Mientras Vivimos (While we live) by Mazatl
Details.....
Woodcut paste ups.....
Above, Woodcut paste-up Buenos Aires, Argentina
Above, Woodcut paste-up London, UK
Above, Woodcut paste-up San Cristobal de las Casas, Chiapas, Mexico
Above, Woodcut paste-up Mexico DF, Mexico
Main image, Cardiff castle Linocut, by Andre Matyushin
Above, George and the Dragon Linocut, by Kat Flint
Above, Year of the Dragon Etching, by Graham Clarke
Above, by Takuma Léo Shindo 進藤琢磨レオ
Above, The Essex Serpent Linoprint, by MoragEllen
Above by Linocut Boy (Nick Morley)
Above Dragon and Phoenix Linocut, by Valdis Baskirovs
Above Creeps & Cryptids No.30: Dragon Etching/Engraving, by Jaco Putker
Above Sirrush Etching/Engraving, by Marina Korenfeld
Above live Screenprint, by Mine Okur
....and now for a couple of real dragons....
Above, Weedy Sea Dragons II Hand Coloured Etching, by Debby Mason
Above LEAFY SEA DRAGON Linocut, by Laurel Macdonald
The Onion Farmers, Etching by Maximilian Gosling
Maximilian Gosling is an Sydney based Printmaker and Illustrator.
Max's works are set in a personally designed fantasy. The images observe an anthropomorphic society of badgers set in and around a metropolis. The works follow a main fable narrative and its spin-off fictions.
Images and text from his website
The actual Kickstarter campaign: https://www.kickstarter.com/projects/martinschneider/the-postcard-printing-press
More pictures:
Main image, West End From Primrose Hill Commissioned by Transport for London for 2007 poster campaign – A New View of London
Above, Telecom Grey
'.... [He was] inspired to create a series of London images to mark how the city was changing as the Millennium approached. “The Millennium Dome was being built, Bankside was converted to Tate Modern… I wanted to capture that moment,” he recalls....
Above, Gherkin II Commissioned by Orion Books for Michael Moorcock’s London Bone and Other Stories
Above, Bridge Lime
“Paul’s work resonates with anyone with a love of architecture, and his own passions translate with a simplicity of form that belies the immense work that each piece requires. In many ways Paul is the master of ‘less is more’.”
Above, Trellick Blue IV
Drawing on the best traditions of classic midcentury poster design Paul utilises his expert eye for composition and colour to inject his prints with fresh energy, dragging old icons kicking and screaming into the 21st century and imbuing new buildings with a nostalgic edge.
Above, Lloyds III
Above, Battersea Landscape
Paul’s work was spotted by Transport for London’s poster art commissioner Michael Walton, who remembers being “electrified” by a flyer for one of those exhibitions.
Above, Finchingfield Commissioned by Transport for London for 2011 poster
'......Transport for London has commissioned and displayed many works by Paul and his first for us, Tate Modern, is a reminder of his huge talent, which, enhanced by time, has developed into what I consider to be the foremost linocut artist at work today....'
Above, Tate Modern Commissioned by Transport for London to commemorate the recently opened Tate Modern.
Above, City of London Orange Commissioned by Transport for London for 2017 poster campaign
All images and text from his website
"The year 2024 was an opportunity to see boreal aurora at low latitudes, the consequences of multiple coronal mass ejections.
I would lie if I said that this is what inspired this engraving because I started it in 2023 but these events considerably oriented its composition. inspired by astrophysics and science fiction, this engraving has the central theme of the sun and the stars in general. There we find, through a series of scientific and symbolic vignettes, representations of stellar nucleosynthesis, atomic diagrams, elements relating to plasma, accretion disks, magnetic fields and, the finality of these processes, radiation.
One vignette features the proton-proton chain, a series of nuclear fusion reactions that power the hearts of stars, transforming hydrogen into helium and releasing colossal energy in the form of light and heat. This fusion is the primary source of energy for main-sequence stars, like our own Sun.
At the center of the work, the symbol of the element hydrogen (H), the most abundant atom in the universe, reminds us that this primordial element is the building block of stars and galaxies. The diagram of the hydrogen atom, with its single electron orbiting the nucleus, symbolizes the elegant simplicity underlying the complex phenomena of astrophysics.
The engraving also includes illustrations of atomic structure and energy levels, evoking the electronic transitions that produce the light spectra observed by astronomers. These spectra are essential for determining the chemical composition, temperature, density and motion of celestial objects.
“Radiant” is a window into a different dimension of cosmic physics, evoking both the beauty and complexity of astrophysical phenomena. The use of clean lines and technical symbols creates a dialogue between art and science, inviting one to delve into the depths of the cosmic unknown.
This print is a celebration of human curiosity and our endless quest to understand the universe around us."
About 24 hours of engraving to about 1 hour. from the beginning to the final cleaning. the plate is mounted on a wooden board. I'm waiting for my order of ink and paper for early August. This will be printed around August
The lino plate for "Quantum" 70x50 cm plate - Engraved by hand in around forty hours
quantum physics / sci fi inspired linocut
Main image, Xenomorph
Indiana Jones
Golden Idol
Ark of the Covenant
Back to the Future
Beetlejuice
Zoltar
Ghostbusters- Vinz Clortho, The Temple of Gozer and Zuul
Tron Arcade Game
Vader Chamber
Audrey 2
Bladerunner
Predator
All prints by Brian Reedy
Main Image, 'Caller' The sixth print in ongoing series, Other Islands.
“I draw stylistic and conceptual influence from nature, contemporary fiction, Medieval and ancient art, pre-Colonial American art, myths, ukiyo-e, and the decorative arts, particularly those of early twentieth century America,” source
Above, Kathleen Neeley and her linocut print 'Marauder'
I’m most inspired by nature and books. Much of the content of my prints are personal stories layered under themes of environmentalism....
Above, 'Willow' (key proof). This is the key image for a multi-block color linocut, in progress. Part of the The Understory.
I do commercial work sometimes, mostly album and poster art. Lately I’ve been making more book illustrations, which I really love and hope to keep doing.
Above, Linocut and Digital. Commission for Sailors Grave Brewing
I’m not sure I have a favorite but I’m quite proud of my most recent color linocut, Moss Lord. It was one of those rare freak things where you see the scene in your head and fall in love with it and somehow it turns out the way you pictured.
Above 'Moss Lord' A Five-color multi-block linocut. Part of The Understory.
Learning how to make multi-block color prints was a big deal for me. Up to that point, the only color relief print technique I knew was reduction, which is arguably more efficient and easier than multi-block, but it has the serious limitation of not being able to reprint. Once you cut the key, that’s it. No possibility of alternate colorways or future editions.
Above, 'Downstream' Five-color multi-block linocut. Part of The Understory.
I was first introduced to linocuts by my high school art teacher...
...My (bad) college art was figurative and mostly themed around nature and myths—not too different from what I make now.
Above, 'Pourer' Part of Other Islands.
My studio is a dining room that is never used for actual dining. There’s a secondhand table for carving, a workbench for printing, and a tall metal flat file where I store prints and paper and art I keep meaning to get framed.
Above, 'Picker' Part of Other Islands.
I like seeing what’s behind the figures, seeing more of the world they’re in, and I guess this naturally translates into a sort of 3D look. Plus I just like pushing the two-dimensionality associated with this medium. I like layers interacting with each other.
Above, 'Dredger' The eighth print in ongoing series, Other Islands.
I just really like carving on linoleum. I find I can get finer details and cleaner lines than I was with wood. Plus you don’t have to worry about grain.
Above, 'Herder' The eleventh print in ongoing series, Other Islands.
[She uses] A baren for large areas of black, then a metal spoon...
....Pfeil carving tools, mostly Speedball and Cranfield relief ink, and Awagami paper (specifically kitakata and okawara).
Above, 'Bearer' Part of Other Islands.
Printing is the most exciting part of the process, but it’s also the most physically demanding—and, when a print doesn’t turn out how you planned, the most disappointing.
Above, 'Bather' Part of Other Islands.
I love to draw, though I think carving is probably my favorite aspect of making prints. It’s extremely satisfying to physically work the image out of the block.
Above 3 images, 'Botar Sirens' Commission for Bandits of the Acoustic Revolution.
I think translating complicated visual narratives into tidy black and white lines is always going to be appealing—for more reasons than just cost-effective translation to print mediums, like comics and books. It sometimes feels to me like a wish for our own lives and problems to be as cleanly solvable. Or, if not actually solvable, then at least aesthetically pleasing.
Above, 'Cornered but not caught'
All quotes from Draw Cut Ink Press, unless otherwise stated
Her website
Main photo, etching Neilltuad
I visited an exhibition recently at Oriel Plas Glyn Y Weddw in Llanbedrog, North Wales, showing some of his work.
It was unfortunately a retrospective exhibition as he died not that long after the opening
....[The exhibition] celebrates the career of Berwyn Jones and includes a range of works produced during a period of nearly 40 years through many mediums.
Born in Llanbedrog in 1942.... [he] established himself as a self-employed artist in the late 1960s and early 1970s, making a series of small woodcuts mainly of Llŷn landscapes. [Llŷn Peninsula, North West Wales]
In the 1970s he turned his hand to pottery and built an oil-fired kiln. Janet, his future wife, joined him as an Apprentice in 1974 and this began a productive period of creating pottery....
....In 1984 he bought an engraving press which led to the creation of a series of engravings, mainly of local landscapes and seascapes. Then, in 1994 he turned his sights once again to painting oil on canvas creating works such as 'Yn y Berllan' and 'Hen Sugn, Hen Dai'.... Oriel Plas Glyn y Weddw
I have to admit I didn't like the pottery, it was a bit too Bernard Leach country pottery- serviceable but not aesthetically pleasing, and also his abstracts weren't working for me....
The woodcuts were a bit too 1960's colour theme and somewhat 'clunky' in the carving
I did however love the etchings! I was particularly drawn to the etchings featuring water or sand ripples.
Also of interest for me were examples of his work sketches and planning for the etchings, including the different plates with colour layers, plus ink samples
Below is a small collection of the etchings, and some of the better wood carvings....
Twlldan Grisia....(A massive favourite of mine, and featuring in the work planning sketches that accompanied the exhibition)
Towyn
Llwybr Llymriaid.....(if I had the money I would have bought this, I really loved the depth of colour)
Garreg Fawr
Bwlch Coch.....(Again another favourite, and featured in the work plan sketches)
Haul Gaerau
Bwlch
Tany Fron
Now some of the wood cuts....
Deuglawdd....(I do actually like this, and the colours aren't too 1960's)
Pengarreg....(Holy 1960's Batman!! Seriously though, there is a charm about it, and I think it turned out well)
Ochor ‘Mynydd'.....(this one has an almost 3d type effect with the colours, especially the sky)
Enlli....(A bit too 1960's but I know the location so it gets a pass)
All work by Berwyn Jones, and quotes via Oriel Plas Glyn y Weddw
Any opinions are mine and please checkout the website for the rest of the etchings and wood cuts!
I saw some of her work in an exhibition at Buxton recently, which I rather liked.
Unfortunately, her only online presence that I can find is her Facebook, and as I refuse to sign up that Meta bullshit I can't give you the official titles to her work....but thought they were too good to pass up
edit, forgot to upload the gannets!
His work is reduction and multi-block lino and woodcuts...
His website
Banner artwork by Louise Hayward, RE 'Grounded' (relief engraving)
Anything to do with printmaking- for print makers and enthusiasts of all skill levels to make and share!
NOT 3D printing or printers
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