Having bought some lovely white Belarusian linen in Ukraine, I’ve decided to try printing on it, this time using lino instead of potato. Here are my first, pleasing, if not entirely successful attempts. I’m using Dylon fabric paint and lino from an arts supply shop, but have a feeling one or both of them is causing the prints to come out too weak. The lino seems a little bit hard and brittle, and the paint doesn’t seem as sticky as it should be for printing.
In a recent post, I started to put my thoughts about the garment industry and its problems into words. It’s made me want to look more closely at clothing and fabric, so my first lino cut was inspired by this – literally looking closely at, or ‘zooming in’ on the fabric on which it’s printed.
My second print was borrowed from a blackwork embroidery design in Rosemary Drysdale’s The Art of Blackwork Embroidery. Blackwork is a type of embroidery used in England from the time of Henry VIII, often seen poking from collars and cuffs in Tudor portraits, as in this painting by Holbein, and sometimes for more largescale decoration, such as in this portrait of Elizabeth I. After I made the prints I came across other blackwork embroidery designs resembling fabric weave, so I’ll take the happy coincidence of the two designs being related as an encouraging sign!