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I’ve been working in the relief print medium for about 8 years now. One of the first printmaking techniques that I was introduced to, I took to it like a duck to water. Since I enjoy working with my hands, it seemed natural to continue the exploration of this particular medium. After some of the initial bumps and bruises figuring out how to work with linoleum and my first few black and white prints, boredom set in. I decided to take the plunge and work in color. Talk about jumping into the fire, the reduction method was my choice. Just talking about it with folks is confusing let alone a first timer trying to figure it out on his own. However, being the adventurous type I moved right along and never looked back.
For those unfamiliar with the color reduction process, let me attempt to explain it to you. Usually, when working with color the artist will use plates (or in this case blocks) for each of the colors that are going to be incorporated into the composition; as well, there will be one key plate or block with all the detail that will bring the color together. This plate or block is usually the darkest color as well as being the last block that you will work with. This color method is affective and allows a bit more flexibility, but it takes up a lot of storage space which I don’t have at the moment. With the reduction process, you are working with one piece of wood or linoleum for the colors that you are going to use in your image. After you plan your image and the colors you are going to use, one of the first things you need to decide is the number of prints you want in the edition. In the reduction method, once you start cutting away the material it is gone forever. The process is not as forgiving as working in intaglio, where you can burnish or scrape away any unwanted mistakes.
Reduction printing requires a little organization and a lot of patience. I would suggest working from a color reference of some sort (a list of the colors you will use, starting with the lightest to the darkest) because this is the order in which you will be printing. Once you’ve done that step, it is time to put the image onto the surface you will be using, either drawing directly or by transferring your image using some sort of transfer paper or a soft pencil rub on the back of the drawing. Remember, when you print the image will be in reverse. If this is a concern, keep this in mind. If not then go for it. You will also want to make sure that your image is permanent so that in between printings you don’t have to keep drawing it over again. I usually use a Sharpie marker. When the above steps are finished take a deep breath because it’s show time.
If there is any white in your image, it’s best to cut those areas away first instead of printing with white ink, which is sometimes be difficult to work with. Cutting away the white areas also saves you a step, allowing you to print two colors at once. This means you will cut out the white areas before you lay down your first color. If your next color in your plan is yellow, for example, then after you cut for the white areas you roll yellow onto the block. You will have a yellow surface with areas that did not get any ink remaining uninked because you cut them away. You will print this yellow onto all the sheets of paper that you’ve planned for the edition plus a few extras. When you’ve finished printing, clean your block then cut way the areas that you want to remain yellow before your next printing begins. You must cut away whatever areas you want to remain yellow or you’ll end up covering over the whole surface with the new color. In order for you to print in the same exact spot for each of the colors that you are working with, set up some type of jig for registration. I find that once the first color is down, that becomes my guide and I can eye ball it. But for those not willing to take that kind of risk, you can wither mark your paper lightly with pencil or you can use a piece of “L” shaped matte board or even acetate taped down to a surface or press bed to position your block where you want it every time. Be sure to let each color dry before printing the next one in the sequence; if you don’t, you will get a lot of blending of the ink and, ultimately, a big mess. When you start to cut the material away for the next printing, think of yourself as revealing the previous color that you laid down. So, if you’re working with ten colors and your edition is 30, you will print all 30 (plus artist proofs and a few extras) in the first color, then cut away the areas to remain in the first color and print the second color over the first--and so on--until you’ve printed each the ten colors that you’ve planned.
Does your head hurt yet? It’s understandable if it does. The reduction process is a lot to take and requires that you pay attention and keep your patience. However, once you get into the groove of things, it is very exciting. You will be able to make some pretty amazing works of art and explore different ways of using colors and blends of colors to get all types of effects. The method adds another dimension of texture and diversity to your portfolio.
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- Happy printing.
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