Printmaking can sometimes take an eternity. Or this is how it seems. My first art professor impressed upon me that unlike reading a book which can be skimmed, or writing a paper during an all-nighter, making art takes the time it takes. This fall, I have found this to be true. I decided to create a linocut concept that had twelve layers of ink, the most I have ever done.
Elizabeth Busey. On the Far Side of Forever. Reduction linocut on Rives BFK. 16 x 21in (image size), 28 x 37in (framed size), edition of 13, $375 unframed.
I wanted to create imagery that asked the question — what if aerial views were like topographical maps? To answer this question, I created both horizontal (above) and vertical (below) compositions. I imagined the views a hawk or turkey vulture might have, if they were flying around in a topo-filled world.
Elizabeth Busey. The Grand Eternal Show. Reduction linocut on Rives BFK. 21 x 14in (image size), 31 x 23in (framed size), edition of 13, $375 unframed.
Creating similar but not the same
To make these works harmonize, but not be the same, I used different views of the topography so that the largest shapes are repeated. I also wanted to find a way to make the layers not be completely homogeneous. To do this, I started both series with some loose diagonal color fields as the first layer of ink. I even reversed the location of each color for the different linocuts.
The first layer had rough, inexact color fields.
Carve this, not that
One of the more difficult tasks was remembering where to carve for each subsequent layer. Once a layer was carved away, I could not go back and touch up the linear marks that divided it from the others. Each time I printed, I also printed the line marks to keep them a consistent tone throughout, even if the color was somewhat different.
The last layer — the lines alone — required some strategy. I could leave them with the darkest tone only, but this meant that the darkest areas were not well differentiated from a distance. So I went to my old friend, gold ink.
Getting serious with pigment
I had been using a very old gold ink from Handschy, and wondered if another ink would give me more brilliance. I ordered some Charbonnel gold etching ink on a whim, and now was able to give it a try. As you can see from the video, this ink does not have the viscosity of most relief inks. I wanted to keep the pigment as intense as possible, since it was going to go over fairly dark blues and greens. The addition of some burnt plate oil allowed me to gradually roll out the stiff ink.
The last layer need to print clearly. The thick gold etching ink did the job well.
While the ink looked too thick on the glass, and didn’t make that velvety sound I usually strive for, it did adhere to the linoleum well and printed evenly on the ink-saturated paper. With one layer of ink, the gold sheen can be delicately seen, especially in the problem dark areas. I wondered if more gold would be better, and printed another layer of gold immediately. This gave me more gold reflection, but meant that now your eye was confused about what was important. I wanted the work to be more about the layers, with the lines playing a supporting role. So I stuck to one layer of gold ink.
The feeling of satisfaction I had upon completing these two linocuts was one I haven’t felt in a long time. For this, I am eternally grateful.