Statement and Technique Description

Artist Statement: 

Although I love drawing and painting, it seems that for over 40 years that 

printmaking has been my master! Often the technical aspect of this process 

makes me question being such a slave to this obsession, but there is no escape! 

Perhaps that fact that you can not totally control printmaking, and the often 

unexpected results being a constant part of the process, creates excitement that 

is addictive! Over the years I have worked with most printmaking techniques, 

and have at this stage in my process come back to the basics of relief printing. 

The Screen Monoprinting technique I developed was to get away from the 

time consuming traditional screen printing process. In order to create a colourful 

print, a new screen had to be created for each colour. After years of creating 

multiples in this manner, I was happy to create only one image using screen 

monoprinting, but have beautiful colours in one pull of my sqeegee! 

For my latest series of prints, I have put colour temporarily aside to focus on 

the strong black and white images of relief printmaking. My first print ever 

was a relief print, and as much as I love colour, working in relief has forced 

more focus on the linear image. 

The act of carving is true escapism. I could carve all day every day! The printing 

however is more labor intensive and problematic. The excitement of pulling a 

print, however, when you never really know what it will turn out like, is 

always thrilling! 

This newest series shows my love of nature and plants. Flowers and growing 

things show such tenacity, beauty and strength. The lines and textures created 

by Mother Nature are so endless and magnificent, my images can only begin 

to honor what nature has created. I am blessed to be able to do most of my 

creating in beautiful Muskoka. The inspiration is evident in my work. 

Editioning: 

In regards to the signing and editioning of prints. The number on a print indi- 

cates the total number of prints in the edition. As the printing of these large 

format relief prints is so time intensive, and my desire to create multiples to 

sit on my shelves gone, I print only a couple of each print, but number them 

out of 25 to give me the option to print more in the future. With the prints 

mounted on wood, I have not signed all of them if I felt the pencil would 

damage the print. As they are adhered to wood, I consider them an individual 

mixed media work, and don't find giving them an edition number necessary. 

With screen monoprints, needless to say, they are a one off. If I have done a 

series using the same relief print, I will then consider them part of a "Varied 

Edition" and sign them with a V.E. number. 

Printmaking Technique Descriptions: 

Relief printmaking: 

The term relief refers to a plate having raised and lowered areas as in a relief map. A 

plate is what is carved in order to create the print. The prints on display have been created 

using rubber flooring, vinyl flooring and a material called "Wonder Cut" purchased from 

Dick Blick Art Supplies in the U.S. Some of the smaller prints are a material called 

"Softolium". Each material has it's distinct advantages and disadvantages. 

A carving tool is used to remove the areas of the image that will remain white. As the 

image prints in reverse to the carving, the artist must not only think backwards, but in a 

positive and negative manner! 

A brayer, (roller) is rolled in ink and the raised portion of the relief plate will take the 

ink, wile the lowered area remain clean. Paper is placed onto the plate and either put into 

a press, or printed by hand. All my prints were printed using a wooden spoon and much 

elbow grease! 

The paper I have used is all Japanese. I find the irregularities and textures add to the 

print. Due to how thin the paper is, printing is a delicate matter. I used a combination of 

acid free glue and acrylic medium to attach the paper to the wooded supports. 

Screen Monoprinting: 

Several of my encapsulated prints, and the Wilson's Falls print in the kitchen are created 

using this technique. Fabric dyes are painted onto a silk screen. With a traditional 

squeegee and wall paper paste as to reconstitute the dried dyes, the print is transfered 

onto paper. Combining the fluid and transparent screen monoprints with the solid lines 

of relief prints, creates an interesting juxtaposition. 

Screen Prints: 

The Amaryllis print, and several encapsulated prints, are created using traditional photo 

screen techniques. The screen is coated in a photo sensitive emulsion, and exposed to 

light, similar to developing a photograph. The create the stencil, oiled photos, copies 

onto acetate, or in the case of the Amaryllis, drawings on tracing paper with grease pencil 

or ink can be used. Some of my prints have been created using copies of scratch board 

drawings, paintings, and drawings. 

Monotypes: 

Some of my encapsulated prints, have combined screen prints with a monotype technique. 

The screen print is printed onto acetate and taped down in reverse on the table. A piece 

of paper is hinged with tape onto the top of the acetate. Acrylic paint is painted onto a 

small portion of the acetate, the paper brought down on top of it and rubbed. This 

technique has very little control, and satisfies the desire for the prints to produce the 

element of surprise! 

I hope this gives you some insight into the trials and challenges as well as the exciting 

results and rewards of Printmaking.  

For future workshops please visit: www.lindakblix.com

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