Woodcut Printmaking as done by M.Loren Washburn


celtic snake  border
celtic snake border
celtic snake border
How Loren prints.
celtic fire celtic knot celtic fire
snakes knot
carving inkmaking inking
placeing spiral printing
steping lifting looking

snakes knot
celtic fire celtic knots celtic fire
Carving the block as it rests against a bench hook with an assortment of knives and blades with oil and whetstone nearby for sharpening them. Grinding pigment powder into oil using a muller against a sheet of glass to make ink grinding for a long long time actually. Applying ink evenly to the block by rolling it out on glass until the ink stands like velvet, then rolling it on the block repeatedly picking up fresh ink for each part of the block surface.
Elizabethan printer would have inked with a pair of daubers, picking up the ink from a smooth inking surface, then against each other, finally using them one at a time creating an even layer by to tamp the ink onto the block. Placing paper on to the black with a smooth rolling motion as it rests in an alignment frame. Rubbing the back of the paper with a baren to transfer the ink to the paper. Several styles of baren are shown.
Printing cloth by laying it on a padded surface, hand positioning the block face down on the cloth and stepping on the back of the block. Lifting the fresh print off the block carefully to avoid smears, offsets and fingerprints. Inspecting the results before placing it on a line or rack to dry.

Creativity as a Sacred Act

Celtic on Cloth/ Washburn Woodcuts
celtic snake border


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