Michael Gage

A final dark layer completes the print.



The Courtyard, Nyman's. Five stage reduction linocut, 10 x 10 cm.

Phew. Just in time for the exhibition.

I cut away all of what was left of the view through the door, and some details on the door itself, and more of the leaves. Then I printed a darker green to brown to green blend over the previous layers. Fortunately, the mistake on the previous layers has been successfully covered.



One more layer, and it might be finished.

I cut away more of the distance, and the leaves around the door, and then printed the block in green.



As soon as I printed the first copy, I realised that I had cut away the leaves at the top too early: the blue of the previous layer shows through. I should have left the top solid for this layer, and then cut away the leaves on the next layer.

So after I'd printed all the copies for this stage, I cut a paper stencil that would expose just the top of the block, and just used a small roller to put more green ink directly onto the paper and hide the blue.



I think I'll get away with it...

Second layer on this reduction linocut. I've cut away some of the details in the distance, and the paving stones in the foreground.



A blue to green blend over the previous layer: Still trying to keep the colours light, so that later stages don't get too dark. Some of the design starts to appear.

A couple of drawings from this week's life group.



Both in pencil: 4B for the softer lines and shading, with some HB where sharper lines are needed). Top one's a bit bigger than A3 (that white line is the fold of the sketchbook), and the lower one is a bit smaller.

I've been looking at this book: British Museum Master Drawings in Close-Up, particularly the Raphael drawing that's on the cover.


(Clearer image on the BM website: Raphael drawing)

To get the shadow tone, I think he's smudged the chalk, and then gone over it again with hatching lines. Those lines go the same way: they don't follow the shape or volume of the body (just a bit round the waist), and there's hardly any cross-hatching.

What really gives the drawing life is the variation in the lines that make up the outline. Every line curves and moves; the strongest lines are where there is contrast between light and dark (on the arms), and the stressed parts of the body (the bent knees); and he hasn't bothered to rub out the light preliminary lines.

And we're off again! First layer: I cut away the highlights which will appear white, and then printed a blend from pale blue-grey to brown.



(Fingers crossed that it will be finished in time for the next exhibition.)

A dark green-brown-green gradient over the other layers, and suddenly the image comes into focus. Final stage, I think.



The Dovecote, Nymans. Linocut, 10 x 10 cm.

Fourth layer. Cut away the grass and more details in the leaves and the building, and then printed a diagonal gradient from dark green at the top left, through brown in the centre, to a lighter green at the bottom right.



Nearly there.

Third layer: gradient from dark green to brighter green. All looking too green now. I will try to work in some grey/brown colours on the stonework on the next layer.

While I try to work out what to next with the linocut that's in progress, here's another of the small paintings from the Ashdown Forest series.



7 October, 2.45pm. Autumn sun on dry bracken, fire gold.
Acrylic on canvas, 15 x 15 cm.