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  • Writer's pictureChiara

Take 2!

Reduction lino-prints are normally worked from light to dark with the darkest colour used for the key block in the final layer. Looking at my working drawing and the etched textures of plate tone which are evident in the skin areas, particularly around the neck, I made a couple of decisions I was later to regret. I printed a dark second colour, expecting to cover it with a creamy skin colour in the next layer. I also mixed a blue-black colour for that layer: approximately 50:50 by volume process blue and black. It seemed like a good idea at the time…

I thought the “opaque white” ink was literally what it said on the tin. When I came to print the cream layer following the black, I found that the coverage was nowhere near what I had expected. It took me three layers of different blends of cream to knock back the black and even then the darkness showed through to subsequent layers more than I wanted it to.

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