INK ON MY FACE - THE JOYS OF PRINTMAKING A SELF PORTRAIT

Self Portrait Single Colour Linocut Project

Today I got to rub ink and paper all over my face... well not my actual face, although that would make an interesting and slightly toxic experiment for core studies... I digress.... My first Printmaking theme (as a first year) is the dreaded self portrait. That's when you get to indulge in the narcissistic pleasure of exploring who you are in a visual format. Artists though out history have immortalised themselves on canvas, paper, stone and cave walls. This semester, it is my turn. Rather than spitting paint onto my hand, gazing into a mirror or calling up my sprit guide for a totem vision, I decided to use the latest technology and choose a photo.

the image I chose for my self portrait was taken late last year

The guidance we have been given in lectures asks us to explore aspects of who we are. To key into ideas of culture, gender, age, sexuality etc. Naturally, I chose the sexuality angle as it's a big part of who I am, being a bit of an activist and all. It didn't take long to find a picture I felt faithfully expressed who I am. I wanted to capture an intimate but non-threatening every day moment that any couple might experience. I wanted to look proud, defiant and maybe even a little smug. I liked this image because it captured the moment I was looking for.

tracing out using a graphics tablet

The next step was to break out the Wacom graphics tablet, open the photo in Photoshop and start figuring out which lines to trace. The whole time remembering that this image has to be a single colour (black) print on white paper and there's no gradients or shading.  How do you draw those bags under the eyes without making yourself look like a Granny in the process? The key is to not draw everything you see. You have to select the right amount of wrinkle or figure out how to give the impression of age without looking like a shrunken chip packet. The same process you would need to go though if you were looking in the mirror and drawing yourself. The image is going to be made by cutting grooves onto a piece of lino and then using it like a upside down stamp so you have to remember that cutting is not as easy as drawing with a pen or pencil. Note: It helps to make the photo layer slightly opaque so you can see your lines better over the top. I also used a few layers (one for my hair, one for my face etc) incase I made a massive mistake and wanted to delete a section.

tracing this image into Photoshop took about 2 hours

When I had figured out what to trace and how to make that hair of mine truly messy like spaghetti I added some shading lines as these always look awesome in a linocut. These types of lines remind me a bit of a topographical map (a map that shows elevation represented in line). I might play with this more in the future. I could use the lines to really emphasise shape not just shade.

The next step is figuring out how to transfer the image onto the piece of soft linoleum or "lino".

the print out has been placed face down onto the lino with carbon paper between

I printed out the A4 image on a standard ink jet printer and grabbed some A4 carbon paper to transfer the picture from the printout to the lino. Now here's the tricky part. You've got to remember that whatever you cut into the lino is going to be reversed when it prints. I put the carbon paper carbon side down onto the lino then placed the flipped face down print out on top of that. So the whole thing didn't wriggle about I lightly taped the carbon and printout to the lino securing it in place. Now when I draw over the top of all this I know the carbon paper is going to leave a mark on the lino.

use a hard pencil for a better mark from the carbon paper below

With the right lighting you can see the printout though the back side of the paper. Ideally use a hard pencil such as a 2H or 4H but HB will do the trick and draw over the black lines and fill on your print out. As you re-pencil these lines the carbon paper makes an impression on the lino below.

penciling over the image took about an hour

Now that the image is penciled over its time to check and see if the carbon paper has done its job... and massage your hand and wrist because an hour of that really hurts when you're not used to it!

The original image, the lino transferred image and the used carbon paper. 

Notice the reversed image.

At this point it was really late so instead of torturing my hand further I decided to hit the hay and cut out the image the next day in printmaking class. 

UTAS School of Art Printmaking Studio

(the black press at the left rear of the picture is apparently over 150 years old!)

UTAS School of Art Printmaking Studio

(this image only shows about half of the studio)

So the next day I get to class at 9am say hello to our tutor Michael Schlitz, and get down to what I think will be a quick cut out session... well, 4 HOURS LATER class finished an hour ago, I've wagged the friday art forum and I emerge from a pile of lino shavings with RSI and slight dehydration ready to do my first proofing print. We're not using the presses today. Today it is printing by hand with a special tool a "baren" that looks like a mens round hairbrush but with ball bearings instead of comb and a burnisher. Apparently one of the best burnishers to use is the bottom of a common everyday dinner spoon. Usually you use a baren for woodblock carving (which is the first non assessed exercise most people were doing) but I was cheeky and carved my lino first. I just wanted to get my first assignment done as there are 3 to do in 5 weeks!!! 

my lino cut (after inking because I couldn't wait to print)

this took 4 hours to cut out

I was so pleased with my lino cut. Particularly with the texture of the lines. I cut it out mainly with a medium V groove cutter but did use a large U groove on the big spaces. Michael had shown us how to sharpen our tools and during this process I learnt how important a good set of sharp tools can be. I managed this print with a dodgy, cheap partially blunt set but made sure I sharpened them after class because I almost cut though my lines a few times!

But making the lino cut is just the start of the printing process...

To print you "ink up" a roller by rolling out the ink onto the bench with a roller, then when the ink is the right consistency you roll it onto the lino. Then you place your paper on top, place another bit of paper on top of that and start rubbing with the baren and burnisher! 

So what was the result?

Here it is (drumroll)... the moment of truth... on proofing paper...

print 1

print 2

print 1 & 2 side by side (double the Phoebe!)

original image for comparison

Naturally I was delighted with the result. It turned out even better than I expected. I loved the texture lines in the background. I think the band of black on the top and bottom, which was purely unintended actually enhanced the print and I really enjoyed how each print is ever so slightly different from the other because of using a baren instead of the press. I learnt the importance of sharp tools, having a break and some ideas on using texture more in the future. I look forward to printing the design onto some Japanese mulberry paper (this is what michael recommends for baren and burnishing printing) and using it on the press with some heavy european paper next week.

The only thing to do was put the test prints into the drying rack and start thinking about the 2 multiple (2-3 colours) colour self portraits i will have to do next!

my first proof prints on the drying rack. 

(It can take a couple of hours for the ink to dry).

I'll post the final good paper prints under this text on this blog when they are done but like me, you will just have to wait for another week. 

Now that was epic but really rewarding. Loved it!