Why is the piece titled 'Incorporeal.' -
The title of the print relates to the nature of incorporeal, something of which is not composed of matter; having no material existence. The print resembles a vague form of a heart, signifying the importance of prosperity within the illustration. The heads are adorned with a third eye further exacerbating the message of reawakening and rejuvenation. The number of heads is paramount to the visual narrative of this design, as three conveys a triad meaning "All is given." A beginning, middle and end within all displays of life. The omnipotence of the number three is universal and is the tripartite nature of the world as heaven, Earth and waters. Human as body, soul and spirit.
Prior to this project I had little experience in Lino printing and didn't especially enjoy the process as I found it tedious and hard to control. In the past I had gauged too much linoleum resulting in the plate to tear from excessive abrasions to the surface, as well as a confusion as to what I was printing and having to recall what sector I should refrain from carving and such. Fortunately I began designing my work over paper rather than straight over the linoleum, allowing room for error. Upon designing the print on paper, I then utilise the carbon print method in transferring my design to the linoleum. I have learnt that I should not mark areas of printing prior to the carbon application, due to chalk going all over the linoleum; instead I am to only transfer the line drawing over to the matrix. Luckily, chalk can be easily removed from linoleum so excess is not an issue. Once transferred I then mark up the areas that will be kept (black) and avoid the whites. Using smaller blades has worked tremendously in carving the linoleum as I have acquired a better sense of control both mentally and literally over the Lino. I find soft cut Lino, as the name implies to be easier to gauge into, but control is limited as the surface is more slippy and malleable. Though it requires warming, the harder Lino backed with hessian portrayed greater success as the hessian provides further assurance toward stability and mildly controls the malleable nature of the linoleum.
In regards to any benefits I have gained in commencing in exploring lino printing further, I have became a better printmaker in relief printing. I have always employed the intaglio processes opposed to relief, as I had thought in the past that detail could not be captured to its full potential within the relief process, however I am most definitely wrong. Though intaglio process allows me to draw each and every line that I wish to, I can still do the same through relief over a bolder altitude. As mentioned earlier I chose to explore relief methods of printing in order to provide a tactile format of display for a visually impaired and blind audience to interact with.
The lines carved into the surface of the linoleum plate for this design were not quite deep enough for home printing. I believe if I had access to the printing press the prints may have came out better, though I won't know until I can access the department. Fortunately I did manage to compile a small number of prints, I attempted quite a few more but the ink was beginning to rise within the lines of the image, causing the design to be lost, so this were disregarded. The print that I did obtain I am quite content with as they show the design well, of course in some cases the ink was sparser than others but these are all mishaps of which I had chosen to include within the gallery.
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