Spring Lino Printing

Objectives

Students will investigate and understand the process of linoleum block printmaking.
Students will create a one color linocut that shows imagery from the season "Spring"
Student shows an understanding of the use of lines to show texture or value in art.
Student shows an understanding of positive and negative space.

Vocabulary

Brayer - a rubber roller for transferring ink to the plate for printing.
Bench Hooks – a metal or wooden plate with a raised edge to hold a woodcut or linocut in place on a table while cutting.
Artist’s proof – proofs of work in progress, or a few finished proofs reserved for the use of the artist.
Linoleum Cutters and Handles – special shapes for cutting various types of lines: linear, V-gouge, large line, U-gouge, knife; blades sold separately to be fitted to handle.
Linocut – a relief print made when lines are cut into linoleum; the removed areas remain white/paper.
Inks – oil-based or water-based inks.
Registration – correctly aligning a printing plate when printing successive colors.
Plate – the basis for a print, can be wooden or linoleum block, cardboard collagraph, or metal.
Gouge – a tool for cutting a wood or linoleum block; V-shaped, U-shaped.
Block Print – print made from wood, linoleum, or vinyl.

Source Image

Carved Block & Printed Image

Inspiration Artwork

Inspiration Artists

More Linocut and Woodcut Artists

Project Steps

Step 1: Imagery Design

Draw out 3 design ideas (thumbnail sketches) in your sketchbook
Choose your favorite
Trace the chipboard "guide" into your sketchbook
Draw out your complete design;
1. - Don't forget to give an idea of location/background (even if it is through texture)
  - There shouldn't be large areas of nothing...think of texture, light values, details... (SEE TEXTURE EXAMPLES BELOW)
  - You will be tracing this line drawing exactly

5. When compete, turn in to Google Classroom

6. Show Mrs. Lusk to receive materials for the next step.

Printmaking Texture Examples -

Image Searches:

Spring Animals Photos

Step 2: Transfer Image

Once your line drawing is complete, you will trace your design onto a piece of tracing paper.
Place your work upside-down onto your piece of lino and rub the back of your design with your finger/the smooth part of your nail/or pencil eraser.
By doing it this way, you avoid the issue that is demonstrated below....where your print is reverse of your drawing

Step 3: Carving your Block

With your line drawing transferred, the process of removing the linoleum begins. Various gouges are used to cut away the linoleum in areas that are not to receive ink.
We will be using a bench hook to help keep your work still without your hand being in front of the gouge.
Cuts should be made away from the body and hands should be kept behind the blade at all times.
Relief printmaking sometimes requires the artist to think in reverse. Most of us are accustomed to making dark marks on light colored surfaces.
The parts of the image that are to be "white" must be removed from the surface of the material, leaving the remaining, raised areas to accept ink.
No using the blades on anything except the linoleum.
Each blade has a specific use- the thin blade is for cutting narrow lines; the wider V-shaped blades cut lines that are wider; the rounded C-shaped and U-shaped blades cuts away larger sections, etc.

Step 4: Printing

To begin the printing process, a small bead of ink is applied across the upper portion of an inking tray.
Ink is pulled down in small amounts with the brayer and rolled out until the brayer has picked up an even amount of ink.
Using the brayer, ink is evenly applied to the linoleum block. It may require several "passes" with the ink to cover the block completely.
Next, a slightly larger sheet of paper is laid over the block. Pressure is applied to the back of the paper with a wooden spoon, baren or your hand.
A consistent circular motion is used to apply even pressure to the back of the paper. This process is referred to as "burnishing".
Pulling from the corner of the paper, the first print is lifted away from the block.
You will be responsible for making a run of three (3) prints that are exactly the same.

Step 5: Common "Mistakes" or "Issues"

Usually the first print that is produced will not be perfect.

Often, the first print is either over-inked or under-inked, or uneven pressure was applied during the burnishing process.

MANY of your prints will not be "perfect," but you are on a mission to create or "pull" 3 perfectly 'the same' prints.

Above is an example of an over-inked print. Lines are less-defined and the ink is blotchy.

Example of an under-inked print. Lines are defined, yet the ink application is inconsistent.

Example of Uneven Printing Pressure (You didn't burnish it evenly/rub in circles)

Example of Dirty Brayer or Lino Block (Dirt/Hair/Piece of Lino)

Example of Paper Movement - Don't let the paper move once you place it on the block.

Step 6: Editioning of Prints

How to number, title and sign

As a general rule, prints are numbered on the left-hand side at the foot of the print, the title (if given) is written in inverted commas in the middle at the foot of the print and we sign on the right-hand side.
You can choose whether or not to include a date with this signature.
Editioning should be written in pencil, not pen. This is a good idea as it is harder to forge pencil signatures and mistakes can be erased if necessary!
Signatures can also be incorporated into prints, for example by carving initials into a lino block (in reverse of course!)

Step 7: Printing on Top of Monoprinting

Monoprint or monotype - This refers to the technique of printing a single painted image from a silkscreen or non porous surface such as a sheet of glass, metal or styrene.

In either case, the print is unique and cannot be editioned.

As a class, we will experiment with mono printing.
When you have a good collection of unique monoprints, you will use three (3) of them to print your block on. Examples below.