Kitty Cougar: Lino cut
This was unfinished work from before the trip to Bucharest, so this is a bit of a recap before going on to discuss how this print eventually developed.
This was a departure into a different style, because the figure has a very different character. This is a burlesque dancer whom I sketched at life drawing. I’ve already used one of my sketches in a jigsaw lino print, and this is another pose that I found interesting. It’s a complete contrast to the introspective feel of “Meditation”, or the quietness of “Enchantment”. It could suggest movement, like “The Hunter”, but this is a still position, rather bold and provocative, not to say risqué.
In my earlier jigsaw print, I used brash unnatural colours, experimenting with green and blue for the skin, and reduced it to simple flat colour blocks. These colours were probably inspired by prints by Philip Sutton. I felt that the green skin and pink hair emphasised the commodification of the female body, and also gave the image something of the gaiety theatre air of a Toulouse Lautrec poster.
I had in mind something similar for this one, and wanted to arrive at something that would reference a promotional poster. I also envisaged applying gold leaf to the background to make it both gaudy and ironically iconic. I was envisaging white skin- printed, not the white of paper, as I wanted it to be a positive shape, a thick viscous look if possible. The bikini in a garish colour- emerald green. Gloves in black. A yellow background, which I would then apply gold leaf to, like a religious icon, to reinforce the boldness of the pose.
I had in mind here lino prints by Gary Hume. When I saw these at the Hong Kong Art Fair I was impressed, first of all, by their sheer scale. That I can’t aspire too, obviously. The other aspect of them that I would somehow like to emulate is their – I’m not sure what to call it- thickness, plasticity. Their sheen. They have no need for outlines, as the layers of ink create edges in relief. The ink is built up in layers, it seems. In order to try to do something similar, the only ways I can think of using are:
- Using my oil based inks, which seem to be shinier and more viscous, and
- Layering colours one over the other, as in a reduction print
- Using a less absorbent paper, perhaps with a sheen.
I decided to use the biggest size lino I have, which is A3, and which would be harder to handle, printing by hand.
My problem at the time was lack of suitable paper of a size to print on. I had to scratch around for anything that might do.
Now I’m just going to show the different versions of “Kitty Cougar” in order to talk about the different finishes that arise from using different papers at the linocut stage.
I printed this in oil-based inks, and used the following papers- white tissue, coloured tissue, newspaper, wrapping paper and cartridge paper.
This worked quite well, with the ink sitting on top of the paper and preserving its sheen. There’s a lot of texture in the ink though- not a smooth finish at all- due to that resistant surface. The ink shows the suction marks where the paper was pulled from the plate- I’m not sure if there’s a name for these kinds of marks, but there needs to be…! I’m sure in professional printmaking terms, these are to be avoided like the plague, but I have a certain liking for them- they do serve to draw attention to the medium, pinpoint the relationship between print and surface, and yell out “This is an artificial construct” but I’d be worried about submitting it for assessment as it would probably be judged as inept, and I can’t in all honesty say it was a planned effect. I like the colours though- it’s garish- the yellow is battling against the blue in strength of hue, as well as showing its viscosity/ tenacity.
This was another one I liked. The transparent yellow background couldn’t hide the newsprint, so it has a back story and another layer of pattern. I like the contingent fact of it having a centre-fold too, and, like the wrapping paper above, it has a texture of its own from folds and creases. The paper is shiny so the sheen I wanted is there. It is a smoother finish than the wrapping paper- no suction marks this time- well stuck!
This next one is on plain cartridge paper. It has a less smooth print and no sheen because of the surface of the paper, and I’m altogether less keen on it. It has a lack of definition.
Finally, a ghost print on red tissue. Since the tissue paper is so sensitive, it can pick up the remnants on the printing plate, including the texture that is created by lifting off a previous print, here on the skin tones. This is a less brash image and I like the contrasting tones on the flesh itself as well as how they contrast with the flatness of the clothes.