Tag Archives: Designing for Lincuts

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/

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Designing a linocut – the process of one design – Part 3

They say sometimes what goes around comes around.

Or perhaps it should be called in this instance the sometimes ‘obsessive’ nature of artists!!

  

After spending ages on the original drawing design – inking it up and then deciding to fiddle around with it to make it just that little bit better – I have took it back to the original drawing design!!

Another artist at a workshop I did a few years back said he spent weeks deciding to change the wall colour of his lounge room from a mustard yellow. So after much contemplation, colour charts, mixing etc he repainted the room…and yes it was almost the identical mustard yellow!!

So the design is finished – and yes after a week it is back to the original concept!!

Now for transfer to the lino block, carving, printing and handcolouring – I must admit moving from one process to another actually raises the excitement level. Yes I know a bit boring that at each new step it is seen as ‘exciting’ but I think that is why I like the art processes that I am currently working in and keep coming back to them! I do actually really enjoy each step and it provides interest and hopefully challenge. Even if I sometimes end up back where I started!

Copyright – Lynette Weir

Designing Linocuts – Design Process for Tasmanian Christmas Bells

This is a design I was asked to complete – a small linocut of Tasmanian Christmas Bells. Fortunately I had taken some photos a long time ago of the Blandfordia punicea and have in my garden grown the local NSW Christmas Bells Blandfordia nobilis and Blandfordia grandiflora. I had previously completed a small linocut of the NSW Christmas Bells. So as it worked out I actually had plenty of my own reference material.

I started firstly with a small quick sketch idea as I always do. These form many of the design basis of my work. It is amazing how a quick small ‘doodle’ can become an actual design. Sometimes I spend hours searching around trying to ‘improve’ the original concept (or design as in the case of the previous Banksia serrata) because it seems like the thing to do when in actual fact I end up back at the small sketch and working from there. Other times I have to think for ages to come up with a design – this process is never really predictable but often just keeping your eyes open and a small sketchbook in the handbag to jot down ideas and inspiration as you go about your daily activities can pay wonderful dividends later on.

So the original quick idea to base it on an earlier ‘template’ of a NSW Christmas Bush was what I worked with. I then researched the differences between the different species of Blandfordia and noted the differences in my sketchbook.

          

I continued the process by working the original idea sketched into a drawing and then inked in the black for the design. This is what I then used as a guide for carving the lino block – I do this as I have often simply carved the wrong sections in the past and wasted lino, time and my patience!

  

Copyright – Lynette Weir

Carving a new linocut

This is a partial image of a carving  and the design work.

I will just show you a section of the linoblock I am carving with the section of the design I am working from.

As is my usual way of working I have drawn the image/design I want to work on and then developed that into a ‘carvable image’ by colouring it as a B&W design (on the right).

This is then transferred to the linoblock in reverse and carved.

I use the B&W image as a template to work from.

Copyright – Lynette Weir