Emmerson portrays the plants and animals in lively, naturalistic poses against detailed or textured backgrounds ranging from deep seas and black caves to bright, steep mountain crags and crowded cityscapes. Stimulating ventures into some of the world’s less accessible locales.”
Kirkus Reviews
In Above, Below and Long Ago, kids can catch a rare glimpse of some of the world’s most elusive plants and animals. Illustrated with linocut prints, the book highlights the textures and patterns of the natural world. In this Q&A, hear from illustrator Jonathan Emmerson on his linocut process and what his favorite illustration is from Above, Below and Long Ago.
Your linocut artwork is so beautiful! Can you explain what your process looks like for creating the linocut illustrations? And does that process differ when you’re creating linocut illustrations for a picture book?
Thank you! My printmaking process starts with drawing—usually in pencil. Once I’m happy with my design, I trace it onto a linoleum (lino) block. I separate the different colored parts of the drawing into layers, from light to dark. Using cutting tools, I start by carving away the bits of lino I don’t want to print; these areas will show the white of the paper. Using a roller, I ink up the lino and position the paper using registration lines, and then apply pressure to the paper/lino, either with a printing press or by hand with a baren or spoon. This process is repeated on the same lino block working on the next darkest color layer; this is called a reduction print. I carve a separate block for the darkest layer with the most detail; this is called a key block.
The difference in process when creating linocut illustrations for a book is there are deadlines and I’ll probably be working on a number of illustrations at one time. Instead of waiting for the ink to dry and building up the linocut on one piece of paper, I’ll scan the separate elements and layer them up in Photoshop to speed up the process.
What is it about linocut artwork that speaks to you?
I love the simplicity and boldness of linocut. With linocut you also get the printed texture and beautiful accidental marks.
Is linocut artwork your primary art form or do you experiment with other mediums as well?
Apart from linocut, I illustrate picture books using mixed media: inks, watercolour, pencils, print techniques and a bit of digital. Other printmaking mediums I work in are drypoint and collagraph. I paint as well.
Did you have a favorite spread to create for Above, Below and Long Ago?
I love ammonites and have a few fossils I’ve collected, so I was really excited to work on this one. I’m really happy with the barn swallows spread; I made it really quickly, so that was satisfying!
What are some of your favorite things to draw or print?
Drawing animals but I also enjoy creating stories with characters and backgrounds.
Jonathan Emmerson is an illustrator and printmaker. Growing up on Salisbury Plain near Stonehenge led him to a lifelong fascination with nature, fossils and all things prehistoric. He studied fine art at Birmingham Institute of Art and Design and lives in St. Albans, making linocut prints inspired by the natural world.