Lino experiments: ‘First Flowering’

'First Flowering'
‘First Flowering’

Having done Ian Phillips ‘ fantastic  Reduction Linoprint course at the end of last year in Machynlleth, (resulting in  the prodution of several versions of the ‘lino rhino’…see below)

I decided to attempt another piece of work to explore the technique further and get to grips with how I can use it with my own work….thinking about the relationships between painting, linoprint and glass.Lino Day 1 (12)



I’ve been looking at crewel embroidery for a while now with its stylised, simplified forms,  and used one of these as a start point for a reduction linoprint.

Somewhat ambitiously, I now realise,  I planned out a  300mm x 300mm, 7 layer print using the bare paper as a white layer, adding yellow, orange, pale blue, green, mid-blue, red and dark blue. It has resulted in a rich and layered result that I enjoy and will explore further in future prints. The image galleries below show the work in progression over several days, starting with a very enjoyable 2-day studio session with fellow glass artist, Sonia Hawking.

The prints are now drying and will be for sale: mounted (£125),  and/or mounted and framed in solid oak (£165). When the prints are ready, I will post an image of each print individually so you can choose the exact one that you want….as well as some images of the frame option.

Layer 1 – Yellow Base

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Layers 2-5 :Orange/Light Blue/Green/Mid-Blue

Reduction linoprinting involves the cutting back of the lino with each successive layer of printing, leading to the eventual removal of nearly  all the original surface. This enables multi-layered prints with (exact) registration, but also means you can’t go back and do it again….so in this edition of 11 prints I experimented with colours and how one underneath affected the one overlaid. I have ended up with 11 similar but distinctly individual prints from the same block…….which appeals to me as a maker of predominantly one-off pieces the rest of the time….

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Layers 6+(Unexpectedly) 7 : Red and ….Red

So, by the time I got here I was struggling to keep adding layers as I liked each successive image as it appeared!! However the plan in place was to add red which I did. I ended up adding two distinct tones of red on each print to make some lighter and some darker before the final defining layer of dark blue

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Layer 8: Dark Blue

The darkest and defining layer, addding the deepest tones. Some of the prints have pure blue on them whilst others graduate towards a deep purple. One of the many useful tips from Ian’s course was to avoid black in prints and to go for dark tones of colours instead. Wise words!

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Author: Rachel Phillips Glass

I am a stained glass artist living and working in the beautiful Preseli hills of West Wales. I've chosen glass as my creative medium for its unparallelled intensity of light and colour. I specialise in traditional glass painting and work mainly to commission in the creation of new work for churches, private and public buildings in the form of windows or some other architectural application. I also make smaller scale bespoke glass pieces using traditional stained glass techniques such as glass painting, staining and etching. Contact me via email at

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