Tuesday, 22 June 2010


The proofing process shall involve taking a number of prints from each linocut in order to bring to light any defects present on areas of the lino that have been damaged or require extra clearing. This process will enlighten me on the amount of make-ready needed to establish a bold print, also other aspects including levels of inking etc will come to my attention, ensuring each and every linocut is printed to the best possible quality in its final run.

Ink on the lino

After months of preparation and working with the linocuts to get them to a printable state, it was very exciting to see them burst into life when a layer of ink was rolled across their surface. It suddenly became clear to me just how detailed and intricate the designs were, and the hours and days and weeks that must have gone into the skilled construction of such objects.

The first pull of proofs

Once every inked surface of the linocuts had been impressed upon a sheet of paper, it was time to hang the proofs up on the walls of the press, take a step back and admire each and every last little detail. For me, it was the first time I had viewed the printed outcome of each lino, and after hours and hours of staring at their un-inked surfaces, it was amazing to see the printed outcome.

Monday, 21 June 2010

Preparation is key..

Once all linocuts were unpacked from their boxes, their surfaces wiped clean to remove all dust from the years of storage, the full extent of preparation required became clear. Many of the linocuts were without mounting, meaning large pieces of MDF wood board had to be joined with another piece of hardboard to back up the linocut, making it type high and possible to print.

Building the Linocut to type height

The pieces of lino were then mounted onto their relevant wooden mounting blocks with the aid of some very strong double sided tape.

Adding strong adhesive to the back of the linocut

Mounting one of the larger linocuts

Each piece of wooden mounting had to be completely square with smooth flat edges to accommodate the press itself, the printing press in question is a British built Western 30 proofing press with a bed of 24x30".
With all linocuts appropriately mounted, the proofing can now commence..

Wednesday, 18 November 2009


Andrew Anderson's astonishing linocuts are an arresting mix of image, lettering and symbolism. The images show strong influences of his background as an architect with a particular interest in mediaeval architecture; the lettering brings Eric Gill to mind, but with an added fluency and versatility; and much of the symbolism comes from his involvement with cathedral and church architecture.

He combines these three elements with immense skill and with a rare dedication, and yet his images have an astonishing vibrance and magnetism. Little known or seen over the years, hampered perhaps because of their size, they appear here for the first time in a readily available form, each with a note by the artist explaining its content and symbolism.

The large format of A Vision of Order allows most of the prints to be tipped in unfolded. Like The Whittington Press's Posters published in 1996, it will be a monumental volume in its own right, set in a large size of the Caslon type for which the Press has become renowned.