This is a hand printed original print, from a carved lino block. It has been printed onto an old OS Map. Each print is signed. The print size is A4. The listing is for an unframed lino cut and it will arrive wrapped in cellophane and backed with card Read more
A woodblock portrait of a great blue heron in black and white. The print highlights its sinuous neck, impressive strong bill and distinctive facial pattern. Trees in the background cast shimmering reflections in the water. This is part of my series of dramatic woodblock portraits of large birds. See my shop for other bird prints. My prints are drawn, carved and printed by hand in my studio. Woodgrain and carving marks add texture and energy. Traditionally signed in pencil below the image. Image is 8 by 12 inches; it's printed on fine Japanese paper that measures about 11 by 14 inches. Your choice of warm white Okawara or cool white Kozo. It could be framed at 11x14, with spacers to prevent print from touching the glass. For best results get it professionally framed to suit your style and protect the artwork. Comes to you with glassine sheet protector and safely packed with cardboard stiffeners. Free shipping to US addresses.
Linocut Kaiju series by Brian Reedy (via Xombiedirge)
For this project, you will be working with positive and negative space in order to create a linocut. A linocut is a design carved in relief into a block of linoleum. At the start of the semester, i…
Explore Chris Bourke’s 230 photos on Flickr!
We talk to linocut artist Kathleen Neeley (aka @kathleep) about her folklore & environmentally influenced linocut artworks. Read her interview!
The layering of colors is exciting. When you finally put the darkest color on, its quite a thrill.
Original Lino print by Andrew Stratford of a Koi carp. Hand cut and printed on 280gsm Strathmore paper using Cranfield Safe Wash relief inks. Mounted in an A4 size (29.5cm x 21cm) white mount. Actual print size is 14cm x 11cm.
lilacsinthedooryard: ANDREW VALKO RCA Woodblock (5.5x4 inch) 1999
The design is a linocut print I made of a friend's kitchen shelves, she lives in the South of France and is an excellent cook. They grow a lot of their own produce and so she also makes lots of preserves and pickles. They have a small vineyard and make their own wine and grape juice, her husband is a keen forager; always coming home with wild mushrooms, asparagus and other local delicacies in season. Her daughter keeps bees and makes her own honey and her son is a keen fisherman, often providing a fresh wild caught trout for the lunch table. This rustic idyll is captured in this print. Greetings card; recycled card, blank inside, comes with an envelope in a biodegradable protective cello wrap. This design is also available as an original print and screen printed on an organic cotton tea towel, apron and tote bag. I welcome bespoke commissions, please email me if you would like a personalised print or gift. Thank you for visiting my Etsy shop Kate Website - www.kateguy.co.uk Facebook - Kate Guy Prints, Textiles and Workshops Instagram - kate_guy_ Twitter - kate_guy_
We talk to linocut artist Kathleen Neeley (aka @kathleep) about her folklore & environmentally influenced linocut artworks. Read her interview!
Student Relief Printmaking Assignment Student Dry point Assignment Student Pronto Plate Lithography Assignment Student Monoprint Assignment
These two prints by Rosie are good examples of some of the elements of our print-making which were on show at the Gardens Gallery. They are both linocuts made by the reduction method, which allows us to create multi-coloured images from the same block by re-carving it between each layer of differently coloured ink which makes up the finished image. Both images, The Elms and The Chesnut are composed from four colours. In both instances, the first ink is a pale one, and the block has been lightly carved to remove areas of the picture which are intended to remain white, the colour of the paper. The first pale ink used for The Elms is a mauve which forms the clouds, which are themselves lined with the white of the paper. The Elms The next stage is to clean the ink from the block and to carve away more lino using the cutting tools. We carve away the areas from the block which we want the mauve to continue to show through in the final image, i.e., the cloud shapes. So when we have carved away the shapes of the clouds, we re-ink the block in a sky-blue ink and reprint from it onto the page which already contains the mauve ink from the first layer. Re-aligning the block with the paper so that there is a perfect match between the former and the overlying image is called registration, and it is perfection in achieving this which is one of the main technical components for success in this type of printmaking. At this point, assuming that our registration is exact and our inks overly in a pleasing way, we have a two layered image consisting of white, mauve and blue clouds, and a big area of nondescript blue in the centre of the paper where the finished tree will sit. To make a green tree with a dark brown bark and foliage we undertake the block cleaning and re-carving process twice more. Using the carving tools, we remove all of the sky area from the lino block to leave the outline of the tree and the ground. Using a dark green ink, which overlies the blue and mauve beneath, we produce the solid body colour over which the forth and darkest layer will add the necessary detail. The Chestnut The only real difference between the two images is the paper which we have chosen to print upon and the colours we have used. The top image is printed on a German Zerkyll paper and the ink sits on the surface producing a high gloss finish. The lower image of The Chestnut is on a Japanese Ho sho which absorbs the ink into its fibres and results in a very intense matt finish. We usually use one or other of these papers depending on the effects that we intend to achieve. The original images came from sketches of real trees: the real chestnut stands in the parkland of Cowley Manor in the Cotswolds just outside of Cheltenham. The Elms links in with some of Rosie's story telling: if you look closely, a tree house is just visible between the branches, reminiscent of her latest book Something in the Woods. It is actually an image taken from a G. K. Chesterton short story, The Singular Speculation of the House-Agent, from The Club of Queer Trades. In a story of typical Chesterton surrealism, the characters are thrown into consternation at a very peculiar address. Robin
Handprinted 3 colour linocut print using a Japanese baren to burnish the print onto paper. This silhouetted view of Bamburgh Castle, on the Northumberland coast, is taken from the north looking south, close to Lindisfarne (Holy Island). A magical area with fascinating history. Hand printed on archival acid free paper. Each print is unique and will vary slightly as it's an original print. It's an honour that this print has been exhibited at the Kingsborough Art Museum in their exhibition "Contemporary Linocuts" from a worldwide selection of artists (Kingsborough Community College, City University of New York, Brooklyn, NY 11235) Dimensions Image: 7 7/8” x 12 3/8” (20 x 31.5cm) Paper size: 10 1/2” x 15” (26.5 x 38cm) Each print comes unframed and unmounted. I carefully package all orders. PLEASE NOTE: Prints come rolled in a sturdy postal tube 33cm x 10cm (13" x 4") and will not fit in a standard letter box, so be prepared to receive it like a parcel.
