composition – Page 2 – Gerry Mooney Illustrating Dickens

Chiaroscuro Woodcuts

As a rule I’ve stuck to just one-color linocuts mainly because my printing setup at the moment is fairly primitive. What I want to talk about here is going to be about woodcuts, but the same rules apply to linocuts and the process of pulling prints.

The main thing to solve when doing more than one color in a hand-pulled print, is getting the colors to line up. In any multi-color printing process, this is called “registration” and it applies to pretty much all color printing, whether it’s magazines, cereal boxes, or your inkjet printer. You know when you put a new ink cartridge in and you have to print out that one sample page? That’s so your printer can register the colors.

Proofing with a rubbing

I haven’t seen this method of proofing on any other linocut websites (and there are quite a few!) but it may be because I’m always trying to squeeze more detail out of a fairly “coarse” medium.

This video goes into the process of proofing with a rubbing, in order to see what is actually cut. Since the process is to do a black line drawing on the lino, then cut away everything else, it’s often difficult to “see” the cut areas clearly as work progresses. The rubbing reveals all this easily.

Allan Woodcourt and Jo

‘Stop him, stop him!’ cries the woman, almost breathless. ‘Stop him, sir!’

He darts across the road into the boy’s path, but the boy is quicker than he, makes a curve, ducks, dives under his hands, comes up half-a-dozen yards beyond him, and scours away again. Still the woman follows, crying, ‘Stop him, sir, pray stop him!’

Mr.Tulkinghorn and Lady Dedlock

“Lady Dedlock?”

She does not speak at first, nor even when she has slowly dropped into the easy chair by the table. They look at each other, like two pictures.