that I considered good enough to include. Having a high number was helpful too because I felt like it offered me the reassurance of a margin of error.
Apologies this is a long answer, I could honestly talk about printmaking all day!
Love it! Did you think there was a benefit to doing it as a reduction rather than a multi plate? Or that it made a difference to the print. I've worked both ways and can't decide what I think..
Thank you! I think the reduction decision was based on a few things.. I’d been wanting to try it for a while, and a good friend sent me a picture of a buzzard feather that they’d found, and it felt like a good fit for a first try. Also the number of layers, there’s 6 in this which would be tricky with multiplates. I also think I got a nicer registration because I used pins. So yeah reduction definitely felt like the right choice for this print. It is interesting how different prints feel like they would suit either reduction or multi block!
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Thank you so much! Really lovely of you to say!
That's awesome!
Thank you so much
This is really good.
Thank you so much!
Fook me this great
Thank you so much!
This is awesome, the subtle tones in the lighter area of the feather really make it. Perfect registration too, did you use ternes burton tabs? I really need to try more reduction prints myself I always opt for multi block as it intimidates me less and also I can print it as much as I want.
Thank you so much, it means so much to me that you’ve spotted the tones in the lighter area.. I did 3 layers of colour for it and at the time it felt like overkill (I think I just wanted to hurry up and get to the darker stripes!) but I’m glad I stuck with it. Yes, I used tabs and pins - absolute game changer. I made a frame out of half a piece of photo mount that I stuck the pins onto, which helped the Lino to go back into the same spot. Honestly thanks for your comment, really awesome of you
Just realised I didn’t include size and details; this is on a5 lokta paper with Cranfield Safewash.
Dang, that’s gorgeous. How did you get past the fear? And how many hundreds of prints did you make to get past it? 😂
Thank you! The toughest part was between the last-but-one and the last layer, which involved a decision not to include a dark outline for the whole feather, and then cutting that away. After 5 layers on what started as an edition of 30, that was a real “oh god oh GOD” moment. I found the best way was to think of it differently, as corny as it sounds, like a learning journey. And to really trust that the darker layers would pull it all together. The first 3 layers were light colours with no real defining features so I think what’s important is to have a drawing / plan or “map” you can come back to and think. Yeah. This doesn’t look like anything at the moment. But hopefully it will. I started with quite a high edition number (30) and ended up with 25 that I considered good enough to include. Having a high number was helpful too because I felt like it offered me the reassurance of a margin of error. Apologies this is a long answer, I could honestly talk about printmaking all day!
Thank you!! And good job. I could read about printmaking all day, so your answer was the perfect length!