Category Archives: 5 Handcolouring

Australian Floral Emblems 2014 – A Fine Art Linocut Tutorial

– Australian Floral Emblems 2014

Australian Floral Emblems 2014 – A Fine Art Linocut

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Waratah Tryptich – A Fine Art Linocut

8 Waratah Tryptich - Limited Edition Handcoloured Linocut 1

Well anyone who has followed me on this blog for a while will know I LOVE Waratahs.

Drawing Images-WARATAH 2 ILLUSTRATION 1 WEB

There is such a majesty & structural quality to these particular Australian wildflowers not withstanding their bright red colouring with deep green leaves & the fact the flowers occur on long stems coming up from the ground. They really can be ‘seen from afar’ as their name means.

For a while now I have planned to do a Tryptich design using waratahs as a kind of companion print for my Flannel Flower Tryptich. This particular print was a commission for someone as a gift for his wife’s birthday. Did I mention I also LOVE flannel flowers too?

Flannel Flower Tryptich

Last year after my shoulder surgery I found it really difficult to work at all for a few months which was most frustrating! I knew I had to slowly get back so I started with thinking through ideas for new designs & taking some photos.

Eventually I was able to at least draw so one of the first artworks I started on was my Waratah Triptych.

I already knew I wanted to make it into a triptych & I had taken some photos pf both red and white waratahs over the years so decided to incorporate both into this design.

1 Waratah Tryptich - White Waratahs 1 WEB 4

I worked as I usually do. First with the framework for the design, then trawling through the hundreds of images I have of waratahs and finding suitable ones for this particular artwork. This process is interesting for me as I gradually reduce the amount of images I want to work with so I refine the vision I have for this work. I ask questions like – is my point of view from below or above? do I want to abstract any of the images or stay more true to for? How simple do I want the work to be visually? How much black do I want to incorporate? DO I really want to keep the defining structure I started with or would I prefer to break out and change it a little? or a lot?

Eventually I end up with a series of images which I will use as the basis of the work. I then start the drawing.

SKETCHBOOK - Flannel Flower & Waratah Trytiches WEB

Drawing is a process I love and have always loved. I feel that all artists no matter their medium of choice a strong skill base in drawing will always hold them in good stead. It teaches you to look more closely and especially in my case where I like the get the wildflowers I use botanically correct. Even if in the carving of the wildflowers compromise is made as to how they are depicted due to the process of carving lino, I know that they have started as botanically correct.

These are the final drawings of the three panels of the triptych.

DRAWINGS - Waratah Trytich WEB

When it comes to working the drawings into designs that can be carved I again work through creating black and white inked versions. This refines my designs and allows me to experiment with what I think I may be able to carve. These days after having to have shoulder surgery, I really value the ability to still be able to carve my linocuts so I guess for me if I have a clear template of what I want to carve it means I will hopefully will be able to a long time into the future.

Waratah Tryptich DEsign 5

I then transfer these final designs onto the lino ready to carve.

I must say after initially deciding to start small when starting back carving I just could not resist getting stuck into these three larger panels! It was weeks of carving and I must say did challenge my shoulder’s capacity to comply & caused a bit of pain. But I do have the most wonderful masseuse and physiotherapist who both help keep me on the straight and narrow & take away the pain!

And to printing!

For this particular design I decided to just do a colour rough using photoshop just to get an idea of the balance of the colour before handcolouring.

Finally I get to print the designs and then handcolour them! Finally I get to see the original concept from a few years ago actually come to fruition. I am really pleased with the results.

Lynette WEir - Waratahs Tryptich - June 2013 WEB

Here is a little video about the whole process from inspiration to Fine Art Linocut.

Blue Mountains Wildflowers Fine Art Linocut – A Step back in Time

Lynette Weir -Blue Mountains Wildflowers - Oct 2013 WEB

The linocut ‘Blue Mountains Wildflowers’ is really a step back in time for me on many levels from the design inspirations to my memories of this region. As I’ve spoken about before I love the Blue Mountains region west of Sydney, it has such a rugged beauty & the flora & fauna is integral to the whole region. The Blue Mountains has a strong Art Deco influence in architecture and design & examples of that can found throughout the small villages along the ridges leading all the way to Katoomba & beyond. The area really had its ‘heyday’ in the 1900-1960’s and in particular the 1930’s. This linocut art piece is also grounded in family experiences & an inheritance of sorts.

I guess this artwork had its beginnings with family. Both my family & my husband’s family have been keen visitors to the Blue Mountains for many years. When thinking about the Blue Mountains region I found I had so many stories & photos of that time from my mother-in-law & her family in particular, many of whom still live in the Blue Mountains. From honeymoons to day trips and in fact, it is where my husband & I had our honeymoon. It was also somewhere we took our kids for day trips, holidays & to visit family & friends as well.

The wildflowers of this region are truly spectacular. The waratahs & flannel flowers are two of the iconic Australian wildflowers found here & of course I could not go past the ‘Mountain Devils’ – Lambertia formosa – which I have childhood memories of the seedpods dressed up with tulle on sticks like cupie dolls but there are some more vivid examples of these dolls in this newspaper article! I actually still have a couple of  my mother-in-law’s tulle simple versions in an old china cabinet from her ‘nic-nacs’ which I just haven’t been able to part with. So the central panel of this work for me just had to be these three wildflowers.

A lot of research goes into investigating the species of an area, then I always take my own photographs & drawings of each of the species. This helps me to understand the structure of each plant & flower & increases the draftsmanship & design of the piece. There are usually so many I then have plenty to choose for the design.

So a little gallery in of inspirational wildflowers for Blue Mountains Wildflowers.

When my mother in law passed away a few years ago we inherited an old Art Deco style mirror. Looking a little shabby & worse for wear it does however have such an interesting shape. So I started with the mirror’s shape then developed that to create the overall structure of the design. It is then a matter of putting together all the research & developing that into the design. I spend a lot of time drawing, I think it is one of my favourite parts of the process. I have always loved drawing.

I see the linocuts as an extension of that & a way to push my vision & drawing further – the art of creative-art thinking. There is the ‘practical’ aspect of what can actually be carved out of lino but then there is the creative side of shapes & patterns. After I have finished the drawing of the design I then photocopy it several times & start to work on the actual linocut design. I use black felt pens to work on the designs, often photocopying, pasting & then using white out to work on this side of the designing. I guess I am still ‘old school’ in that I love to work with the physicality of paper, pen, pencil & ink but I do sometimes ‘dabble’ with computers & photoshop. I can spend weeks refining the images into exactly what I am happy with in the design & which I am able to produce in the medium.

Then to the carving of the design in lino. I have talked about different type of lino previously but I am pretty settled with the grey Silkcut & even managed to visit their gallery & workshop in Melbourne when I was there last time. I love my new Pfeil linocutting tools as they have made the carving just so much easier reducing the strain on my shoulder. There are actually 12 different blades in my set & I think so far I have only used half of them! Like a painter may use different brushes a Fine Art linocut artist uses their carving tools to create different effect within the surface of the lino. Some use it to create rough textural pieces but mine is a more methodical approach. I see my linocuts as botanical in nature so I try to represent the wildflowers as close to their essence as I can and this includes within the carving to create the images.

An interesting aspect to my work is the ‘uneven’ edges. I do not feel limited by the square or rectangular shapes that lino is usually presented to us from the art shop. I have always sought to move outside these shop bought restrictions. In order to do that I need to carefully cut back the edges. I start by making several strong cuts into the from surface of the lino. I then very carefully split the lino edge I want to remove & fold it towards the hessian back. Then I turn the lino over & cut along the hessian backing with a sharp bladed knife.

Often there can be a rough edge which is not something I want to be on my print. So I carefully remove the rough edges until I have a clean smooth cut. You need to take care especially around pieces with more ‘organic’ lines rather than the straight edges within this particular design.

Then to the printing of the linoblock. I have talked printing previously so here is just a little gallery for ‘Blue Mountains Wildflowers’

Then the handcolouring. I print with oil-based ink & handcolour with watercolour. I like that I can sue multiple layers & colours within each section to create the overall vibrancy of the wildflowers. You will see on the first ‘handcolour proof’ patches of colour & notes on which colour mixes I used. Although the aim is to paint each one the same you can appreciate that each one is actually individually painted & there are always variations.

Blue Mountains Wildflowers - A Fine Art Linocut

Here is a little video from photos about this whole process of creating Blue Mountains Wildflowers.  For those who don’t want to read explanations & learn better through images rather than words, you can now watch it in a little video format.

Seaside Wildflowers – The Development of a new Fine Art Linocut

Lynette Weir - Seaside Wildflowers

SEASIDE WILDFLOWERS – CREATING A FINE ART LINOCUT

The centrepiece artwork for an exhibition at the Northern Rivers Art Gallery was a new linocut – Seaside Wildflowers.
Back in February I was approached by the Northern Rivers Art Gallery Director Ingrid Hedgcock, to exhibit alongside an exhibition of the Master Woods Craftsman & his students. For me it came at a time when recently becoming an ’empty nester’ & my shoulder was looking like it was going to recover after surgery & allow me to work – carve – again. It was also when I really need to get my arts practice back on track after a few years of life being too hectic to gain a consistent approach to my work.

I made the decision that I would work on finally completing many works I had been developing over many years as well as creating the centrepiece for the exhibition a work based around the Wildflowers synonymous with Ballina.
I will talk more about the other works in the exhibition in future posts but will start with the Seaside Wildflowers & where it all began.

In the process of creating this work I took some video footage & sill photographs with the idea of creating an education video showing my process from the inspiration through to the completion of the artwork.
I have always loved the seaside – the beach, the rock formations, the sea, the wildlife & of course the Wildflowers or flora. Even though I grew up in Sydney we spent every holidays by the sea at my grandparents in Yamba. Woody Head was another favourite place where my great uncle & Aunt lived, it is a truly beautiful natural place. We also spent a lot of time over where I now live on the ‘plateau’ region behind Ballina with my other grandparents – not that far from the seaside. As kids we would spend many hours going to the beach but also exploring the surrounding landscapes. So I know this region really well.


I start this particular genre of my work with research – some of this is ‘formal’ – flora studies of regions, plant identification lists but also I go & spend some time wherever possible wandering around the region taking photos. I like to see the flora/Wildflowers I am going to be drawing & document that in my own photos. By taking my own photos it also give me the opportunity to explore the process of visualising each wildflower or plant & how & where that might be represented within the initial concept of the artwork exploring different images of the particular plant. I look at things like the structure, colour & overall impression of each.
As I have talked about before, my work starts with ‘flashes’ of ideas scribbled into small sketchbooks, on post it notes or on scraps of paper.

For Seaside Wildflowers it began as a quick sketch on a post it note which I have now stuck into one of my small sketchbooks with additional notes & ideas. For this artwork I have drawn on the flora lists of the region, the council guides for flora in the Ballina Shire, books of flora of the region, my own explorations of the Ballina seaside region, my own photographs of specific species & finally my memories of childhood holidays alongside living in this region for over 20 years.
One of my abiding memories of the flora or Wildflowers of this area is the stunning Pandanus – Pandanus tectorius or Screwpine.

These strong ‘structural’ small trees are integral to my childhood memories & they are such a strong presence along the seaside of this region. The fruit which starts as a small green ‘ball-like’ structure & slowly moves to yellow tones & finally a vibrant orange colour is the aspect most people would recognise. For me the depiction of the pandanus would need to include the fruit. Less obvious for many people are the flowers – many would not be aware of the flowers. So I made the decision to make the ‘wildflower’ front & centre for this piece. The flower starts as cream bracts inside which the flower heads develop but the slowly the whole long spike of flowers emerge with the female flowers ending in long spikes of cream flowers & bracts.


The long strap like leaves emerge in a spiral from a central point & form a cluster on the end of the rather tortuous trunk & limbs. I think the pandanus reflects the very nature of growing by the season it’s tough ‘wildness’ & so it was for me to become the pivotal image for this artwork.


I started with many possible flora species I could incorporate into the piece, more than I could actually use & so this is where after setting out the pandanus I explore the size, structure, colours etc of all the possibilities. I see this is the fine art aspect of developing my Linocuts – this is where my training, skill & inspiration as an artist rather than a craftsperson comes into being. I bring my drawing & compositional skills to this process & it can be both the most frustrating as well as enjoyable part of the developing of my artwork.


Once I finish the detailed drawing I work through further developing this drawing into a form that can be carved in Lino which is my chosen medium for this piece.

For me this involves inking the design into shape & spaces.

11 Seaside Wildflowers - TEMPLATE FINAL 1

I then carve this into Lino to be printed. For me these two further processes again involve choices & changes in the translations from drawing to final artwork.


Once the Lino is finished being carved I then print it in black ink & handcolour with watercolour the final artwork.

The hand colouring is not simply a ‘fill in the spaces’ it involves again skill & training in watercolour as a medium including colour, contrast, tone etc alongside the application of the paint.


I have taken some video footage of the processes which is a quick look at the whole process and it is now on youtube.

Music – ‘The Temperature of the Air on the Bow of the Kaleetan’

by Chris Zabriskie

Used with Permission

https://itunes.apple.com/us/album/und…
http://chriszabriskie.com/

Oil based ink for printing & watercolours for handpainting Linocuts

42Blue Mtns Wildlflowers Lino - handcolouring 5The reason for using oil based inks is so that when I handpaint with traditional artist watercolours the oil based ink of the printed area repels the watercolour. If you were to use a waterbased ink (which dries quickly and cleans up with water) then when you come to handpaint it also dissolves the water based ink. Also you get such a lovely lustrous black with the oil based ink which highlights the colour of the transparent watercolour which I also like.

I always start handcolouring by taking a less successful print (one with flaws such as overinking, underinking, missed patches etc) and use this as a ‘working handcolured proof. It is where I experiment with colours and make notes on the colours I have used. It is a working proof which means I record the colours used on the print (just by penciling them in on the border and sometimes painting a little square of colour) and note any changes I would make on the final editioned prints. That way I can remember what colours I have used, how I have mixed the colours & keep a record of the actual colour I used for matching later.

Handpainting – handcolouring – Practicing & Experimenting – ‘Old Man Banksia’

 

Handcolouring linocuts can mean a simple process of filling in the blanks with colour but for me it is a much more complex process.

In this Banksia serrata design – Old Man Banksia – this design has a limited palette of creams/greens and a range of browns. I am relying on tonal values as well as colour to build up the image, and some under painting of yellow & reds. Below is the colour proof – the final colour of the seedpod for this design I have pared back to more brown & less red/yellow.

Laying down the watercolour for this design I have experimented, taken notes and referred back to the original plant, but tweaking the colour to what I want.

And the final framed result.

From linocut design to handcolouring – four new prints

Four examples of original plant/image to final design after designing, carving, printing and finally handcolouring.

There are two of a new series of smaller 15cm x 15cm designs,

This first one is Eucalyptus caesia – also known as ‘Silver Princess’.

 

The second one is a Waratah – Telopea speciocissima.

 

The third is a Coastal Tea Tree – Leptospermum laevigatum

Art Deco Series – image size – 8cm x 22cm

 

Finally some flying foxes – the Grey headed Flying Fox – in amongst some Grevillea robusta – I am looking forward to painting this one in particular.

This design is quite complex to hand-colour – still not sure it is right. I am still struggling along with the final handcolouring of this print – like the image & colours but still trying to fiddle with some of the tonal variations and colour mixing in the print the image is getting a bit ‘lost’…so not quite finished. But in the case of this design I will put it away for a while and then come back to do the final handcolouring.

Handcolouring testing – ‘Regeneration’ – Waratahs Linocut Part 1

Once I have printed a number of ‘proofs’ or the whole edition with extras as ‘proofs’, I can then set about experimenting with handcolouring techniques and colours until I decide on the final result I want to achieve.

Often I will do a number of different ideas and then leave them pinned to the wall for a while before making a final decision.

For the ‘Regeneration’ design there were some major decisions to make with colour and not just blending colours.

Here are 3 colour samples of this particular ‘Regeneration’ – waratahs design.

Waratahs Watercolour 1 – has pale green outside leaves

Waratahs Watercolour 2 – has deeper sepia type colours

Waratahs Watercolour 3 – has pale sepia colours.

Copyright – Lynette Weir

Handcolouring testing – ‘Regeneration’ – Waratahs Linocut Part 2

This is the completed handcoloured linocut – ‘Regeneration’  – Waratahs – linocut.

I have called it “Regeneration”. After the destruction that occurs in bushfires the waratah ‘regenerates’ from a ‘lignotuber’ which is a type of starchy or woody swelling found partly or fully on underground stems – like a life support system.

In this print the outside leaves that are destroyed regenerate into the magnificent waratah flowers of the central panel. Thus after destruction and when there seems to be no hope of regeneration something found below the surface holds the key for rebirth.

The final number for this Edition is only 5. This is a very small edition and reflects the amount of work within this design and as such the price will also be higher as only 5 plus 2 Artist Proofs will exist of this design.

Copyright – Lynette Weir

What a difference a background colour can make – Emu Linocut

Having finally carved, printed and now coloured this linocut (after working on the original drawing over a year ago and the pre-sketch ideas over 2 years) I finally have finished!

I had hand painted the emu above as you can see but it felt a bit empty so added a graded wash of ‘Australian Red Gold’ which I am quite pleased with.

I must say this one of my favourite watercolour pigments as it just seems to have a glow about it.  I think the background colour can make a huge difference to any work and often it may take several tries to create the effect you want. So now it is a matter of completing the edition of this design.

Copyright – Lynette Weir