Getting in the Groove with Lino

Detail of inked lino block by Toni Hartill

My latest lino blocks.

I've progressed to working on A4 sized blocks and, having experimented with cutting techniques, I find the process of carving the lino to be very meditative and enjoyable. I could quite happily sit for hours whittling away - which is just as well as my designs are getting more detailed and complicated.

Experimenting with rainbow rolls and overlapping complementary colours allows the image to build up a rich patterned surface - colour and pattern being two main drivers in my work.

Base colour for lino print by Toni Hartill

 I've also played with the effects of using one layer of rich colour on white paper, letting the cut lines and texture sing for themselves, giving a fresher, more graphic effect.

Second colour plate for lino prints by Toni Hartill

Taking yet another approach I printed another slightly modified design over a monoprint layer. I wanted to achieve more movement and interest with the use of dappled colour beneath the surface. Using slightly textured paper I was able to get a bit of surface texture in the top print, adding to the patterning and layering effects of the colours. 

I chose to have the shape of the first layer of colour ever so slightly larger than the lino block to allow the background textured surface to peep out from behind, adding more interest and detail. Just as I like to be able to see the presence of the artist in paintings through brushstrokes and mark-making, I like to make use of the marks of printmaking through the process used.  The more I explore and learn about print making the more I enjoy this aspect.

Monoprint base layers for lino prints by Toni Hartill

Ultimately I have been working towards having the skills to print what I would call a reasonably large edition of prints. There are so many variables along the way that can throw a spanner in the works! Also, once I've achieved a result that I'm happy with once or twice I'm ready to move on to the the next idea bubbling away in my head so it takes a lot of patience and will power on my part to stick around long enough to print anything more than five in an edition! 

Mixing a quantity of ink for an edition of prints.

However, with all the "playing" I've been doing along the way, which has enabled me to do lots of PLANNING  (key) for the process, the actual act of producing this edition was not one of stress and hair pulling as I imagined it would be. It was actually very satisfying! Especially aided by having the right tools. I'm sure other print makers will understand when I say how "sweet" it was using my new "professional" 250mm roller lugged back from a recent trip to Spain. 

Joy! Using my new large roller, all the way from Spain!

(I'll post images of my final prints in a later blog once I have photographed and collated them.)

Inspirations:

I found the "how to" tips on preparing the lino, provided by the artist Elizabeth Banfield on her bog, to be very helpful and her beautiful work with fine lines to be very inspiring.

I was also inspired by the lino prints of Mark Hearld and how he layers up overlapping blocks to achieve beautiful results with so much movement and pattern.

Lino-cutting - continued explorations

Following on from my last post, these are some more lino-prints I have been working on. 

I am still experimenting with cutting techniques and skills, testing how fine I can go, whether my ideas "read" correctly, what happens when I overlap colours, etc. I started out working small, printing onto A5 paper, and am gradually moving up in size. 

I'm attempting to capture some of the sense of colour, light, movement and detail as experienced when under water.

Lino block and print by Toni Hartill

Linocut series by Toni Hartill

Lino block in progress by Toni Hartill

Lino-cut edition by Toni Hartill

Linocut Warm-up

The "black" layer ready to test print.

As I'm embarking on some new work I fancied giving lino a whirl. This wee plate, of seaweed clinging to its rock, was cut as an experimental "play" to test blades, papers, inks, etc. I just used an ancient "Speedball" tool (although with new blades) - it worked fine, although it's a bit of a drag having to constantly change the blades in the handle.

My "book press"

I printed them using my bespoke book press, designed and made by my resident technician, aka my hubby. 

An edition of prints "whipped" up in an afternoon.
Linocut prints by Toni Hartill

The final print is made up using 2 plates with the background colour inked up as a colour blend and rolled on diagonally. 

Fun wee warm-up project to get the ideas flowing!

Right, what's next? 

"print2print" exhibition @ Studio One, April 2015

These are my two works exhibited in the print2print exhibition with members of the Auckland Branch of CPCANZ (Central Print Council Aotearoa New Zealand), organised by artist Ruby Oakley. We were required to submit two related works, 20cm x 20cm, inspired by the theme "light and dark." 

Submerged 1
monoprint
20cm x 20cm

Submerged 2
monoprint
20cm x 20cm

In my prints I was trying to capture the light as seen from underwater. A recently acquired underwater camera and the opportunity to go snorkeling over the summer holidays meant I had loads of inspiration begging to be acted on. These 2 works are part of a series of 9 monoprints.

Twenty three members took part in the exhibition and the results were a vibrant and interesting selection of works.

Being one of the volunteers to hang the exhibition it was a great chance to meet with other print council members. It was also a fab opportunity to learn from more experienced exhibition hangers and I learnt some invaluable practical tips. 

Great experience all round!

I also had 4 works (collographs) in the exhibition "Lasting Impressions" by members of Waitakere Printers Ink, in the adjoining room.

"Lasting Impressions" exhibition @ Studio One, April, 2015

"Lasting Impressions" is a group exhibition by ten members of the print group Waitakere Printers Ink. 

This exhibition at Studio 1 was in a room adjacent to the "print2print" exhibition by the CPCANZ Auckland members which included my two monoprints with the theme "light and dark".

Exhibiting members included Diane Charraz, Loraine Vickery, Ina Arraoui, Fiona Lenore, Tracy Singer, Toni Hartill, Julia Friedewald, Alicia Poultney, Carole-Lynne Kerrigan and Ruby Oakley.

Diane Charraz
Screenprint

Loraine Vickery
Collograph relief & chine colle

Ina Arraoui
Stencil & woodcut

Fiona Lenore
Etching with watercolour

Tracy Singer
Etching with aqua wash

Toni Hartil
Collograph

Julia Friedewald
Drypoint & watercolour

Alicia Poultney
Relief, collograph, folded paper

Carole-Lynne Kerigan
Woodcut & chine colle

Ruby Oakley
Direct print, screenprint, chine colle

Printmaking exhibitions @ Studio 1, 1-23 April, 2015

 Three printmaking exhibitions!

at 

Studio 1 

(formerly Art Station, Ponsonby)

1 - 23rd April, 2015

Opening event 5-7pm Wednesday 1st April.

All works for sale.

"Lasting Impressions"

by members of Waitakere Printers Ink

Gallery 3

Image by Carole-Lynne Kerrigan

"print2print"

by Auckland members of CPCANZ

Gallery 1

Image by Toni Hartill

"Directions"

by Ruby Oakley

Gallery 4

Image by Ruby Oakley

Monoprints, Collage & Happy Accidents

My noticeboard above my printmaking station of works in progress.

After all the fun of experimenting with collographs I've taken a change of direction for a while as I work towards a group exhibition with CPCANZ (Central Print Council Aotearoa New Zealand). The theme of the exhibition is "light and dark" and so I wanted to explore ways of capturing the light from under the water as seen when swimming in rockpools (something I did a bit of over summer.) I haven't ever done much monoprinting and so I wanted to have a good old "play" using various techniques to see what effects I came up with. 

I have been using Charbonnel Aquawash, hand cut paper stencils and sheets of ohp acetate. 

The prints for the exhibition are 20cm x 20cm, printed to the edge of the paper and hung unframed on clips. I found that I worked on 6 or more prints at a time building up multiple layers of colours and stencils. With monoprinting like this I think you have to always be ready to accept "happy accidents" as and when they happen and use them to guide you in new directions. 

At this point I now have a series of 9 "submerged" prints which I would like to exhibit as a group at some point. (I can only put 2 in the print council exhibition so I need to select which two I will show this time.)

"Submerged" 1 of series of 9.
Monoprint by Toni Hartill

As I have worked on these prints new ideas have come up and so I am now exploring ways of incorporating other elements into the prints including wood block prints, collage, collograph, etc.

I have been dyeing sheets of plain tissue with coffee, tea and colour washes of acrylic paints, and over-printing with woodblock prints and collograph materials.

Cornflour paste, coffee and tea
with cotton thread being dyed for stitching.

Dyed and printed tissue to use for collage.

Next, I have been seeing where my ideas take me as I begin to assemble works using monoprints as a base then adding collage, stitching, paper cutouts, relief prints and found papers. I've also played with making a "matrix" from dyed tissue, sandwiching other papers amongst the layers to see if it is something I could then print on. I seem to have an aversion to being restrained within a rectangular frame so I have been layering the tissue and hand made papers on both the front and back of the prints so that they seem to be growing in all directions and becoming quite lovely "artifacts."

More monoprints being transformed with layering, collage and stitching.
by Toni Hartill

Collograph prints for "Lasting Impressions" exhibition.

"Lasting Impressions" is a group exhibition by members of my print group Waitakere Printers Ink. This exhibition at Studio 1, is in a room adjacent to the "print2print" exhibition by the CPCANZ Auckland members where I am exhibiting 2 monoprints with the theme "light and dark". Also showing in another adjacent room is a solo print show "Directions" by Ruby Oakley, the founder of the print group and an Auckland rep for the CPCANZ.

I will be exhibiting my recent collographs all based on a sea theme. For me, the sea always leaves a lasting impression, in fact I think it is printed in my DNA! And these collograph plates certainly leave a lasting impression on the paper as the paper becomes very embossed by the textures of the plates.

A collograph plate in the making by Toni Hartill.

Details of 2 collograph plates by Toni Hartill

Collograph plate ready for printing by Toni Hartill

"Sea shore" collograph by Toni Hartill

"Sea weed I" collograph by Toni Hartill

"Sea spray" collograph by Toni Hartill

These prints are another step in my exploration of collograph techniques, an ongoing learning experience through trial and error. I am also working on embracing the imperfect and welcoming spontaneity and the happy accident! Anyone who knows my "perfectionism" tendencies will know how challenging this can be. 

Paintings on sale to make room for more work!

I need to make room for new work so here's a few past works at reduced prices. Each painting holds strong and fond memories for me so I'm putting them on sale before I change my mind!

If you are interested in any of these paintings, leave a comment with your email address and I will contact you directly. You are welcome to visit to view any of the paintings "in the flesh." At this stage, "pick up" only please.

Duders Regional Park    $800  Sale price $600

2004,   1225mm x 825mm, acrylic on canvas

This large canvas was painted following a weekend adventure with my family where we discovered the fun sport of orienteering for the first time. The regional park has/had a permanent orienteering course with maps supplied at the information stand in the carpark. (I don't know if the course is still there - I hope so.)

The reserve gives wonderful views towards the Coromandel Peninsula and the far end of Waiheke Island and there is access down to lovely beaches on all sides. 

This painting holds wonderful memories of a fun summer's day.

Harbourview Reserve, Point Chevalier $650  SOLD
2012, 820mm x 595mm, acrylic on panel.

This is a local beach reserve where I make the most of high tides in summer, enjoy a blustery walk on a stormy day and where I may, or may not, have been seen, on many occasions, photographing the environs and obsessively collecting pohutukawa leaves, shells, twigs, seaweed, etc for use in my creative pursuits. 

Takapuna Beach Reserve Shadows  $500   Sale Price: $300
2004, 820mm x 595mm, acrylic on panel.

This painting is of the carpet-like shadows that cover the beach side reserve in Takapuna on a hot summer's day. (The colour of the photograph varies from the original which isn't as lime green as seen here). 

(I remember when this area of land was covered with houses before it was transformed into a lovely public space.)

Sunset over Pakiri Hills  $300  SOLD
2007, 630 x 430mm,  acrylic on canvas

This painting was completed following a weekend away, camping at Pakiri Beach, with my young family. As we drove over the hills, I was captivated with the evening light washing the rolling hills with velvety colour.

Pakiri after the storm  $180 Sale price: $90
2008, 751mmx166mm, acrylic on panel

This is Pakiri beach as evening closes in, following a wild and stormy afternoon. Once the winds and rain had moved on everything felt refreshed and so tranquil and still.
I can still smell the sea air! Bliss!

My studio circa 2008