I have taken two linocut and woodblock printmaking classes at our local community college. This one of the best how-to demonstrations of linocut printmaking that I have seen. It is clear, well-organized, thorough, and very well-produced in every way.
John Pfeiffer Wow, thanks for such a wonderful review and feedback! That's so kind of you. I'm very glad the details felt clear and organized, and if you lived nearby, I'd bing you a plate of cookies. :)
Hi Kristin, Yeah, Jack is adorable, and cuddly, and affectionate, and very willful. But we love every hair on his round, stripey body. :) You can see him on my daughter's channel here, ruclips.net/video/8AUwIPSA4yI/видео.htmlm5s sleeping on a quilt in-process in her sewing room. Bad cute kitty. :)
@@bdelpesco Ah yes, quality control cats. Mine always had to make sure I was using my spinning wheel and loom properly. Fortunately, I managed to keep her from walking across the inking plate (but it was close a few times).
@@downtime86stars17 Ah, yes, the Quality Control Team. I would imagine yours were harder to manage than mine with a spinning wheel and moving thread! :)
Oh boy - I just finished my first set of prints and the cat did indeed walk onto one of them while they were wet. Inspired me to go and get a setup for print drying immediately.
@@ivyfasko9699 when your drying set up is working, come back and describe it to us. I'm sure there are plenty of others with the same challenge, trying to devise a solution on the fly. :)
Hi Belinda, I found your video fascinating and your attention to detail is outstanding. I am a complete novice at lino cutting, but excited to learn. Thank you for sharing your techniques with us.
Hi there, +Joanne chard - thanks for the nice compliments, and I'm glad you're finding the video informative! Happy printmaking to you, and send questions as they come up!
Experienced artist, great quality footage and the information is concise and to the point - qualities hard to come by with 90% of art tutorials. Cheers for making this
Always love what you do and really appreciate how generous you are in sharing your knowledge and technique-and I know the video production part is about as time consuming as the actual printmaking part. Thanks!!!
Great Video ..............thanks. Lots of good information here! Also it is so nice to not have the voice drowned out by music which to me is an unnecessary distraction so thanks for no music. :)
+Cindy Murdock Thanks for taking the time to write! I'm glad you're finding the information useful, and I hope it leads to great things in your art adventures!
I visited Third Quarter for the sailing, but got sucked into the art somehow and arrived here. I love it! The video is great, the artwork fantastic! Very cool.
Hi Belinda! This is by far one of the Best tutorials I've ever seen on RUclips. In fact they should give you a freaking Award. Your presentation is ON POINT, focused, and very informative about this topic. I feel like I've learned so much in this space of 7:21! Visually- the transitions are interesting, smooth and the accelerated pacing is placed in the perfect spots. I can watch this all day. Thank you so much for sharing! Hugs to you and Jack! I'm a Subscriber now :)
I paint, but a novice to linocut and print making. I was fascinated by the multi color reduction method and all its' stages. I'm totally into the craft of it. Your work is brilliant!
Hi Jee, If you love the craft of it, I bet you'll be seduced by the meditative quality of the sequence/steps. It's a wonderful balm after a hectic day. Like painting. :) Thanks for the compliment, and happy art-making to you.
I loved this Belinda! I've been following your work on social media and am finally getting over to see more of your videos. They are just so great!! Even though I am a printmaker, I've found myself learning tips I hadn't thought of before. Thank you for sharing. Love, love your artwork!
Hi LindaCoteStudio ! Thanks so much for this nice comment. I'm so glad to share in this format - it's like throwing the doors open in the studio, and hanging a sign that says C'mon in (earth)! And on gathering tips - I *so* agree... Every blog/video from every artist in every medium has little treasures to dispense, and how lucky for us to use this conduit to learn, share and acknowledge. I love your work too, so high-five and hello, fellow printmaker! :)
Hi Nick! Thanks very much for the compliment - I'm really glad the tutorial was clear. If you have any questions as you begin your next printmaking project, come back and leave them here. They may be helpful to others too. :)
Hi Cathie, yes, cats are lovely entertainment - and some of them are delta force willful. Thank you for your compliments, and happy hours of carving & printing. 😸
I appreciate all the resources you share. I do reduction block printing, using a softer medium (safety kut, etc) and Speedball inks. It was recommended to me to move on to linoleum and better inks, but the oil ones take too long to dry. I'd like to try the ones you recommend. Also, when I used linoleum, and washed the ink off, it warped/bent making further printing difficult. Guess I can try the Lysol wipes to see if I can avoid washing/wetting the front and back...
Hi +Liberty Chick - yes, if you're using unmounted linoleum, don't wet the burlap at all. You might be able to flatten the already curved blocks under heavy books, or blue them to MDF board, again under a lot of weight till the glue dries. Even if you don't use lysol or baby wipes, you can use rags, and just try not to get any moisture on the burlap. The Akua inks are great, but there are other water-soluble inks on the market, so read printmaking forums on wetcanvas and check discussions in printmaking groups on facebook to survey your options; once you buy them, you'll have them for a long time. :)
Hi there, Paula. Thanks for your kind note. Those stamps were a ton of fun, because they were carved among friends who made their own stamps at the same time. Usually over salsa and beer. And I'll tell Jack you think he's handsome. He'll love that. Happy art-making to you!
Thanks for sharing! Really educational! ;) Looks almost easy but I'm pretty sure is really difficult, your are pretty skilled :) You're a good teacher and that is a beautiful work!
+Paty M. Thanks for your feedback, and your compliments. The only things that are difficult are the ones you don't know how to do. As soon as you try them, and learn the tips & tricks, they become easy. :) Happy art-making!
I enjoyed your presentation, clarity and descriptions. I also enjoyed your trace monoprint. I did not catch the type ink you are using; ie, oil/acrylic/soy? But I did recognize the linoleum and your use of the spoon to burnish vs. a press is also familiar. I did get a buren. I don't know if it will work as well; I always used a wooden spoon, but that was some years ago. LOL! Keep up the great presentation!
Hi +Kat McGee - thanks for your comment. Yes, a good old fashioned spoon works wonders, especially for finely detailed areas you can really focus your efforts on. The baren works too, and I find it better suited for broad expanses of flat color with not so much detail. But opinions on such things will matter from printmaker to printmaker, so take all of it with a grain of salt. :) Im using Akua inks, which are water-based with gum arabic, and highly pigmented. I love their inks. :) Links to all supplies are in the 'Show More' section under each video. Happy printmaking! Get busy!
Yes, and *that one* is not allowed on the press. (My assertive-cat-owner skills are waffling.) Did you like my groovy yellow draw string pouch for storage of the rubber stamps? A cool friend gave me that. :) xo
Hi Belinda! I love your tutorials... they are so informative. I have one question at the moment (sorry if you've already covered it elsewhere and I did not see it). Could you talk (maybe make a tutorial) on different types of paper for making prints? In this video you said you used BFK Reeves and I know there are several other types (some you soak in water, etc.) I'm unsure about where to start and since the papers can get expensive I find myself hesitating. Thank you in advance for your help!!
@Maryann Haraldsen - first a couple of questions: are you printing on a press, or by hand? Are you using wood or linoleum? Are you using oil or water-based inks?
Maryann Haraldsen Hi there. Here's a link to a 5-pack of Rives BFK Lightweight printmaking paper. The sheets are 19x26, so depending on the size of the block you're working on, you should be able to tear them down to get at least twice that many sheets. amzn.to/1QcbCMN I work small, so I can usually get 24-29 sheets from one of these 5-packs. Good luck! Share your results so we can see!
Belinda Del Pesco "Taco perdido", as the woodcut matrix is called "taco". If you use a block to stamp a color over the first one, the tecnique's called "Camafeo"
Hello Belinda! your tutorials are just awesome!!! Could you give me advice how to make the linocut from black to white? not a reduction but the opposite? thank you! you are the best!
Hi +Lex Chekhunov - do you mean that you want to print a white image on black paper? Like this post on my blog: www.belindadelpesco.com/2013/01/linocut-dualities.html ?
Belinda! Thank you so much for your tutorials. They helped to give me the information and confidence I needed to try my first linocut. Could you please give me some feedback on my experience? I used Speedball watercolor inks that come with a tube of Retarder and and tube of Ink Extender. My prints did not come out complete despite my thorough rubbing and I was not sure whether it was because the ink was not "wet / thin" enough, or if it was due to the fact that the paper I was using (140lb, 300gsm Cold Press Watercolor was too stiff / non-absorbent enough. I want finish with the supplies I have before ordering some of the inks and paper that you've recommended. I realize that much of this I will have to discover via trial and error but any advice / suggestions you can share would be wonderful! Thanks again Belinda! Anthony
Hi +Anthony Rossilli - Thanks for the feedback, and congratulations on your foray into printmaking! Since the cold press watercolor paper has some "tooth" or texture, I'm going to guess you didn't get a solid ink transfer, and the prints came out a little ghosty in areas? And did you rub that paper with a wooden or metal spoon?
Hi C.I.Joe - you'll want to use a non-stiff, soft & flexible *smooth* surface paper for hand transfer whenever possible, and for details (test a print on newsprint to see what I mean), and a metal or wooden spoon will allow you to focus all your pressure on a smaller contact point. The baren spreads the pressure you apply over a wider swath (the whole surface of the teflon head), & a metal spoon will concentrate all of your pressure into a 1/4 inch or less area, resulting in greater detail. Good luck & keep at it!
+C.I.Joe try smooth Japanese kozo (mulberry paper) if you're just printing with inks, and if you plan to add other media - like watercolor or colored pencils, try a light weight (90 lb) Arches cover or BFK Rives printmaking paper. Let us all know how it goes! 🙂
Hi Belinda, in your comments you mention "min wax to seal your drawing on the plate", but I can't seem to find the tutorial on when you do this? Where can I learn more about how and when to do this? Thanks for the amazing videos - I'm learning so much!
Hi Sherieen, Using a sealer like MinWax does two things: it smooths the miniscule textures in the surface of your plate so ink will release, and stick to your printmaking paper. It also protects your drawing, so if you decide to ink the plate and pull a test print part of the way through carving it, and you use a solvent or oils to clean the ink off the plate, your drawing won't wipe away with the ink. You'll need the drawing as you continue carving. Does that make sense? So the sequence on preparing your linoplate: fine grit sandpaper(400-600) for a light sanding of the entire surface, wipe clean with a damp (not wet) paper towel, draw your design, and then seal the plate. You can see some of that process here: ruclips.net/video/lRy5lvrWsa0/видео.html Happy Printmaking to you!
I have watched several of your tutorials already and I am wondering if the sharpie marker also transfers with the ink. Your gray tone ink looks like it has two tones when you printed for the first time. Am I missing a step? I know that you eventually use the black in the borders but I want to make sure that I am not forgetting a step when you pull the first relief.
Hi Tiffany, yes, the sharpie marker does transfer to the paper from a chemical interaction with the inks, but if you use the marker to designate your darkest-darks, and you'll be over-printing the plate with gradually darker and darker colors, by the last print, your areas of sharpie stain will be covered with your darkest inks, and shouldn't show. If you're worried about the sharpie staining the print in areas meant to stay light, either use pencil to shade those passages, or seal the entire plate with a few coats of minwax transparent wood stain.
Hi. Thanks for your informative video. I have a question: I don't have access to ink print. What are the substitutes? Does oil paint work? I tried acrylic paint. Not good!
Hi Talie, Can you order relief printing ink online? Oil paints may damage your linoleum block, and they may leave an oil halo around your print, and take a long time to dry.
Hi +Sandra Butler - It may be easier to carve, since you're just doing the line work, but the printing process is more time consumptive (apply pigment to one shape on the block, lay the paper over the block, keeping it pinned in place along one edge for registration, and rub/transfer that 1st color, peel the paper off the surface, leaving it attached on one side, apply another color to a shape on the block, roll the paper back over the block, rub that passage to transfer the 2nd color, peel the paper back, apply another color, etc.) and this process continues for each color till the entire image is transferred in full color for one print. Then you remove the paper, and set up another sheet and start again. So, there's some precision in the carving, as well as a bit of careful pigment application for each passage of color between your carved lines. If the carving is difficult for you, then yes, this style may be easier, and it's certainly beautiful, but I wouldn't call it quicker. :) I hope that helps.
Thank you for the informative video Belinda! I have a quick question about using Akua ink with linocut. I hand printed a linocut using Akua Ink and the large flat (uncarved) parts of the block doesn't get an even layer of color when printed on paper (it's even when inked with the roller but once it's transferred on the paper, it's no longer even) . The flat (uncarved) parts end up with a salted look, with small white blotches and not a flat, even coat of color, no matter how hard I burnish with the sppon. Do you have any tips on getting an even coat of color on the flat parts of the block? Thanks!
Hi Moogle, Are you using a toothy paper? Did you sand and seal your block before you started carving? Have you tried spritzing your paper very lightly, and blotting it - immediately before you print? And is this happening after many attempts, or just the first one or two? Sometimes, the ink needs enough time to soak into the lino a bit, so pull your first couple of test prints on newsprint, and then by print #3, switch to printmaking paper. Report back and let me know what you've tried already. Keep the faith - you're doing great!
@@bdelpesco Hi Belinda, thanks for your quick reply! It's been a lot of fun so far, just a bit of a hiccup that needs to be figured out. I've only tried test prints using Strathmore 300 series drawing paper (114 gsm) and the cheap rice paper that comes in a roll. I switched to the rice paper to see if that would make a difference, since it's less stiff. Both of them had the salted look, even after the 3rd/4th print. I have also tried spritzing the drawing paper lightly and blotting before printing, but got the same results (didn't try on rice paper). I did sand the block but only after carving (forgot about it before hand), but I didn't seal the block. Should I try sealing the block - I don't have min wax (I get headaches around strong chemical smells), but I have clear gesso and matt medium, would that work? Also, I have other paper, like BFK Rives 175 gsm, but haven't gotten to them yet, because I thought I'd try to figure this salted look out first before moving on to heavier paper. Thanks!
Hi Moogle - no on sealing the block at this stage, unless you feel that the sanding process left micro-sized hills and valleys in the Lino. (The sealer self levels and fills that) What size grit sandpaper did u use? And did you use a sanding block or your fingers? (This can lead to divots in the surface from the shape of our fingertips) Can you test a print against newsprint, just to be sure it’s not a paper issue? If no newsprint - old phone book pages work. And what type of baren are you using? Have you tried a metal soup spoon (vs a wooden one)?
One more thing - has your block surface been thoroughly cleaned of all dust and oils before inking? A drop of dawn dish soap on a damp paper towel followed by clean moist paper towels to clear it - being careful not to wet the burlap if the Lino is unmounted.
@@bdelpesco I used 320 grit sand paper and just folded it and used my fingers (so that could be an issue...but the salted look is pretty consistent throughout the block/print so I'm hoping that's not the main issue...). I do have newsprint, so will clean block thoroughly of dust and oil and test on newsprint using metal spoon. Keeping my fingers crossed, will let you know of result.
Well done, and I think Jack disagrees with you. Also what do you recommend for a paper that allows for some waste but is still a good quality for archival work or works I might want to sell?
Hi. I meant paper that is quality in terms of being archival, good to work with, but is affordable so I'm not sweating bullets every time I go to print, allowing me to botch the printing without it being expensive to do so.
Try pulling all of your test prints (artist proofs) on newsprint. Also, work small, so you can get 6 or more prints by tearing down one full sheet of printmaking paper. I love Arches, BFK Rives and Arnhem. They are all about the same price when ordered online, and if you order larger quantities and split the order (& the shipping) with a couple friends, it's even less expensive. Happy Printing!
Aw. Jack was your Pie Inspectors inspector ! I always appreciate the detailed items lists. One question though... Looking at the ink as listed on Amazon it reads... "soy based"..."minimal water content" ...but correct me if I'm wrong: This is still a water-based ink and not an oil based ink. True?
Concrete Turtle Yes - the ink is "waterbased" in that it cleans up easy-peasy with soap & water. I'm not a chemist, so I don't know how Akua came up with their soy/water ink recipe, but as a printmaker, I can say the ink lives up to the manufacturer's claims: it's easy to work with, cleans up fast, and the pigmentation is rich and lovely. Good product. And Jack loves to model, if it involves being stretched out & sleeping. :)
Belinda Del Pesco I didn't recognize Jack as the model; but I thought it cute how he was mirroring the action of the cat in the plate. Very meta. Heh. Couple of questions for when you have the time: 1. Do you ever use oil based ink? Just curious if you find either ink better for one thing or another. Or is it jsut the convenience of clean up? I bought some oil based by mistake and find it impossible (without a press) to get the ink to transfer well to paper. The water based I'm getting the hang of. 2. I get the need for applying ink with a brayer for lino and I know it's all about experimentation BUT... I'm curious if you have a personal preference for ala "poo-pay" [ I...don't speak French so don't have the spelling : ) ] which appears in many of your other videos (drypoint/collagraph). I did notice one collagraph where you applied ink first with a cardboard squeegee...was there a reason? Or is it all just random which tool you reach for on a given day? Just curious about what you might find useful about each. Thanks in advance!
Concrete Turtle Hi there. I love oil-based inks. I use Graphic Chemical & Charbonnel intaglio inks. My preference for Akua is: less stink, no solvents, easy clean up, fast drying, but not till it's on paper. I use the oil based when working on a very detailed drypoint, or etching, in a larger edition, or a dark field monotype if I know I'm using colored pencil on later. The texture of dry oil based ink under the pencils is quite divine.:) A la poupee is used for applying multiple colors; you get a full color print with one pass through the press. Bondo scraper or spent gift card squeegee application is for a single color print. :) I hope that was helpful. Happy printmaking to you!
Belinda Del Pesco Oops. Thanks for the quick response! Somehow I missed the notifications that you posted. I was just logging in to post a link to my trials. When I tried oil I tried both wet and damp paper (I thought maybe oil would be repelled by the water, but dry paper wasn't working either--though I gotta say I kinda like the dry paper with the water based ink for monotypes : ) ...been playing with that). The paper is a 98lb, acid free, "mixed media" paper (from a sketch book). I also tried a 50lb, paper with a 'fine tooth' surface. I also gave it a whack with some very smooth, semi translucent marker paper. Not much diff. The oil ink just kinda stuck to the acrylic that I'd applied to the matt board. The inks are speedball block printing ink. I'll be trying again with oil next. Like I said, the water based inks I'm getting the hang of. I also think I've got better at pressing by hand (rolling the ball end of my favorite awl seems to work well and I'm guessing that might make a difference). And I'm definitely going to try the oil based ink on the drypoints that I started. I've only tried it so far with the matt board covered in acrylic. (I also experimented with cardboard...which...again...seems to work pretty well for me with the water based inks). Definitely interested in how the oil will differ from the water in the drypoint. You can see my water based drypoint presses in the video above.
Hi Colaris, This is how I think of it: a relief print is an opportunity to print multiples of a "drawing". I draw on a block (wood or lino) with a sharpie marker, and then I carve *everything* from the block EXCEPT the drawing. Then, I ink and print from my preserved drawing. Does that make sense?
Hi. Thanks. I just wondered whether it is easier/better to 'carve out' the image or carve around the image. Perhaps it doesn't matter. I just wondered whether either had any advantages?
I suppose you might have less to carve if you remove the drawn lines, and leave the background. The result - if you print with dark ink on light paper - would be a "white line print", minus the usual full color styling associated with that method of printmaking: www.barenforum.org/encyclopedia/entries/000_10/000_10.html But I don't think I'd call one approach an advantage over the other. You'd mostly get entirely different styles. Each would be affected by your color choice for both inks and paper. Which approaches have you tried so far? Did you post your prints somewhere we can see them?
Thanks again Belinda. I have only produce some basic prints and they wouldn't really be worth showing but I appreciate your advice. I look forward to seeing more of your work!
Thanks, Colaris - I hope you continue with your printmaking adventure. It takes a little time to get your sea legs with the process, but there are infinite variations to both the printing, and the things you can do with other media on the finished print. Like all art, there's no right way or wrong way; it's mostly about having fun making something.
Hi +Colaris - I don't use it, because I want details and fine line control, and registration when printing on the press. The soft stuff is good for abstract, or big shapes, or background color blocks - and only for prints that are hand transferred. The pressure on a press stretches the surface and you get a "skipped" effect on your print. Pushing a fine tipped blade through the surface warps the material forward, leaving ruffled edges in your fine line work.
I was accustomed to buying pre-mounted lino blocks, and purchased a bulk roll of unmounted 3mm linoleum, which had a curve in each small piece I cut off the roll. I mounted this piece to flatten it. Once I started working with it, the lino was nice and flat again, so I took the backing off.
Hi! How long do you need to wait to run the print the second time with a new color? I am having difficulty keeping my inks from blending together when I add my second color.
Thanks for getting back to me! I am using 96lb canon bristol (which I think is causing a lot of quality issues, and I hope to replace) The inks are speedball, but I am open to trying something else. I am very new at this, but have already fallen in love with the medium : )
Hi Molly, I'd recommend getting some printmaking paper... you can try BFK Rives 90lb (great for multi-color prints) or a pack of traditional mulberry paper (kozo) - it's translucent but very strong. If your speedball ink is the tube version purchased at most art supply stores, it's forever water-soluble. Test a dry passage with a wet q-tip to see if the color re-wets & comes up on the swab. Is that the case?
Well, there's the culprit for your inks mixing when you add your second color layer. I'm sorry about that. There are a couple of inks out there that clean up with water, and dry permanent. My friend Rich did a great survey in his studio, so have a look at his post about it here: www.boardingallrows.com/blog/best-linocut-inks-for-block-printing. I do use Akua, and Caligo Safe Wash. I've tried a few others, but so far, I like them the best, with additives to alter the stickiness towards the paper and release from the block. Since you love the medium, you'll find out what works best for your style in no time at all. Please keep us posted, and share a link if you post the results online somewhere. :)
How do you "register" the second color? How do you do "non-'suicide prints'" so that you can keep making the same image until you're bored? (Have you ever colored a single block?) I did this by inking the linoleum with different colors, but I want to try your methods. (I am @wqueens7 on IG & twitter)
You can register manually, as I did in this video - or make a registration jig. There are many jig designs out there - search google for "registration jig" + printmaking. I posted a simple cardboard jig here; ruclips.net/video/lRy5lvrWsa0/видео.html By non-suicide block, do you mean a single color? You can print as many as you want from your block, and then hand paint them with watercolor, or ink them in a variety of single colors. Have you visited my blog? I've been posting process shots of printmaking since 2005, so maybe have a look there for some ideas. Link is in my profile. Happy printing!
You might want to go easy on the spell check, Concrete... 80% of the visitors here are from outside the US, so they're writing in something other than their native language. Capiche?
@@bdelpesco I meant the pronounciation it a great print and a very instructive video. It's certainly Linn as part of the word Linoleum but in abbreviation Lino rhymes with Wino which I confess to being uncharacteristically last night. Ergo my totally unnecessary comment which I apologise for.
😉 Thanks for the cute explanation, Concrete. You must be in Europe, hence the Lino-Wino pronunciation. Here in California, especially by the beach, vowels get rolled out long and soft, like beach towels. Here, Lino rhymes with Minnow. I clink my glass of wine to yours in good cheer.
I have taken two linocut and woodblock printmaking classes at our local community college. This one of the best how-to demonstrations of linocut printmaking that I have seen. It is clear, well-organized, thorough, and very well-produced in every way.
John Pfeiffer Wow, thanks for such a wonderful review and feedback! That's so kind of you. I'm very glad the details felt clear and organized, and if you lived nearby, I'd bing you a plate of cookies. :)
"This is Jack, and he is not allowed on the table", that was my favorite part.
Hi Kristin, Yeah, Jack is adorable, and cuddly, and affectionate, and very willful. But we love every hair on his round, stripey body. :) You can see him on my daughter's channel here, ruclips.net/video/8AUwIPSA4yI/видео.htmlm5s sleeping on a quilt in-process in her sewing room. Bad cute kitty. :)
@@bdelpesco Ah yes, quality control cats. Mine always had to make sure I was using my spinning wheel and loom properly. Fortunately, I managed to keep her from walking across the inking plate (but it was close a few times).
@@downtime86stars17 Ah, yes, the Quality Control Team. I would imagine yours were harder to manage than mine with a spinning wheel and moving thread! :)
Oh boy - I just finished my first set of prints and the cat did indeed walk onto one of them while they were wet. Inspired me to go and get a setup for print drying immediately.
@@ivyfasko9699 when your drying set up is working, come back and describe it to us. I'm sure there are plenty of others with the same challenge, trying to devise a solution on the fly. :)
Hi Belinda, I found your video fascinating and your attention to detail is outstanding. I am a complete novice at lino cutting, but excited to learn. Thank you for sharing your techniques with us.
Hi there, +Joanne chard - thanks for the nice compliments, and I'm glad you're finding the video informative! Happy printmaking to you, and send questions as they come up!
Experienced artist, great quality footage and the information is concise and to the point - qualities hard to come by with 90% of art tutorials. Cheers for making this
Hi Harrison - Thanks for such kind words! Your enthusiasm keeps my video-making mind encouraged. Happy printing!
Thanks Belinda for this very helpful video. You always describe your processes so clearly in your videos - I am learning a lot from them.
Completely agree! So informative.
Always love what you do and really appreciate how generous you are in sharing your knowledge and technique-and I know the video production part is about as time consuming as the actual printmaking part. Thanks!!!
Hey, thanks for that nice comment, Paula Scott ! Happy Thanksgiving to you and yours! :)
Same goes for you and yours!
kitties everywhere! This looks great Belinda!!!
Thanks, Melanie! Both cats have cameos in the video, but Jack shows up three times, so he wins. :)
Great Video ..............thanks. Lots of good information here!
Also it is so nice to not have the voice drowned out by music which to me is an unnecessary distraction so thanks for no music. :)
+Cindy Murdock Thanks for taking the time to write! I'm glad you're finding the information useful, and I hope it leads to great things in your art adventures!
Thanks for adding to our knowledge
Its my pleasure, DBB! 🌻
I visited Third Quarter for the sailing, but got sucked into the art somehow and arrived here. I love it! The video is great, the artwork fantastic! Very cool.
Hi 79cd36 ! Thanks for stopping by the boat, and the studio! Nice dog, by the way! :)
Very Helpful! Thank you, lovely print! I appreciate all the information you give through the narration and demonstration.
Thanks, +Teagan Carnes ! Happy Printmaking!
Good morning Bellinda
A wonderful print described in a terrific howto video!
Thank you for showing the world how its done.
bubbarose1958 Thanks for the kind words!
I'm a fan -- so helpful and clearly demonstrated. Jack did ok, too!
Thanks, Sheila! I hope your printmaking adventure is fun from day one! Happy printing!
Hi Belinda! This is by far one of the Best tutorials I've ever seen on RUclips. In fact they should give you a freaking Award. Your presentation is ON POINT, focused, and very informative about this topic. I feel like I've learned so much in this space of 7:21! Visually- the transitions are interesting, smooth and the accelerated pacing is placed in the perfect spots. I can watch this all day. Thank you so much for sharing! Hugs to you and Jack! I'm a Subscriber now :)
Hi Jee, Thanks for your glowing encouragement! And Jack sends his meows and a furry forehead rub to your ankle. Are you a painter or printmaker?
I paint, but a novice to linocut and print making. I was fascinated by the multi color reduction method and all its' stages. I'm totally into the craft of it. Your work is brilliant!
Hi Jee, If you love the craft of it, I bet you'll be seduced by the meditative quality of the sequence/steps. It's a wonderful balm after a hectic day. Like painting. :) Thanks for the compliment, and happy art-making to you.
I loved this Belinda! I've been following your work on social media and am finally getting over to see more of your videos. They are just so great!! Even though I am a printmaker, I've found myself learning tips I hadn't thought of before. Thank you for sharing. Love, love your artwork!
Hi LindaCoteStudio ! Thanks so much for this nice comment. I'm so glad to share in this format - it's like throwing the doors open in the studio, and hanging a sign that says C'mon in (earth)! And on gathering tips - I *so* agree... Every blog/video from every artist in every medium has little treasures to dispense, and how lucky for us to use this conduit to learn, share and acknowledge. I love your work too, so high-five and hello, fellow printmaker! :)
great motif :) jack is cute
Jack says Thanks, Kappa. I say it too. :)
Thanks - very informative video - I'm a novice but very inspired now x
Thanks, +Blod Llareggub - I hope you dive in and enjoy the process!
Wow that was excellent print, Like the subject, multiple patterns and the two color don't need any more. Thanks
Such nice compliments, Roger - thank you! I hope you make a two-color print of your own soon! :)
this is great. thank you for taking the time to open with a shot of the end product. good stuff.
Hey Patrick, Thank YOU for taking the time to log in and leave nice feedback. Good stuff indeed!
Thanks for a great video.
Hi Maggie - I’m glad you liked it! Thanks for the comment 💕
Two Color #linocut in the reduction method, with pattern added via rubber stamps - Pie Inspectors #kitchen #cooking #dogs #cats :)
I totally agree with the previous comment. Instructional and inspiring. Thank you
Hi Nick! Thanks very much for the compliment - I'm really glad the tutorial was clear. If you have any questions as you begin your next printmaking project, come back and leave them here. They may be helpful to others too. :)
Very cute image 😀👍🏼
Thanks for the compliment. Many cooks in the kitchen. 👩🏻🍳😉
Cats are funny creatures. lol I love your work. So beautiful and so full of life and happiness.
Hi Cathie, yes, cats are lovely entertainment - and some of them are delta force willful. Thank you for your compliments, and happy hours of carving & printing. 😸
I appreciate all the resources you share. I do reduction block printing, using a softer medium (safety kut, etc) and Speedball inks. It was recommended to me to move on to linoleum and better inks, but the oil ones take too long to dry. I'd like to try the ones you recommend. Also, when I used linoleum, and washed the ink off, it warped/bent making further printing difficult. Guess I can try the Lysol wipes to see if I can avoid washing/wetting the front and back...
Hi +Liberty Chick - yes, if you're using unmounted linoleum, don't wet the burlap at all. You might be able to flatten the already curved blocks under heavy books, or blue them to MDF board, again under a lot of weight till the glue dries. Even if you don't use lysol or baby wipes, you can use rags, and just try not to get any moisture on the burlap.
The Akua inks are great, but there are other water-soluble inks on the market, so read printmaking forums on wetcanvas and check discussions in printmaking groups on facebook to survey your options; once you buy them, you'll have them for a long time. :)
loved this informative video, thank you Belinda!
You’re welcome, Martha! Thanks for the feedback and the compliments!
i love three things....your hand carved 30 year old stamps, Jack and your beautiful art.
Hi there, Paula. Thanks for your kind note. Those stamps were a ton of fun, because they were carved among friends who made their own stamps at the same time. Usually over salsa and beer. And I'll tell Jack you think he's handsome. He'll love that. Happy art-making to you!
Amazing!
Thanks, Isabel! I hope the demo was useful for you!
Really clear and informative - thank you!
Thanks, Janet! I'm glad you found the video informative! :)
Loving the cat in the background
Thanks, +Elsie Plimmer - That's Jack, and he loves to be in the shot. :)
Nice work. Good video too. Sound quality and video image help your demo quite a bit.
Thanks for the feedback, +tfl1963 !
Ooh, am now feeling like carving a bunch of rubber stamps...!
Well, grab your supplies, brew a cuppa tea and off you go! 👍🏽
Great video, thank you for sharing your process!
Thanks for sharing! Really educational! ;) Looks almost easy but I'm pretty sure is really difficult, your are pretty skilled :) You're a good teacher and that is a beautiful work!
+Paty M. Thanks for your feedback, and your compliments. The only things that are difficult are the ones you don't know how to do. As soon as you try them, and learn the tips & tricks, they become easy. :) Happy art-making!
Beautiful video, thanks!
Thanks, @Jonathan! :)
I enjoyed your presentation, clarity and descriptions. I also enjoyed your trace monoprint. I did not catch the type ink you are using; ie, oil/acrylic/soy? But I did recognize the linoleum and your use of the spoon to burnish vs. a press is also familiar. I did get a buren. I don't know if it will work as well; I always used a wooden spoon, but that was some years ago. LOL! Keep up the great presentation!
Hi +Kat McGee - thanks for your comment. Yes, a good old fashioned spoon works wonders, especially for finely detailed areas you can really focus your efforts on. The baren works too, and I find it better suited for broad expanses of flat color with not so much detail. But opinions on such things will matter from printmaker to printmaker, so take all of it with a grain of salt. :) Im using Akua inks, which are water-based with gum arabic, and highly pigmented. I love their inks. :) Links to all supplies are in the 'Show More' section under each video. Happy printmaking! Get busy!
Look who's watching behind you! :-)
Yes, and *that one* is not allowed on the press. (My assertive-cat-owner skills are waffling.) Did you like my groovy yellow draw string pouch for storage of the rubber stamps? A cool friend gave me that. :) xo
That was AMAZING!! I hope you don't mind if I use your video to share with my high school art students! :D Thank you!
Great!
Thanks, Marko!
Thanks so much, your videos are excellent!
Thanks for the feedback, Lillian!
Thanks so much!! excellent video!
Hi Maria, Thanks for the feedback! It makes a big difference for future videos!
Hi Belinda! I love your tutorials... they are so informative. I have one question at the moment (sorry if you've already covered it elsewhere and I did not see it). Could you talk (maybe make a tutorial) on different types of paper for making prints? In this video you said you used BFK Reeves and I know there are several other types (some you soak in water, etc.) I'm unsure about where to start and since the papers can get expensive I find myself hesitating. Thank you in advance for your help!!
@Maryann Haraldsen - first a couple of questions: are you printing on a press, or by hand? Are you using wood or linoleum? Are you using oil or water-based inks?
Belinda Del Pesco I'm printing by hand, using linoleum and I have water based inks.
Maryann Haraldsen Hi there. Here's a link to a 5-pack of Rives BFK Lightweight printmaking paper. The sheets are 19x26, so depending on the size of the block you're working on, you should be able to tear them down to get at least twice that many sheets. amzn.to/1QcbCMN I work small, so I can usually get 24-29 sheets from one of these 5-packs. Good luck! Share your results so we can see!
Very informative.
Thanks for visiting, Sandra!
SUPERR! thank you!
You're welcome,@tigran!:) Happy Printing!
-in spanish we call this "lost matrix", but i'm starting to love "suicide method"as you mention it
Thanks for that, Xantiago P! What is the spanish word or phrase for lost matrix? I like that idea better than the suicide block label. :)
Belinda Del Pesco "Taco perdido", as the woodcut matrix is called "taco". If you use a block to stamp a color over the first one, the tecnique's called "Camafeo"
Cats are impossible sometimes to have in your studio, but they can mane you or take a short stroke break. That way everyone is satisfied and happy.
Hi Ruurd, yes, cats are indeed impossible studio mates, and very necessary. Cuddle breaks result in better art. 😌😸
Love it
Thanks, Cindy!
Hello Belinda! your tutorials are just awesome!!!
Could you give me advice how to make the linocut from black to white? not a reduction but the opposite? thank you! you are the best!
Hi +Lex Chekhunov - do you mean that you want to print a white image on black paper? Like this post on my blog: www.belindadelpesco.com/2013/01/linocut-dualities.html ?
Ah HA! I didn't notice it the first time around! Yes, I like it, it's groovy!
¡¡¡Hermoso video!!!
Thank you, Albertino!
Belinda!
Thank you so much for your tutorials. They helped to give me the information and confidence I needed to try my first linocut. Could you please give me some feedback on my experience? I used Speedball watercolor inks that come with a tube of Retarder and and tube of Ink Extender. My prints did not come out complete despite my thorough rubbing and I was not sure whether it was because the ink was not "wet / thin" enough, or if it was due to the fact that the paper I was using (140lb, 300gsm Cold Press Watercolor was too stiff / non-absorbent enough. I want finish with the supplies I have before ordering some of the inks and paper that you've recommended. I realize that much of this I will have to discover via trial and error but any advice / suggestions you can share would be wonderful! Thanks again Belinda! Anthony
Hi +Anthony Rossilli - Thanks for the feedback, and congratulations on your foray into printmaking! Since the cold press watercolor paper has some "tooth" or texture, I'm going to guess you didn't get a solid ink transfer, and the prints came out a little ghosty in areas? And did you rub that paper with a wooden or metal spoon?
Hi C.I.Joe - you'll want to use a non-stiff, soft & flexible *smooth* surface paper for hand transfer whenever possible, and for details (test a print on newsprint to see what I mean), and a metal or wooden spoon will allow you to focus all your pressure on a smaller contact point. The baren spreads the pressure you apply over a wider swath (the whole surface of the teflon head), & a metal spoon will concentrate all of your pressure into a 1/4 inch or less area, resulting in greater detail. Good luck & keep at it!
+C.I.Joe try smooth Japanese kozo (mulberry paper) if you're just printing with inks, and if you plan to add other media - like watercolor or colored pencils, try a light weight (90 lb) Arches cover or BFK Rives printmaking paper. Let us all know how it goes! 🙂
Hi Belinda, in your comments you mention "min wax to seal your drawing on the plate", but I can't seem to find the tutorial on when you do this? Where can I learn more about how and when to do this? Thanks for the amazing videos - I'm learning so much!
Hi Sherieen, Using a sealer like MinWax does two things: it smooths the miniscule textures in the surface of your plate so ink will release, and stick to your printmaking paper. It also protects your drawing, so if you decide to ink the plate and pull a test print part of the way through carving it, and you use a solvent or oils to clean the ink off the plate, your drawing won't wipe away with the ink. You'll need the drawing as you continue carving. Does that make sense? So the sequence on preparing your linoplate: fine grit sandpaper(400-600) for a light sanding of the entire surface, wipe clean with a damp (not wet) paper towel, draw your design, and then seal the plate. You can see some of that process here: ruclips.net/video/lRy5lvrWsa0/видео.html Happy Printmaking to you!
@@bdelpesco - Thank you for the explanation and video link - I understand what you mean now. :)
Hi Belinda, hope you're doing okay!
I have watched several of your tutorials already and I am wondering if the sharpie marker also transfers with the ink. Your gray tone ink looks like it has two tones when you printed for the first time. Am I missing a step? I know that you eventually use the black in the borders but I want to make sure that I am not forgetting a step when you pull the first relief.
Hi Tiffany, yes, the sharpie marker does transfer to the paper from a chemical interaction with the inks, but if you use the marker to designate your darkest-darks, and you'll be over-printing the plate with gradually darker and darker colors, by the last print, your areas of sharpie stain will be covered with your darkest inks, and shouldn't show. If you're worried about the sharpie staining the print in areas meant to stay light, either use pencil to shade those passages, or seal the entire plate with a few coats of minwax transparent wood stain.
Hi. Thanks for your informative video. I have a question: I don't have access to ink print. What are the substitutes? Does oil paint work? I tried acrylic paint. Not good!
Hi Talie, Can you order relief printing ink online? Oil paints may damage your linoleum block, and they may leave an oil halo around your print, and take a long time to dry.
Love your videos they are very helpful. Thank you! Jack is beautiful and he looks like he likes to help like my cats! =^..^=
Thanks for the compliments and the nice feedback, Diane. Yes, Jack likes to "help", so he gives a high five, paw-to-paw to your cats in solidarity. 😉
Would you say a word or two about White Line Woodblock Printmaking. I saw a documentary about it. It seems easier to do than the traditional linocut.
Hi +Sandra Butler - It may be easier to carve, since you're just doing the line work, but the printing process is more time consumptive (apply pigment to one shape on the block, lay the paper over the block, keeping it pinned in place along one edge for registration, and rub/transfer that 1st color, peel the paper off the surface, leaving it attached on one side, apply another color to a shape on the block, roll the paper back over the block, rub that passage to transfer the 2nd color, peel the paper back, apply another color, etc.) and this process continues for each color till the entire image is transferred in full color for one print. Then you remove the paper, and set up another sheet and start again. So, there's some precision in the carving, as well as a bit of careful pigment application for each passage of color between your carved lines. If the carving is difficult for you, then yes, this style may be easier, and it's certainly beautiful, but I wouldn't call it quicker. :) I hope that helps.
good info,,,, FIVE STARS
Thank you, hellorodney! I appreciate your feedback! Happy Printing!
Thank you for the informative video Belinda! I have a quick question about using Akua ink with linocut. I hand printed a linocut using Akua Ink and the large flat (uncarved) parts of the block doesn't get an even layer of color when printed on paper (it's even when inked with the roller but once it's transferred on the paper, it's no longer even) . The flat (uncarved) parts end up with a salted look, with small white blotches and not a flat, even coat of color, no matter how hard I burnish with the sppon. Do you have any tips on getting an even coat of color on the flat parts of the block? Thanks!
Hi Moogle, Are you using a toothy paper? Did you sand and seal your block before you started carving? Have you tried spritzing your paper very lightly, and blotting it - immediately before you print? And is this happening after many attempts, or just the first one or two? Sometimes, the ink needs enough time to soak into the lino a bit, so pull your first couple of test prints on newsprint, and then by print #3, switch to printmaking paper. Report back and let me know what you've tried already. Keep the faith - you're doing great!
@@bdelpesco Hi Belinda, thanks for your quick reply! It's been a lot of fun so far, just a bit of a hiccup that needs to be figured out. I've only tried test prints using Strathmore 300 series drawing paper (114 gsm) and the cheap rice paper that comes in a roll. I switched to the rice paper to see if that would make a difference, since it's less stiff. Both of them had the salted look, even after the 3rd/4th print. I have also tried spritzing the drawing paper lightly and blotting before printing, but got the same results (didn't try on rice paper). I did sand the block but only after carving (forgot about it before hand), but I didn't seal the block. Should I try sealing the block - I don't have min wax (I get headaches around strong chemical smells), but I have clear gesso and matt medium, would that work? Also, I have other paper, like BFK Rives 175 gsm, but haven't gotten to them yet, because I thought I'd try to figure this salted look out first before moving on to heavier paper. Thanks!
Hi Moogle - no on sealing the block at this stage, unless you feel that the sanding process left micro-sized hills and valleys in the Lino. (The sealer self levels and fills that) What size grit sandpaper did u use? And did you use a sanding block or your fingers? (This can lead to divots in the surface from the shape of our fingertips) Can you test a print against newsprint, just to be sure it’s not a paper issue? If no newsprint - old phone book pages work. And what type of baren are you using? Have you tried a metal soup spoon (vs a wooden one)?
One more thing - has your block surface been thoroughly cleaned of all dust and oils before inking? A drop of dawn dish soap on a damp paper towel followed by clean moist paper towels to clear it - being careful not to wet the burlap if the Lino is unmounted.
@@bdelpesco I used 320 grit sand paper and just folded it and used my fingers (so that could be an issue...but the salted look is pretty consistent throughout the block/print so I'm hoping that's not the main issue...). I do have newsprint, so will clean block thoroughly of dust and oil and test on newsprint using metal spoon. Keeping my fingers crossed, will let you know of result.
Well done, and I think Jack disagrees with you. Also what do you recommend for a paper that allows for some waste but is still a good quality for archival work or works I might want to sell?
Hi Reluctant - what do you mean by "allows for some waste"?
Hi. I meant paper that is quality in terms of being archival, good to work with, but is affordable so I'm not sweating bullets every time I go to print, allowing me to botch the printing without it being expensive to do so.
Try pulling all of your test prints (artist proofs) on newsprint. Also, work small, so you can get 6 or more prints by tearing down one full sheet of printmaking paper. I love Arches, BFK Rives and Arnhem. They are all about the same price when ordered online, and if you order larger quantities and split the order (& the shipping) with a couple friends, it's even less expensive. Happy Printing!
Aw. Jack was your Pie Inspectors inspector !
I always appreciate the detailed items lists. One question though... Looking at the ink as listed on Amazon it reads... "soy based"..."minimal water content" ...but correct me if I'm wrong: This is still a water-based ink and not an oil based ink. True?
Concrete Turtle Yes - the ink is "waterbased" in that it cleans up easy-peasy with soap & water. I'm not a chemist, so I don't know how Akua came up with their soy/water ink recipe, but as a printmaker, I can say the ink lives up to the manufacturer's claims: it's easy to work with, cleans up fast, and the pigmentation is rich and lovely. Good product. And Jack loves to model, if it involves being stretched out & sleeping. :)
Belinda Del Pesco I didn't recognize Jack as the model; but I thought it cute how he was mirroring the action of the cat in the plate. Very meta. Heh.
Couple of questions for when you have the time:
1. Do you ever use oil based ink? Just curious if you find either ink better for one thing or another. Or is it jsut the convenience of clean up? I bought some oil based by mistake and find it impossible (without a press) to get the ink to transfer well to paper. The water based I'm getting the hang of.
2. I get the need for applying ink with a brayer for lino and I know it's all about experimentation BUT... I'm curious if you have a personal preference for ala "poo-pay" [ I...don't speak French so don't have the spelling : ) ] which appears in many of your other videos (drypoint/collagraph). I did notice one collagraph where you applied ink first with a cardboard squeegee...was there a reason? Or is it all just random which tool you reach for on a given day? Just curious about what you might find useful about each.
Thanks in advance!
Concrete Turtle Hi there. I love oil-based inks. I use Graphic Chemical & Charbonnel intaglio inks. My preference for Akua is: less stink, no solvents, easy clean up, fast drying, but not till it's on paper. I use the oil based when working on a very detailed drypoint, or etching, in a larger edition, or a dark field monotype if I know I'm using colored pencil on later. The texture of dry oil based ink under the pencils is quite divine.:)
A la poupee is used for applying multiple colors; you get a full color print with one pass through the press. Bondo scraper or spent gift card squeegee application is for a single color print. :)
I hope that was helpful. Happy printmaking to you!
Concrete Turtle -on your oil-based transfer without a press, what paper are you using? And are you soaking and blotting beforehand?
Belinda Del Pesco
Oops. Thanks for the quick response! Somehow I missed the notifications that you posted. I was just logging in to post a link to my trials.
When I tried oil I tried both wet and damp paper (I thought maybe oil would be repelled by the water, but dry paper wasn't working either--though I gotta say I kinda like the dry paper with the water based ink for monotypes : ) ...been playing with that).
The paper is a 98lb, acid free, "mixed media" paper (from a sketch book). I also tried a 50lb, paper with a 'fine tooth' surface. I also gave it a whack with some very smooth, semi translucent marker paper. Not much diff. The oil ink just kinda stuck to the acrylic that I'd applied to the matt board. The inks are speedball block printing ink.
I'll be trying again with oil next. Like I said, the water based inks I'm getting the hang of. I also think I've got better at pressing by hand (rolling the ball end of my favorite awl seems to work well and I'm guessing that might make a difference).
And I'm definitely going to try the oil based ink on the drypoints that I started. I've only tried it so far with the matt board covered in acrylic. (I also experimented with cardboard...which...again...seems to work pretty well for me with the water based inks). Definitely interested in how the oil will differ from the water in the drypoint. You can see my water based drypoint presses in the video above.
One more question Melinda. Is it better to carve a negative or positive image out of the lino or does it depend on the image you are working on?
Hi Colaris, This is how I think of it: a relief print is an opportunity to print multiples of a "drawing". I draw on a block (wood or lino) with a sharpie marker, and then I carve *everything* from the block EXCEPT the drawing. Then, I ink and print from my preserved drawing. Does that make sense?
Hi. Thanks. I just wondered whether it is easier/better to 'carve out' the image or carve around the image. Perhaps it doesn't matter. I just wondered whether either had any advantages?
I suppose you might have less to carve if you remove the drawn lines, and leave the background. The result - if you print with dark ink on light paper - would be a "white line print", minus the usual full color styling associated with that method of printmaking: www.barenforum.org/encyclopedia/entries/000_10/000_10.html
But I don't think I'd call one approach an advantage over the other. You'd mostly get entirely different styles. Each would be affected by your color choice for both inks and paper. Which approaches have you tried so far? Did you post your prints somewhere we can see them?
Thanks again Belinda. I have only produce some basic prints and they wouldn't really be worth showing but I appreciate your advice. I look forward to seeing more of your work!
Thanks, Colaris - I hope you continue with your printmaking adventure. It takes a little time to get your sea legs with the process, but there are infinite variations to both the printing, and the things you can do with other media on the finished print. Like all art, there's no right way or wrong way; it's mostly about having fun making something.
Whoops. Forgot the link to the video (my first btw). THANKS for all the instruction! Here's the video:
ruclips.net/video/VhtZb3jJYzU/видео.html
What are your thoughts on the soft type of lino?
Hi +Colaris - I don't use it, because I want details and fine line control, and registration when printing on the press. The soft stuff is good for abstract, or big shapes, or background color blocks - and only for prints that are hand transferred. The pressure on a press stretches the surface and you get a "skipped" effect on your print. Pushing a fine tipped blade through the surface warps the material forward, leaving ruffled edges in your fine line work.
That explains why I am having a little trouble with it. Thanks again. :)
Why do you mount your lino on to another, thicker board?
I was accustomed to buying pre-mounted lino blocks, and purchased a bulk roll of unmounted 3mm linoleum, which had a curve in each small piece I cut off the roll. I mounted this piece to flatten it. Once I started working with it, the lino was nice and flat again, so I took the backing off.
Thanks for the reply.
+Colaris - sure, any time. :)
Hi!
How long do you need to wait to run the print the second time with a new color? I am having difficulty keeping my inks from blending together when I add my second color.
Hi Molly, That depends on a number of factors. Which inks are you using, and which brand & weight of paper?
Thanks for getting back to me! I am using 96lb canon bristol (which I think is causing a lot of quality issues, and I hope to replace) The inks are speedball, but I am open to trying something else. I am very new at this, but have already fallen in love with the medium : )
Hi Molly,
I'd recommend getting some printmaking paper... you can try BFK Rives 90lb (great for multi-color prints) or a pack of traditional mulberry paper (kozo) - it's translucent but very strong.
If your speedball ink is the tube version purchased at most art supply stores, it's forever water-soluble. Test a dry passage with a wet q-tip to see if the color re-wets & comes up on the swab. Is that the case?
Yes it is the tube version, and does come up with a wet q-tip. Thank you for the paper suggestions! Is Akua your favorite brand of ink?
Well, there's the culprit for your inks mixing when you add your second color layer. I'm sorry about that. There are a couple of inks out there that clean up with water, and dry permanent. My friend Rich did a great survey in his studio, so have a look at his post about it here: www.boardingallrows.com/blog/best-linocut-inks-for-block-printing. I do use Akua, and Caligo Safe Wash. I've tried a few others, but so far, I like them the best, with additives to alter the stickiness towards the paper and release from the block. Since you love the medium, you'll find out what works best for your style in no time at all. Please keep us posted, and share a link if you post the results online somewhere. :)
How do you "register" the second color?
How do you do "non-'suicide prints'" so that you can keep making the same image until you're bored? (Have you ever colored a single block?)
I did this by inking the linoleum with different colors, but I want to try your methods. (I am @wqueens7 on IG & twitter)
You can register manually, as I did in this video - or make a registration jig. There are many jig designs out there - search google for "registration jig" + printmaking. I posted a simple cardboard jig here; ruclips.net/video/lRy5lvrWsa0/видео.html
By non-suicide block, do you mean a single color? You can print as many as you want from your block, and then hand paint them with watercolor, or ink them in a variety of single colors.
Have you visited my blog? I've been posting process shots of printmaking since 2005, so maybe have a look there for some ideas. Link is in my profile.
Happy printing!
Hi Jack, you lil troublemaker...
The Most Willful Cat in the Universe.
It's Lino not Linno
You might want to go easy on the spell check, Concrete... 80% of the visitors here are from outside the US, so they're writing in something other than their native language. Capiche?
@@bdelpesco I meant the pronounciation it a great print and a very instructive video. It's certainly Linn as part of the word Linoleum but in abbreviation Lino rhymes with Wino which I confess to being uncharacteristically last night. Ergo my totally unnecessary comment which I apologise for.
😉 Thanks for the cute explanation, Concrete. You must be in Europe, hence the Lino-Wino pronunciation. Here in California, especially by the beach, vowels get rolled out long and soft, like beach towels. Here, Lino rhymes with Minnow. I clink my glass of wine to yours in good cheer.