Printmaking

"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!

Rooks' Linocut by Eddie Curtis

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!

Picture Location - South side Cheddar Gorge

His website

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His work is reduction and multi-block lino and woodcuts...

His website

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