Meet the Maker: The inspiration and process behind my linocut prints
Updated: Dec 16, 2019
Last month I had friendly chat with someone who was interested in my work. She asked me questions about how I became a printmaker and what inspires me, as well as what I do in my spare time.
Here’s our conversation…
Tell me a bit more about what you do.
I’m a graphic designer and printmaker based in York. I create limited edition linocut prints inspired by nature and the great British countryside. I tend to work mainly in linocut, which enables me to crested styalised silhouettes in blocks of tonal colour.
My most recent work takes inspiration from the Yorkshire landscape and coastline.
My prints are designed, carved, inked and printed by hand in my York studio, making each one subtly unique.
Where for you get your inspiration from?
My work reflects my love of nature and the great outdoors.
I go cycling and walking to gather inspiration. I don’t like to just grab a photo from Google. I need to see, feel, and experience the landscape for myself. Observing my surroundings I capture the colour and shapes within nature on my camera to work from back in my studio.
I like to document my inspiration trips through photographs and stories in my blogs. Read my inspiration bogs here.
How does Yorkshire inspire your prints?
I used to travel around the world a lot, for work and pleasure. Moving to Yorkshire 12 years ago has made me appreciate what’s on my doorstop. Yorkshire alone has such a diverse range of landscapes.
When I work on one of my prints I’m transported back to a moment in time, the walk or cycle ride that inspired the print. I try to capture the essence of a place from my connection with landscape. On walks, friends often say that they now ‘experience a view through the eyes of Michelle’, which is rather lovely.
Listening to the people that buy my prints, I think they are too, be it a different time. They evoke childhood memories, special times with family or just simply a favourite place.
How would you describe your style?
My linocuts have a stylised graphic quality which use organic lines and bold design elements. I usually work with a restricted tonal palette and layer semi transparent inks to create other tones. The cut way areas of the lino which are I unprinted create contrast.
When I’m working on a new linocut design I like to strip the details back. I’m interested in noticing geological detailing, lines and pathways that make up the landscape. I use a paired down colour palette and simplified lines in order to do that.
My linocut prints often include pathways that lead your eye through the image and trees are often a key feature.
Can you describe your design and making process?
I start with one of my photographs. Sketching ideas and roughly colouring them up, I plan how I will capture the essence of a place.
I use the multi-block linocut technique. Usually each colour will have separately carved lino block. I carve the design for first colour into one lino block, often known as the key block. I then transfer this onto another piece of lino for the next colour to be carved. This is so I get my print registration (how my colours line up). I repeat the process for each colour to be printed.
Once I’ve carved all of the lino blocks, I start test printing to see if the design works. I adjust the blocks if needed. I mix all my own colours using semi transparent oil based inks made by local company Hawthorn Printmaking Supplies. The ink is applied to the raised surface of the lino block with a roller or brayer.
The inked up block is placed in a jig that I’ve made to aid registration. Paper is laid on top. In the beginning I used a wooden spoon to hand burnish my prints. I now have an etching press which is a little like a mangle. As I wind the handle, the inked up block and paper pass between two rollers at high pressure which transfers the ink onto the paper.
I allow the inks to dry for 1-3 days between each colour. In turn, I ink up and print each colour on top of the other.
What drew you to setting up your own business?
I didn’t plan to. I couldn’t imagine working as a commercial designer in highly pressurised head offices for the rest of my career.
I had been visualising ideas for what to do next. I didn’t think setting up a business would work as I much prefer to work with a team, rather than in isolation on my own. I don’t feel like that now as I have daily contact and feedback from customers and clients.
Redundancy in 2016 was the shove I needed and there’s been no going back or regrets.
I feel so much more creatively energised than I did before. I love being able to work with like mind people that share similar values and interests.
