Linocut Printmaking Tutorial 06: Printing a Linocut

all right so now our blocks all carbs they’re ready to run a print so we’re going to need a couple things before we start printing so first we have our glass palette and we need an ink prayer to roll up ink and then we’ll have to choose which ink we’re gonna use for this print there’s a couple here slide this gamblin Portland intense black which is a oil-based relief ink we also have this at qu an intaglio carbon black and if you use the cooling collected this is an intaglio link you might need to thicken it up and they have this called a mag mix it just makes a little bit stiffer because it might be a little bit a little bit loose or runny when you use it straight out of the jar and you also need something to print with so we’re going to do one print first by hand and so for that you can either you know a lot of people use like a wooden spoon and you’ll put our paper on our print and you can use this to burnish through the paper you can use a traditional baron which is like a round disc and it has a traditionally like a bamboo wrapping around it and use that to furnish through the paper and pick up ink I use actually a handle of one of the wood cut tools that I cut off a long time ago and I use this and get a good impression through the block there has a kind of smaller round inside if there’s a little detail I want to pick up so just really whatever you’re most comfortable using but a spoon you know one of these wooden spoons is a pretty pretty common way and after you run the first print using the hand printing will do the same thing using an etching press you can kind of see the difference so I’ll be using the Portland intense black for this print and it is an oil-based ink so to clean it up you can’t use soap and water like you would be a cooler let’s look a little big think like I mentioned in the first video I use this turpenoid natural and it’s non-toxic and you know works great and it’ll clean up things with no problem so it’s a little bit of ink out on my pallet here you always want to get your ink out by by kind of going across the surface of ink you don’t want to gouge in there because it’ll make pits and grooves and it’ll dry up and it just won’t be very nice it’s always just going to scrape a nice layer across circus you can just rotate the jar as you go now we’ll just use our small brayer here and just roll out a little [Music] slow and these only get some ink and roll it then you want to lift the brayer and then roll again kind of let it roll on its own in the air otherwise you just keep rolling over the same spot and the ink doesn’t really get that so circularly and you’ll know you have enough ink down it makes it really nice look kind of smooth sound we roll across it and there’s a really slight texture if you use too much ink you get like a real thick orange peel look and that’s that’s week two Mateen so this is a nice amount right here so I’ll just go ahead and ink up the block just run it across this way a little bit more and every block will kind of treating differently as you ink it up it’ll probably take a few prints to kind of get a feel for how this particular block needs to be inked up so for the first one I’m just getting a nice amount on there just so make sure I get all my all my cuts nice and covered so now I have our block here all inked up and ready to go and with these inks with the oil-based ink for sure and also the coup ink it doesn’t dry like it won’t dry out on your palate while you’re working on it like if you’re using so I’m going to paint or something it would dry really quick so you have some time when I think – to do what you have to do so a couple videos ago we made this registration jig and so we’re going to go ahead and use this that’s printer image and you could just leave it loose like this but I’m just going to add a couple pieces of tape just to secure it down just so with one less thing set we’re kind of worried about when we’re doing this there we go it was really pretty simple see just for this set up that we have here we have two inches on both sides so it doesn’t matter which way I go with the block the block will just sit right in that little little corner then we have our paper that we tore down you can see I have a B on here so I know which is the front which is the back we can just line up our paper on this registration jig will give it lined up on your marks lay it across your block and at this point once is on your block you want to make sure not to move the paper so I always try to keep one hand on it at all times so if I’m working on this side I keep this hand I’m working over here I’ll keep this hand and now you can use wherever you’re going to use to print and start burnishing your image and I probably small circles works best if you’re using a spoon you know you might have a better lock if you’re using a different pattern just a little trial and error to find out what works best for you and on this paper you can see actually the image starting to show through the back it was pretty thin if you’re using a really thin paper you might need like a backing sheet so when you’re burnishing you don’t you know damage the actual paper so this BSK is pretty Hardy paper so you can you can put some pressure on it and as I burn or check and see the image showing through so I can tell if I’ve gotten all the areas once you get a good section it you can feel it really kind of stick to that to the block I’ll come over to this side work to get this area done and there’s like a flat area of black in the center here if you want to make sure you really get those areas good when you’re you’re burnishing because large flats are kind of a little more difficult to burnish in and once you think you have a pretty good burnishing job done have it all printed you just peel up a side I’m just going to see how it’s looking then you’ll keep the one hand down you know so you can lay that down so I can see in the that black area I could use a little bit more so I’ll just gently lay it back down maybe I’ll use this smaller smaller end here and kind of work the details in yeah that’s a little bit more smooth now I’ll check this side looking pretty good miss a little bit on this corner right so I think we’re pretty good now you can just peel up our paper and there’s our first print I’m Timothy I can see that’s kind of an issue is over here on this edge so when I burnished it must have been when I inked up the block and actually it’s out of here I’m sorry see it’s gonna flip so when I eat up the block there’s a small range of ink here and I didn’t I didn’t cut that quite low enough and sort of picked up on the paper and absolutely used to get rid of that on the paper after it’s all dry I can deal with but for the next prints I’ll just go ahead and carve that away now so that way it’s on an issue a little roll I’m pretty happy with how the print turned out now there’s one more thing I want to do before we go ahead and print this on the press so we have another block here and we’re going to after this video we’re going to do a second block on here as you know some of these plants in here we’re going to use a different block to do a different color and so before we can start carving on this block we need to know kind of where the image is going to be so we’re going to transfer this image onto this block and so we have our your print that we just made but it’s still it’s just this is a mirror image of the walk so you know we can’t just lay down and trace it or anything like that because it has to be flipped and we can’t use our original drawing that we traced because it’s going to be different now that we’ve carved it so that doesn’t work so it’s a really easy way to transfer this image onto this block so first we need to just ink up this walk one more time and I want to ink it up a little bit heavier than normal listen again now we’ll put this in our registration Jade we’re going to take a blank piece of just white printer paper just regular old paper we’ll just lay it across our block like this I’m just going to tape it down to our registration gig that way this paper can move yeah we can peel it up and when you let it go it’ll go out it back down now I’m going to burnish this image into the paper just let me did before what I really care about the most is the plants since that’s what the second block is going to be we’re going to do do some green or something for these a succulents so I want to make sure I get those transferred really well onto this paper okay that should be good now we can peel this up because this is secured on the block we can move that block out of the way slide this one right back in the exact same location since the paper is locked and this fits in here we can just leave this back down on this block and then just burnish it down again now you have to put some pressure down to get the ink off the paper and onto here let’s sense it to these flat surface it’s actually a little bit easier that’s probably good so now tell them look how that’s going that’s pretty good a little bit more up here using a small end like this will make a pretty strong marking here so you can end up with a kind of a pattern across your print if you do the whole print like this but I use it just for kind of detail work like this where I really want to apply pressure in one small spot okay I think that’s good yeah I think that should work maybe it’s all we’ve done this transfer this image onto that block so now we have two blocks one carved the other one had the exact same image and the exact same location for this block and so now in one the later video zone we want to carve the second block we have the image already on there and we know right where we can outline and how it’s going to look so that will jump onto printing this with the etching press just to show how that goes all right so to print this to the press it’s really pretty similar so I’m using just a small edge shape press so this is a called a jack for Easton baby press and it’s only like 12 or 13 inches wide so it’s good for a kind of smaller work which is great for this but so the first thing to do is set the pressure for the rollers using the adjustment knobs up here and you don’t have to have a ton of pressure to print a relief print I mean you just get squeezed a little bit between the roller and the press bed and it’ll pick up all the ink so the first thing I did was I take down this registration kick again on the press bed this time and this way no matter which you know which block of use as long as I or in orient them the same way they’ll just fit right in there and I can line up my paper now for this print I don’t want to use a nice piece of paper because I’m going to be doing multiple blocks so I want to save those main sheets for when we do that so I’m just going to use another piece of this 20 and printer paper and another thing about this press in particular which might not affect your pressed is I end up using one of these on cutting mats you’re like the self-healing cutting mat because the roller on this press has thousands of tiny little groups when it was machined so if I just run it directly against the roller those small grooves mark the back of the paper and just doesn’t look very good so by using a cutting mat like this it helps even out the pressure from those tiny little grooves and I get a really nice clean print also before to forget the last technique we we transfer the block from one to another that’s called a counter proof I don’t know if I mentioned that but okay moving on so normally when you print a release block on an etching press like this you know there’s a big gap between the roller and the press bed so a lot of times people using a block of wood the same height or you’ll close to the same height as your block you’re printing so it doesn’t slide around I don’t really have that issue with this press maybe is because I use the cutting mat but just there’s lots of different ways to print a woodcut on her linocut on an edging press that’s like a line on my paper you only want to try to let it hit the block once it’ll start to pick up ink and I can slide on this cutting mat and then once it’s against the roller I kind of hold it to get started and then just slowly roll it through I usually go through one way because if you then back up sometimes the paper can slide and you’ll get kind of a double image but sometimes I’ve done had no issues though we can peel off our paper there’s our print you can see down here maybe I should have had a little bit more pressure or maybe I didn’t get quite enough in this corner but when we do it on our real paper I think it will work out good so that printer paper doesn’t really pick up ink as well as as a nice printmaking paper so I think that’s it for printing the the blocks in the next video we’ll go ahead and carve the second block for these these planes and gives on a print and I’ll see in the next video thanks thanks for watching to keep up with the videos when they’re posted make sure to subscribe to the channel if you want to help support this channel you can check out the data press patreon page where I post behind the scenes photos as well as other patron rewards thanks

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