13th and 14th July 2017

I attended the Reduction Linocut Workshop with Ian Phillips as part of the Print Scholarship and found the workshop to be particularly informative and my skill in lino cut printing vastly improved as a result.

My perception of lino printing has changed as a result of this workshop and I can now see more ways to include lino printing into my art practice. This workshop has inspired me so much that I am now going to work with Reduction Linocut printing for Llawn 100.

The first step of this process was to trace an outline of our drawing that we were using. Two youths playing chess is part of the Mascen Wledig legend, which I am working with for another project. Once the tracing was complete we then used a water resistant carbon paper to transfer the image onto the lino.

Once we had traced the image onto the lino we fixed the lino onto a board prepared for developing the reduction print. using Ternes Burton Registration Pins and Registrating Stripping Tabs so that the paper and lino remain aligned throughout the Reduction Printing process.

Once fixed, we then began to cut away only the parts of the image that needed to appear white ready for printing the first colour.

The process was then repeated removing all that I didn’t want to be the second colour.

And then repeating the process for the final colour.

The experience of this workshop has inspired me to work with Reduction Lino Printing for Llawn 100, an event where you create 100 pieces or do 100 things and upload the result to Instagram with the hastags #Llawn and #Llawn100.

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