How my linocut prints of medieval subjects are inspired and produced
Printmaking is a time-consuming business. In its basic form, a print can be made from one block or many, each one inked up and printed.
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Inspiration and creation
I am inspired by medieval manuscripts and the work of medieval illuminators or limners.
I begin each print by drawing an image taken from one of these onto the master block which is then cut by hand.
Cutting the blocks
I typically create my work using a master block taking many days to produce to remove areas where errors can occur.
From this I create a series of secondary blocks, each registered with the master block to ensure consistent colour printing.
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As an example of the work involved, my image of The Green Knight in the Forest took 80 hours to cut.
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Printing the blocks
In printing a multi-colour print, each colour has to be registered so that every colour falls exactly where it should.
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Using an old Albion press (see the pictures), is complicated. Often the press has subtleties of pressure which means you need to turn each block around.
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My preference is to print "wet on wet" to maximise colour creation and subtlety in the final print. Sometimes I "extend" or thin the inks to enable greater transparency and texture.
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A lifetime of learning
Printmaking is about constant learning and the application of new techniques; complacency results in failure.
Concentration is critical - printmaking always has a way of catching you out if you grow tired!
