Sunday, 20 August 2017

Scarborough and Whitby - Grand days out by the sea!

Phew, I've been busy! Two new print editions and two new oil paintings. I'm really pleased with the lino prints which make a great pair. Scarborough and Whitby are two seaside towns on the East Coast, Yorkshire, UK.

Classic sandy beaches and historic monuments such as Whitby Abbey and Scarborough Castle, both visible in the prints respectively, make both of these towns well worth a visit. They are very different in character, just like the prints.

Each print has a couple of hand painted layers to them which makes them what's called a 'varied limited edition'. This simply means that though they are essentially the same, each print in each of the two editions has the subtle individuality which results from something hand painted. The hand painted bit is when I ink-up a lino block as normal, but then pick up a paint brush and paint into the ink before printing it onto the paper. If you look at my collection of lino prints, you'll see I often do this at some point in the process of making a print. Can't seem to keep my hands off paint brushes.

Scarborough and Whitby Lino prints
Scarborough and Whitby Lino Prints

 To see these individually, visit my original-prints pages on my website.

Thursday, 8 December 2016

Lino Print Artists UK

Though this blog is devoted to my own lino prints. I thought I'd draw attention to the fact that IMHO there are many great landscape lino print artists around in the UK right now.

This post departs from my usual short 'succinct' format. An exception I hope you'll not mind.

The abundance of lino print artists working on landscape subjects in the UK right now means there's no end of reference for an artist who constantly reviews their own art in the way I do.
Two of my own lino prints
Creativity is fed - nourished - by encountering the creativity of other artists. Sometimes another artist's linocuts prompt ideas for ways of cutting the lino, or for new textures for example. I'm quite happy stealing ideas and techniques from others, and fashioning them into something of my own. Often, I find that seeing how another artist has solved a way of describing something, helps me think up a different way of describing it.

You can see my lino prints here:

Lino Print Artists Loving UK Landscapes

I can see this blog post will end up 'Part I'. The list of lino prints artists working in the UK who I admire in some way is very long. Here are just four whose prints I regularly have a look at.

Ann Lewis

Two lino prints by Ann Lewis
I've been aware of Ann's linocuts for quite a few years now, and have always admired her ability to take a complex landscape and create from it a bold, beautiful composition.

Ann's compositions have a drama and clarity which makes the intricate scenes in her lino prints simply beautiful. Her talent with subtle tones and colours in combination with a bold use of contrast always has me looking twice at her distinctive original prints. I'm also a little jealous that she is surrounded by breathtaking Welsh scenery, resulting in a prolific portfolio of limited editions. Ann's background is similar to my own - she has worked as a designer too and I can see this expertise informing her work, as I hope my experience does with my own linocuts.

See more of Ann's lino prints on her website here:

Ian Phillips

Another lino print artist in Wales. I became aware of Ian's art almost as soon as it appeared.
Ian Phillips linocuts
I'm always interested in how Ian creates texture and fluidity in his linocuts. Lino does not lend itself to these two things easily. He's bravely experimental and I greatly admire this. His muted colour palettes, like Ann's, are a delight too. I've had the great pleasure of appreciating one of his prints in the Biscuit Factory gallery in Newcastle recently, and it was lovely to come face-to-face with his art.

He works on a very different scale to me. His prints are usually about A2 size (594 x 420mm) which means he does not use a printmakers press, but hand burnishes his prints using a baren. Though the size gives him a lot more scope to create his textures than the size of my lino prints (so far) allows me, there are many practical challenges he faces that I don't. His editions are very small, often only 4, largely I suspect because of the practical challenges of working with large sheets of lino and paper. I think this is why he offers prints of his prints! That is: giclée reproductions of his original linocut prints as well as the original prints themselves.

Ian is another lino print artist with a similar background to mine. Ian worked as a freelance illustrator initially before discovering printmaking - as did I! I'm hoping to find the time to pick his brains on how he manages such large multicoloured lino prints by asking for one of his one-to-ones someday.

Ian's lino prints and giclées are available on his website:

Melvyn Evans and Carry Ackroyd

Something different. These two lino print artists have a very particular eye and create highly designed linocuts. They appeal to my fun, playful side.
Left: Melvyn Evans and Right: Carry Ackroyd
Melvyn and Carry's linocuts are both playful and rich. I often find myself studying the carefree abandon they use to compose their landscape linocuts. They put elements (trees, hills and such) wherever they want and do whatever is necessary to make it work - beautifully. Their prints are inventive, beguiling and filled with delight in the world around us. It takes a great deal of skill to pull this off without anything looking awkward or odd.

Though I've made some whole-hearted obviously fun prints like Melvyn and Carry, I always contemplate how to add a dash of this creativity to all my lino prints. A dab of something light-hearted or a smidge of the simple joy of blue skies, green hills and yellow sands is an essential ingredient as far as I'm concerned.

Melvyn's linocuts: (Another printmaker who trained as an illustrator - there's a theme here isn't there).

Carry's lino prints:

Of course, don't forget to pop along and look through my lino prints here:, thank you.


Friday, 18 November 2016

New British Landscape Art Website

As you can see by the date of the last post (below), I've been away a while. Leaving this blog to languish unloved for a few years, while I deal with what life throws at us sometimes.

I'm back now though and taking stock. I've been doing a lot of work in my studio as I show here: Modern Landscape Artists Space and developing a brand new website which I hope you'll take a curious look at.

Biritish Landscape Art - Lino Prints and Oils - Biritish Landscape Art - Oils and Lino Prints

Of course I'm bursting with ideas for prints, having filled sketchbooks and generally looked with a fresh eye at my previous linocuts. I'm also painting which is something I've always wanted to return to. So... hopefully there'll be a new lease of life round here. This blog will stay true to its description above though - that is: focussed on original prints.

Sunday, 23 June 2013

The Truth About Prints

This paragraph was recently published as part of an introduction to an original prints exhibition:

"…an artists' print, such as all the work in this exhibition [ and on this blog ], is an artwork in its own right, not a copy of a painting. Artists' prints may also be known as 'original prints'. Artists' prints are conceived and executed from the outset as prints, with the image created by the artist and printed by them or under their direct supervision. Because the process is carried out by hand, the amount of pressure applied each time is slightly different, as is the amount of ink applied, and therefore, each print will have subtle differences."

A detail of two prints from the same edition illustrating these subtle differences. The hand-painted plate added to the sea in the print on the right is slightly darker than the one on the left. How many other differences can you see?

The exhibition is at Kings Manor, Exhibition Square, York (Mon-Fri) until 4 October 2013.

Petherick, A. (2013) "Lasting Impressions" Exhibition held at Kings Manor, York, Mon-Fri until 4 October 2013. Curated by Kentmere Gallery, York.

Monday, 27 May 2013

What is a printmakers block?

A printmakers block with ink applied ready for use on the press.
What is a printmakers block? The word 'block' is used a lot on this blog, but what precisely does it mean?

Block printing

The word 'block' in printmaking is relatively easy to explain: it is a block of material to which ink is applied before it is placed on the press, along with a piece of paper. A great deal of pressure is applied by the press to the three (block, ink and paper) so that the ink transfers from the block to the paper.

A block can be in a variety of materials, but often means lino or wood. Just about any material capable of withstanding the pressure of the printmakers press, while not damaging either the press itself or the paper, can be used.

Marks are made in the block of material to create an image. Areas where ink is required and not required are dictated by these marks. Ink can be rolled on to the block, or rubbed into it instead, depending on the technique being used by the printmaker. A print might require several separate blocks making or it may require only one throughout the whole process of creating the print – regardless of the number of colours.

Wednesday, 8 May 2013

Stacks of sea character in a small linocut

Detail of 'Stacks', a small 3 plate linocut print.

Sea stacks are caused by the action of the sea on the coast. The sea finds a weakness in a headland and creates a hole, leaving a bridge of rock intact above it. Eventually the bridge collapses to leave an isolated pinnacle of rock sitting detached in the ocean. Lynne describes them as having an eerie and fascinating beauty.

This small print, one of the smallest Lynne has created so far, packs a lot of character. The first plate was printed as a classic flat colour. The second plate involved a graduated roll of two colours. The third plate has been hand painted with more than one colour at once. Hand painted plates add a great deal of texture and variation to a print. This texture, or 'character' as Lynne thinks of it, goes against the 'classical' approach to printmaking. The classical approach to printmaking requires that each print is exactly the same, indistinguishable one from the other. The prints in this edition each have their own subtle character, though they clearly belong to the edition.

Sunday, 7 April 2013

Harrogate Exhibition - July 2013

An initial painting planning carefully the number of colours and their use.

Lynne has spent a lot of time in hospital since her last post here on this blog. She is now feeling much better thanks to the fantastic work of the staff there. Having neglected her art practice during this time she is now champing-at-the-bit and has agreed to be part of an exhibition in Harrogate this year – for which she plans a whole host of new prints.

Illustrated above is an idea which is a rework of a previous idea, which didn't satisfy her. Creating artwork is often a process of reworking and reworking until all problems are solved and the solution emerges. Some pieces almost 'draw themselves', while others require a persistence beyond the point of what might seem sensible to others. While the idea above is 90% resolved, there is still the matter of whether the colour scheme is the right one. It may be the right one, but other colour schemes will be explored before the print is made.

The idea above has been inspired by Harrogate Stray which contributes a great deal to the character of the Yorkshire town where the exhibition in July will be. Lynne is currently looking into developing another print based on this subject for the exhibition.


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