Being overextended — at the end of your rope — is a familiar human condition. Managing internal and external demands can be challenging. I met overextension while working on one of my large cloud linocuts, and the results have been challenging.
When ink isn’t quite so juicy
In many of my cloud linocuts, I begin with very transparent layers because I want to make a smooth transition from the white of the paper. I am working on another 25 x 40 inch cloud linocut, and ran into trouble as I printed the first light blue-grey layer. When I printed the first layer onto some very expensive Somerset paper, a strange chalky dry residue remained on the block. When I rolled ink over the block and printed on the next pristine piece of paper, the residue pattern then printed.
Exasperated, I tried cleaning the block, but the problem reoccurred. I tried adding more tack reducer to some of the ink, burnt plate oil to some more, but neither was successful.
Help from the internet
I use relief inks by Gamblin, so I sent a query through their website. Cecilia Hamlin reached out with some suggestions. The first was to clean the block with vegetable oil, and then with mineral spirits. Cleaning a block this size and weight is non-trivial, as it requires hauling the cumbersome block out to the garage. I also tried re-sanding the entire block with 400 grit sandpaper twice. Still no improvement.
I sent Cecilia photos of the ink on the glass and on the paper. Then the problem was made clear. She suggested that I had overextended my ink — using too little pigment in too much tint base. The addition of too much tack reducer also meant that the pigment did not disperse evenly, but rather clumped together and stuck to my linoleum.
Ink has a memory
On my latest layer, I followed Cecilia’s advice:
- Start with the tint base needed and then add in color. Mix thoroughly. (I have a bad habit of not mixing as long as I should.)
- Only then should I add the tack reducer, with a maximum of 10% of the total ink volume. I tried to use less.
The result seemed to be better. Unfortunately, the ink on the paper now affect how much new ink transfers from the block onto the paper. So you get these strange textures. The next linocut will be the true test of the new ink strategy.
In the meantime, I must use all of my creativity to salvage the current work. I’m already thinking of some radical measures to make all of the variation work for the image.
Patience and perseverance are the words for February in my life. What are your words?
