Linocuts + Monotypes with Favianna Rodriguez | KQED Arts

Linocuts + Monotypes with Favianna Rodriguez | KQED Arts

– My name’s Favianna Rodriguez,
and I’m a visual artist, and the primary medium that
I work in is printmaking, and I particularly enjoy
monotyping and linoleum block. And today I’m gonna show
you how to do linoleum block and a monotype, and it
looks something like this. The great thing about
monotyping is that you can get all kinds of different
textures and effects using different shapes and
different tones of color, and it creates a
beautiful background color for linoleum blocks. (“Pure Candela” by Bosq ft. Jesus Pagan) So we’ll start with the lino. The first thing you
want to do is start with just a size that you would like. I would suggest you start
with something small so that you can get comfortable with it. So what I’m gonna start
doing is sketching out. I like doing portraits a lot. I really like to portray strong
and powered woman of color, and so in my characters
you will notice that I have very strong indigenous
and African features, and that’s done on purpose
because I want to celebrate what we look like, and I also
want to make us look powerful. Everything is gonna be
backwards, and so although this is pointing to our left, it’s gonna end up pointing to the right. And this is exactly why
you want your letters and numbers to be reversed. And what I’m gonna do now
is get some graphite paper. What graphite paper does, it allows you to transfer the image onto your block. You’re gonna put your piece
of carbon paper face down. You want the carbon facing down, and then you wanna position your drawing. The reason why you want your drawing to be lining up with your block,
and then you’re gonna retrace your primary lines onto your block. The way that you achieve
white is by cutting out space. However, if I were to cut
out a white line here, then if I were to follow this pencil line, what I would have is a white line. And you may not want that. You may actually want a
black line with a white fill. This is where a black permanent marker comes in pretty handy. It’s important to give
your lines some thickness because you’re gonna
be cutting on the left and on the right side of the line. And you also wanna start
brainstorming some textures. For example, this number
two can have some lines going that way, kind of like an array. So after you’ve traced your image, then you can start cutting. What you want to usually
do is wanna have a handle, what they call a handle,
and I would suggest you have at least three
different kinds of cutting edges. Number one, a v-gouge and a u-gouge. And when you put your
tips inside the tool, you wanna make sure that
they go all the way in and that your tool is nice and secure. And you hold your linoleum cutting tool at a 45 degree angle,
and you also wanna cut away from yourself. I would suggest you get
yourself one of these, which is something you put in your drawers where your knives and your forks are, and you put that under your linoleum block so that it doesn’t slide. With the number one tool you can turn your lino like this and cut away at the shapes. And again, sometimes you might
cut directly through a line that you didn’t mean to, but that’s okay. In linoleum block, all
those errors at the end end up looking like intentional errors. And then with my u-gouge I can begin to scoop
out some of these areas and get bigger pieces of linoleum out. And sometimes there’s little corners which you’re gonna have to
switch over to your v-gouge and just get those little areas out. So I have here a finished block
that I’ve already cut out. And here you could still
see some of the remnants of my black permanent marker. And what I’ve created here
is I’ve done cross-hatching, and the cross-hatching gives
it kind of an accidental look, but it also creates a gray,
whereas the hair here is black. The cross-hatching gives
me more of a gray tone that gives it some variance. The lips are whited out. The eyes are whited out. And I’ve also created a pattern here that’s more of a line pattern. So after you have carved
out your linoleum block, then we get into printing. And what you wanna do is you want to have a piece of scratch paper
under where you’re gonna roll, and you’re gonna also wanna
have a clean piece of paper accessible to you because
you need to usually have a place where you ink, and
you need to have a place where you print. I use oil-based ink, and I
like to have a separate pile of my ink where I can
pick up a little glob and then apply it onto a piece of plexi. And you wanna have a piece
of plexi or a piece of glass, because usually plexi is a flat surface that you can roll onto,
and you need something flat to roll your ink, but you
also usually want it to be a little bit transparent so
that you can have a sense of how much ink is on there. And I’m gonna start with
a little spread of ink. Not too much. You want maybe like for
a size like this you want about two quarters, like the coins, and you wanna spread it out so
that your roller can pick up a little bit of ink, and
then you wanna roll it on another surface. And when I’m rolling
I’m picking up my roller and then putting it down,
picking it up, putting it down. Picking it up, putting it down. And that’s so that … I’m rolling in the other
direction, and this is so that I can ensure the ink
is nice and spread out. And if you lift it you can get a sense of where I’m under-inked,
because this should be opaque. And even though it looks
like not a lot of ink, when it’s spread out it actually is a significant amount of ink. And once you have it spread
out here, as you can see there’s no globs, because
those globs will end up transferring onto your linoleum block, so you wanna make sure
that it’s nice and flat, and if there’s any little
pieces of gunk in here you can pull those out. And so now I’m gonna
go ahead and apply ink onto the linoleum block. And I’m rolling up and
down, picking up more ink, rolling side to side on the corners. And you wanna make sure that your lines don’t get filled in with ink. When you lift up your
block you wanna make sure and not grab it, because
then your fingerprint is gonna get onto it. So you kinda want to lift it
up and then position it down. Now when you position it
down you also want to try to have it perpendicular
and parallel to the edges of your paper. And I’ve cut the paper down
to the same size as my block. And you have to choose
where do you wanna start lining up your block. In this case I know that
my most straight corner is on the bottom right. So stick that down there. Then you wanna tap it. And then I’m gonna get
my pieces of newsprint, and then with my baren
I’m gonna start inking, pushing so that the ink can transfer. And on the corners I’m leaning, I’m leaning the baren on its side so that it can really pick up the corners. The cool thing about oil-based ink too is that it’s really sticky. So you don’t have to
worry about your print moving so much. Water-based ink, sometimes
your paper will move around. Okay, that’s looking good. Do a little. Oh see, it just popped off. But there’s the print. And as you can see here this is that kind of chatter
I was telling you about. Looks really nice when you ink it. In things like this,
also, it doesn’t look bad. It’s part of the beauty of linoleum block is that some areas print
lighter than others. (“Pure Candela” by Bosq ft. Jesus Pagan) The next thing we’re gonna
do is develop monotypes, and this is actually one
of the funnest things that I like to do, because doing monotypes is a very fun and experimental process. So the first thing you
wanna do is you wanna have one to two pieces of plexi. Now what I’ve done on this piece of plexi is I’ve taken my drawing
and I’ve put it on one side of the plexi and
traced it onto the other side. Now if you’ll notice, this
plexi here says front backwards. Now the reason it says
front backwards is because this is the side that I
drew with my black marker. Now if I were to put ink on this side, then this marker is gonna offset. So I write front just
so that I remind myself that this is the front. This is where I wanna ink. So each color requires its
roller because you want to keep your colors separate. I also like to have a variety of rollers. I like to have a big
roller and a little roller just to create different
kinds of effects when I roll. So again I’m picking up ink
and I’m rolling out the ink so that it’s nice and flat. And so the bottom layer,
although you can do it as a flat white, I like to
start with textures right away. And so I like to use my roller like this as a way to create
different kinds of textures onto the piece of paper. And I’m gonna use my one
inch roller for the orange. I have my piece of
Japanese paper, it’s blank. The paper is cut to the
same size as my block which is the same size
that I outlined here. And I’m gonna go ahead
and just put it down. And you want to have some extra sheets of
newsprint lying around because as you can see, there’s
ink all over the place here. And I have my first layer. So again, I’m gonna put
a piece of paper down because black is an ink that
tends to get everywhere, and so you wanna make
sure and not roll it, because as you can see I was
rolling other colors on here, and I wanna make sure
that I don’t get black into the yellow or into the orange, because that’ll only darken my inks. Get the corners. All right. Remember to tap it. Oh, it’s looking really nice. Okay. And then here is the finished piece. And you can see that even under the orange you can still see some of the pink here. That kind of variation
between the yellow, the white, and the pink, it’s almost
created like a blend. And that also looks really nice. And this is a one of a kind. So you can keep going. And usually what I’ll do is I’ll just make all kinds of color mixes. Of course you wanna clean
your glass in between. Usually just get a rag and wipe it down, because again, some of the
leftover ink that stays on here, it actually will give
texture to your block so you don’t have to clean it really well. But the important thing is to use shapes, get in there and wipe some. Get some q-tips and
create different textures. There’s endless possibilities
with the monotype. (“Pure Candela” by Bosq ft. Jesus Pagan)

local_offerevent_note October 11, 2019

account_box Matthew Anderson


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