1LINO PRINTS Name: __________________________

NOTESDesigning your image:You need to think about the fact that the image you draw will be carved into the surface of the lino block.

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Any area that you cut out of the lino block will be white (or the colour of the paper that you are printing your image on.)

If you just want to have thin lines printed in the ink colour with lots of white background (so that it looks like a line drawing) you will need to remove most of the surface of the lino block.

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1 https://handmademakers.com/product/moo-carving-printing-studio-pack-of-easy-to-cut-soft-blocks-with-speedball-linoleum-cutting-tool-blade-artist-printmaking-art-and-tool-set-2-pack-4x4x1-2/2 https://www.lally-chiu.com/linocuts-1/#/owl-feather/

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It is important to think of textural interest and pattern when you carve. You can’t shade the objects you draw with graded edges. You need to use lines or pattern to do this. Add texture and lines to the background too.

3 https://www.ebsqart.com/Education/Articles/Printmaking-Pyrography-Scratchboard/11/Live-Studio-Block-Printing/52/

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If you remove too much of the lino near the edge of the block, it is likely to collapse a little at the edges when you print, so that the ink may smudge in the areas where you wanted a white background.

Remember the image will print in reverse. If you have lettering it is important to remember this!

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4 https://lucidcoyote.deviantart.com/art/Linoleum-Print-All-Hallow-s-Eve-3382881575 https://every-tuesday.com/how-to-create-a-hand-lettered-block-print/

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6 https://www.etsy.com/ca/listing/92695019/peacock-feathers-5x7-print-handmade-lino7 http://www.artforsmallhands.com/2012/11/printing-linocuts.html

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The texture in the background adds visual interest. Resist the temptation to remove all the lines from the background.

Transferring the image to the block:Once you have your idea drawn out CLEARLY so that you can work directly from the sketch, you need to get a lino block and using a graphite transfer, put the image on the block. Sometimes people just redraw the image directly on the block.Remember that you need to have the image carved BACKWARDS as when you print it, the image will be reversed. This is especially important if you use text.

The surface of the block may get a bit smudgy from the pencil. Do not be concerned. If necessary, draw over the transferred lines and make the image crisp and clear. You don’t have to worry about erasing all the smudges. The ink will be going over the whole print.

Think about your design like a stencil, before you start carving. The areas you carve out will be the colour of the paper that you print on. The areas you leave will be the ink colour.

Carving out the image:8 https://gregorioperez3.wordpress.com/category/linocut/

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Once the image is on the block, carve it out gently. ALWAYS KEEP THE BLADE MOVING AWAY FROM YOUR HANDS AND BODY!!!!! You don’t need to cut really deeply. Do not go deeper than ½ way through the block. You can then use the reverse side of the block if you so wish.

Choose a blade that is the right thickness and shape for the lines you want.

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When you design your block, leave a little of the thickness of the block in the corners if possible. It will help to make the print clearer. If all the thickness is removed from the corners, the design will collapse a little in that area when you print.

9 https://www.jacksonsart.com/blog/2017/01/13/paul-wilkins-reviews-pfeil-linocut-tools/10 https://www.bakerross.co.uk/lino-handle-cutters

Most people start printing with just one colour. If you want an image that has more than one colour then you have the option of doing a reduction print. You will start by carving the whole block and printing your first stage of your image in the lightest colour on your paper. You then cut out a little more of your lino block and print a slightly darker colour on top. The parts that were already printed will stay the first light colour.

Each layer of printing must be lined up carefully, so that they are “registered” properly (all the colours end up lined up in the correct places so the image looks complete and correct).

Setting up the area to print:You need to set up the printing areas before you start to print. The printing areas need to be kept extremely clear and clean as a finished print does not have any fingerprints, marks or smudges on the borders.

Testing the printing:When you have completed the carving you need to run a test print to see how well the image prints. If you need to edit your work, wash the ink off the block and go back and re-carve any sections that need to be clearer, or that needs more detail or texture.

Printing the prints:When you are satisfied that all the carving is done to your satisfaction, then you can make your good copies. You need to keep them clean and smudge-free, so there are a number of different guidelines to help you achieve this goal.

Artist’s proofs:You’ll need to print at least one “artist proof” and then your edition of prints and then make sure that they are numbered, titled and signed.

The artist’s proofs are often kept by the artist to have a record of what they have done for their own personal collection.

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Sometimes artists will trade their own proofs for other artist’s work, or give them as gifts to friends.

Once you have done the proofs and your prints, and signed them, all your edition should be identical. The only exception to this is when you decide to use one plate and change the colours each time you print, in which case you will print the letters VE (which stands for “variable edition”) in front of the numbers.

Signing the work:All the prints need to be signed neatly, in PENCIL, with the number of the print, the title and your signature, as shown in class. The signing needs to be neatly done, just below the print, on one line and should line up between the two sides of the print.

When you sign a print you are saying that each print is as good as the one before and that each is an original work of art.

Sometimes artists destroy the “plate” to tell the buyers that they will not print another edition from that plate. This ensures that there are a limited number of prints which helps to increase the value of each print.