Illustration Based Linoleum Block Carving + Printing | Jennifer Belair | Skillshare

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Illustration Based Linoleum Block Carving + Printing

teacher avatar Jennifer Belair, Printmaking + beyond

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (57m)
    • 1. Introduction

    • 2. Tools + Supplies

    • 3. Image Planning

    • 4. Image Transfer

    • 5. Carving

    • 6. Inking Your Block

    • 7. Printing + Registration

    • 8. Cleaning

    • 9. Signing Your Edition

    • 10. Final Thoughts + Tips

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About This Class


In this class, we will go over the basic concepts of linocut using animal-based illustration. Linoleum prints fall under the category of relief printmaking--traditionally created by drawing an image onto a sheet of wood and cutting away with a variety of different gouges, any "non-image" areas.

Using many similar traditional techniques you can expect to learn about materials, how to plan images on blocks, proper techniques on carving and finally printing. For printing, we will be printing on pre-cut drawing paper purchased at the local art store. We will be transferring our print using a wooden spoon and a baron. 

This class is for anyone who wants to strengthen their skill sets and stretch their creative muscles. 

You can find Jennifer here:

IG: Freshprintsbelair + jennifer_l_belair

WEBSITE: Graphic Work

Meet Your Teacher

Teacher Profile Image

Jennifer Belair

Printmaking + beyond


Jennifer Belair Sakarian is an artist, educator, and writer living in Michigan. She received her Master's in Fine Art in 2013 at Wayne State University in Detroit, Michigan. Her primary focus is printmaking and mixed media approaches to art-making. As an avid nature lover, she tries to instill green practices into her studio practice and subsequently into her Skillshare classes. 

She loves working with students and creating projects that are fun, inspiring and approachable. She is transitioning from traditional academia to online platforms such as Skillshare and hopes to keep learning along the way!

During graduate school, she had been designing and silkscreening gig posters for her favorite bands--some of which you can purchase on her Etsy page-cle... See full profile

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1. Introduction: Hello. My name is Jennifer Bellaire. Saccharine. And today we're going to be making linoleum. Black Prince. They're going to kind of rooted in more of an illustrative base. So if you have some drawings that you've maybe worked on in the past or something that you've always wanted to draw, um, now it's gonna be the time that we can kind of transfer that information into a really cool and unique relief block print. So if you're totally unfamiliar with relief, black printing essentially were card in an image out of a piece of linoleum. So here I have a black print from the past. You can tell it's kind of like a little wolf canine, and, um, he's basically carved away, so it's pretty thin. We're gonna go over more of the specs, but, um, essentially, I can reproduce this image hundreds, if not thousands of times if I want to. So that's a beautiful thing about it. We're kind of making a drawing a little bit more immortal, right? So it's not just the one. It's something that can be repeated and repeated and repeated eso I have literally, maybe hundreds, if not a little bit less than my own black prints. So I use them for all sorts of things printing on paper on which we're gonna do for our class today. But also, fabric, you can make cool things like cards. So here's an image of a cedar waxwings that I had done pretty recently here, So I'm really excited about that. I'm making some little cute Christmas cards that I'm looking forward to sharing with my family. But I also printed on another type of paper would you see here. So for this class, we're going to be looking into illustration looking into drawing and translating that information over to relief black printing. So I hope you guys are are as excited as I am. I think it should go pretty well. I'm looking forward to your participation. Um, showcasing the projects that you've worked on and posting them on to our class page in addition to asking questions, may be showing your inspiration, things like that. So let's get into it. We're gonna go ahead and start learning about the tools and things like that. So thank you guys. And I hope you enjoy. Thank you 2. Tools + Supplies: already. So first thing we're gonna go over is the tools that you're gonna need for this project. I try to keep it as simple as possible. Eso pretty much everything you see here is what you're gonna need. I'm gonna go over them a little bit more in depth. So first things first, you're going to need a linoleum board. This one is a speedball. Easy cut. I like this one. I think it works really great. It's really easy to carbon Teoh a Z. You get more advanced. You might decide on different types of blocks to carve into this holds detail really well. So I do prefer for that reason, but there is quite a variety that you can grab. This one's blue. There's other ones that are pink. So it just depends on which art stores you have available to you. There's also some linoleum that's has a backing to it. So this one doesn't on. The good thing about that is I could print on one side and I could print on the other. So this is another project that I had started earlier this week and for the project that we're gonna do for the skill share class. I'm going to use the opposite side, so it's great. It's versatile. It's easy to cut. This is a four by six inch block. So, um, you know, it comes in all different sizes, so I would scope that out on and see what works well for you. But again, it's a speedball. Speedy cut. Easy. So it's easy. Um, the next thing that's really important, of course, is your gouge set. So this is, I believe it's a speedball is well, they make a variety of printmaking tools and accessories thing. So essentially, what we have is a tool that you hold with your hand. It has an opening in the back where you can store all your leftover gouges. So that way, nothing gets lost, but usually want to keep it empty, because when you're carving, you don't want to hear the rattling of all your gouges. So the beautiful thing about this is that just twists open and your God will pop right out . Um, your kids should come with a variety of different gouges. I would encourage you guys to try them all. We have some different U shaped gouges so bigger ones that clear away a lot of area. Some whoops, V shaped gouges and some smaller weise. Kind of like this God here just for cutting. So there's a variety of them you're going to probably have to use all of them, So I would recommend getting a set that includes quite a few of them, and then you can branch out from there. So this is kind of a great beginners tool. They get more. Zant's more expensive, more finely crafted as you kind of go up in price. The next thing that's really important is which one. I'm gonna go with the Relief Inc So I get the Cranfield. Could we go safe? Wash Relief thinks it's oil based and it's washable. I get this because the oil really sits on the black Well, it holds a lot of detail. It dries as it should usually takes a couple days to dry fully, but it's easy to clean up, and you still get that really beautiful printmakers relief print Look do it. So it's life fast. It's durable. A little bit goes a long way. I've used this for at least like 20 to 30 impressions, and I still have a tongue laughed, so it does run a little bit more expensive. But honestly, this is what I recommend. I've been noticing other artists using this, and it's just really great. So I would stick with that. Or you can also go with Blick, um, or whatever art stores around you try their local brand. But as long as it's relief, think you should be fine. Um, the next thing is our Breyer, so this one's been through the wringer of it, but it's a soft rubber. Breyer. It's a speedball brand as well. This one's kind of vintage. I do have some indifferent wits as well. So this one, my newer one, is a little bit shorter. I like to have a variety on hand. Also have, I think, a two inch one. But it's essentially what we're going to use. Teoh. Apply the ink from our ink onto our relief black, Um, next year is going to be transferred tools, so I have two options. I have a flat, um, spoon here so you can go to any sort of culinary store. A lot of times they can be found in any agent markets. You might have, but they just need to have a flat back to it. I've seen artists use all different types of wooden spoons, but this just dates back to kind of for makings beginnings in eastern Eastern countries like Japan and China, areas like that where they're doing traditional wood block printing. So we still use it in western Western art spaces. And also another great thing is the barren. So this is made in Japan, but it just goes back to the strong roots that from making has in those Asian countries. So this is nice, its bamboo raft. I think it was about six bucks on Blake, but it's essentially doing the same thing. Just a nice flat surface, so we'll show. I'll show you how to use these once he actually get into the project. A couple other simple things. I just have my mechanical pencil and eraser. I have a bone folder. You don't need this. The pressure from your finger will be adequate enough, and you'll kind of see why, um, other miscellaneous things. I don't quite have it up here, but tape is always useful toe have on hand for cleanup. It's just gonna be water and paper towels. And then I also have a sheet of plexiglass. Um, I know you probably can't see this so well, but it's just like a small sheet, maybe 11 by 17. Something like that. And you can get this an old picture frames. You can use an old piece of glass. I've gone Teoh the Salvation Army and picked some up just for this purpose. If you use glass, though, I would recommend putting a piece of tape kind of wrap it around the edges so you don't accidentally cut yourself. But it's easy to clean. It's easy to work with, and it's great for all types of printmaking. A couple other additional things that you're gonna need are tracing paper so you can fix this up pretty inexpensively and then also a sketch pad. So that's pretty much it for tools. I'll go over how to carve your actual black and another video, um, so looking forward to getting our image transferred onto the block 3. Image Planning : So now we're going to go on Teoh, transferring the image onto the block. I just want to talk a little bit about things like inspiration and drawing from from what you're inspired by. So right now I'm doing a linoleum block sort of Siris on birds. So I'm using my handy dandy National Geographic fueled guide to the Birds for reference. I'm focusing on the Bard all so I have kind of a sketch up here and the way I got it to have the orientation is really quite easy and a lot of a lot of practical uses coming into play. So, essentially, what I did was I just traced the shape of my black a couple different times. I started sketching out kind of roughly what I want my image to look like. I'm pretty happy with how this one looks. You probably saw in my cover photo that I had an image of another type of bird. I'm so I kind of show you what that looks like. So I started with this image here of the cedar waxwings. I'm just gonna grab my friend here, so it's pretty improvised on the other side of my black has this image it might be challenging to see just because it's, you know, kind of dark. But essentially, this is kind of what it looked like, so I usually have a pretty rough sketch or rough drawing of my intentions and then me as a more intuitive artist, I like to kind of play with it. I like to have fun. I like to be unpredictable. I like to have kind of a notion of what I want, but not stay married to it. So that's kind of my approach. It might not be your approach, and that's quite all right. I was gonna set these off to the side here and now we're going to go on Teoh how to transfer your image. So the first thing you want to do is take a piece of tracing paper, so I'm just gonna tear one out of here. Very go, and then you're going to want to use your just Your mechanical pencil should be fine. Um, it'll be great to transfer on. This is where I would use a piece of tape to adhere my tracing paper down. So I'm just gonna get a piece of that blue painter state. I'm gonna set it up top just so that way it doesn't move. I mean, I think it should be OK, but at least I'll have an idea. So I'm gonna go ahead and start tracing this now. I'm just gonna go over the lines. Kind of the main ones. 4. Image Transfer: So I wanted to show the process of transferring your drawing onto your linoleum block to prep it for carving. So to do this, you just need a couple of simple tools. And the first one being a piece of tracing paper or relatively transparent type of paper like newsprint, also a standard pencil. Nothing too hard or too soft. I think this is just a to B. And each pencil will transfer a little bit differently. So just something to keep in mind. And then I'm gonna go ahead and use a bone folder, which is a bookbinding tool for the transfer process. But you can also use your thumbnail or anything with like a hard blunt edge should work fine. So here I have my drawing and you see that I have some darker areas highlighted. I have kind of some rough marks that I'm going to be making, but I essentially have my kind of key image or key illustration that I'm going to be able to trace pretty easily because the paper is nice and transparent and the marks underneath are quite dark. So I'm just going to use my pencil and kind of pick out the key areas that key moments that are the most important, where there's a lot of details and go from there. So the process basically works in that I'm going to make a tracing on the tracing paper. I'm going to put that on top of my line, all-black graphite side down. And then I'm going to use pressure to transfer that directly on top of the block. That way I know which areas to carve and which areas to leave alone. So that's just kind of the main thing that you want to remember. You're just trying to get those key areas and the areas that are most important without sacrificing too much time or detail because this is one part of the process and it's the easiest way to do it in a home studio without a printing press or the use of harsh chemicals. So what I like to do is use some painters tape because it's not too sticky. And I'm gonna go ahead and place my tracing paper directly on top of my drawing. And I'm just gonna put a piece of tape on there. That way it doesn't move around too much. And essentially I'm just going to kind of trace the key elements that way they transfer and I'm not completely lost. When I go ahead and start carving on my actual block. No. Now once I get to a point where I feel like I have my entire image, I can go ahead and line it up and see what it looks like, see if I missed anything. And I can always add that. If I need to notice that I'm actually taking away some of the details, I can always reference back to my original image and even think about things like the background as well. So now what I can do is go ahead and take this image graphite side directly on top of the line of black. And I'm gonna go ahead and put a little bit of tape on all four sides. That way it's nice and secure. And that way I can do my transfer process relatively easily without the page moving too much. So now I have my tape on all four edges and I'm just gonna go ahead and use my bone folder. And I can even again use my edge of my finger if I need to. But I'm just going over the areas where there is information and I'm just trying to hold the paper down as securely as possible so that way there's not too much movement. And I'm apologizing because the camera moves a bit because it's mounted on my actual table. So I hope that's not too distracting. But essentially applying pressure, not jabbing, net poking, not stabbing into the line o but just like a nice firm even pressure all throughout. And I'm gonna go ahead and do a time-lapse here just so you can kind of get the impression. And it's always a good idea to kinda see what the progress is looking like so I can peek at it. If it needs more work, I can keep at it. So let's go ahead and see what this looks like. So I can go ahead and take a peak and it looks like my image has transferred quite well. It's not a 100% super dark, but at least it gives me an idea of areas that I might need to fill in a little bit so I can go ahead and just use my graphite pencil and try to kind of realize in some of those areas that aren't quite dark enough for me to see. So I'm just gonna do that in some areas you don't have to do this part. It depends on what your style or your way of working tends to be. But I think this looks pretty good. I'm just gonna make a couple adjustments. Actually tried to darken it with a marker as well if I can find it and I'll just show you, for example, what it looks like when you use a marker that's not too dark. So here I have this funky fluorescent orange, which isn't quite cutting it. But in a pinch, if you don't have the right materials, this can at least give you an impression of where your dark areas are going to be. And this is a step that's not a 100% necessary, but it does help and it kind of helps you see where your dark areas will be. Because remember when we carve, we're working with carved and uncarved areas to describe a surface and areas that will hold ink. So just something to think about. And here I have my image. I'm just kind of keeping that in mind and thinking about areas that I know are going to be dark without too much, too much confusion. And I even omitted some of these lines in the face and then the earrings. But just thinking about the areas that I know I want to keep dark and that's the areas I'm going to try to work on. So here's the orange marker. I'm gonna go ahead and use my black marker and I'll show you what that looks like. So thankfully, I found my black marker. This one's the Copic markers and they tend to work pretty good. It has the chiseled wide edge and then there's also the more fine tip area too, and you can use like a permanent marker. These markers were good. My best suggestion would be to experiment and see what works. We'll go through a lot of markers this way. So just keep that in mind. But at least it's giving me an idea or an impression of my dark areas. And with the Copic marker, it's nice because it almost has like this hair texture to it. So I'm gonna go ahead and just do a time-lapse because I don't think there's too much more to explain. And hopefully that helps you kind of understand this process a little bit more. And thank you so much for watching. Okay. Ok. 5. Carving: next thing we're going to start doing, which is, in my opinion, the most fun part of linoleum block printing on. We're going to start carving away from One thing I like to do is just have a scrap board or scrap piece of linoleum. This one, I just stained it black, so I took some waterproof India and put it on a paper town, rubbed it into it. So that way you could see what my marks look like. A little bit better. I don't always make prints this way, but it's just nice to have on hand. So we're just gonna go over carving and some of the gouges before we start on our beautiful owl block here, Um, so it gives you a really good impression, especially with the camera to see, like what those those carvings look like. So right now I have my v gouge away to tell what it looks like is you just hold it kind of up to your face and you can tell what shape the gouges. So this is my small V gouge. You'll notice I'm kind of using it like a pencil or a pen. I'm holding it like like this and you're essentially going, going to guide it and push with some pressure. You can see how nice and thin that Linus, this is probably the Senate's line that you could get with these particular tools. There are better tools out there, but like I said, this is a great beginners one. So when you're carving, you'd never want your hands in front of your garbage. Because, believe it or not, I have had students who slipped. And then there was blood, and it just wasn't good. So that's something you really want to be careful of. So I usually have my hands behind it, and I was just sort of started carving or making marks. One thing to keep in mind that we kind of discussed in the inspiration video is that have anywhere you carve will be white of the white of the page of the color of the page, anything that's left raised or unq. Arbed will be the color of your ink, so we kind of have to think in reverse in that respect. So just something to get used to, Um, but you can see the car venous find it's pretty easy. You'll get a lot of these little pieces of linoleum anywhere which are all right, changing your guide. Remember, you just twist it, pull it out. There's like a little ball bearing in there, and it kind of like a little shoe or fitting. There's other gouges. I'm just gonna go over a couple. This is my large, you gouge. So if I look at it from this angle, theirs a nice, shapely you. This one will clear way a lot at a time so you can see how much thicker that line is, as opposed to that one. Um, you don't have to make just lines. You can kind of make different sort of adaptations of that as well, so it's more or less like a tool for you to be expressive. To use it. You could even like Pickaway small part. Sometimes you have tow. Use your finger to encourage it to get out of there. But as you can see, it really does clear way. Super large areas, which could be good for, like, backgrounds and areas that you want to be fully wipe. So we did a tiny V Are you gouge and I'll do like a deeper V gouge here, so this is pretty similar to our small one, but it's going to cut the same kind of shape, but just a little bit sticker, so you can kind of see the difference there. Make some nice texture. Um, really smooth cutting. You can kind of get some skinny lines in between. So that's a great one. Toe. Have actually have a lot of tiny garbage is because that's what I use the most. Another really great one. Is this larger? You gouge kind of like a more soft curved you like 1/2 circle. So with this one, that's kind of where I'm going to use the background marks. If you remember, those were like those little pill shapes, and that's kind of what this one's good for. So it's a really traditional kind of look over in relief printing. Um, is this God shape that we get on and you can do things like cross hatching clearing areas? You really expressive with it, so I'm going to go ahead and get started on mine. My plan of attack is to car the areas where I went through to be a black solid outline of the owl. And to do that, I'm gonna have to carve on both sides. So this is a pretty sin line that I have drawn. Like I said, I like to improvise this mind. So I think that's where I'm going to start is by getting that solid black outline of my all and then just kind of having fun with the feathers, the clue image, some of his different areas. Um, the tree, right. I want that to kind of stand out. So we're working in facets of, like, black and white. What's gonna pop forward? Kind of be the subject matter, what's gonna get pushed back? A lot of relief printing is all about two describing a surface. So I'm going to go ahead and get started on my my car being strategy for this and we'll see what happens next. So now I'm switching to my small V gouge, and I'm just starting to make an outline of kind of the main contour lines that make up the also. As we mentioned before, anywhere you carve will be the white of the paper. Anywhere that's left raised or, as is, will be the color of the ink so in our case, it will be black. So with this in mind, I'm carving sort of the outline of the bird just making kind of a thin black line. So carving on both sides, Um, And for me, using that small V gouge is going to be the best option to do that. It could be kind of tricky to constantly remind yourself like, Where of you carve is gonna be white? You might think it's like the opposite. So sometimes when people do their image planning, they will make sure they designate the light and dark areas in my work. I do to some sense side of things like the, um the eyes and some of the main features, like the texture and the plumage on the chest. Or, um, if you remember my drawing some of that background detail, um, also the tree trunk that he's kind of standing on. Ah, One thing that you'll notice is that I'm continuing to sort of rotate my block and the reason I'm doing that just because it's easier to carve in some directions than, um in kind of what? Straightforward, right? So as I rotate, if I'm making a more curved line, I might switch it. I might rotate it because sometimes you'll notice as you carve the linoleum catches to your gouge. So, um, in order to avoid that, don't be afraid to rotate it. Remember to move slowly. Um, don't rush with this process because once you start carving, you cannot on carpet. It's if it's gone, it's gone. It's a little different with, um, like would block. You can use wood filler, but we don't really have anything like that. Ah, when it comes to linoleum, so you want to be really careful. It's like the idea of measuring twice and cutting once you want to be kind of exact and specific in your marks. It is cheap material, so if you mess up, you can always go back. Or you can just try to problem solve. That's something I always tell my students is You know it's OK if you make a mistake. Sometimes you just have to start problem solving along the way. Um, so again, a lot of the way that I work is more intuitively based. So I had kind of a general idea of what I wanted to achieve with my carving, So I'm kind of going for that. With this this sort of stage and carving, you'll notice like the eyes. I want them to be black. So I am sort of strategically carving around them areas of white, small little marks. You can make textures with your gouge. It doesn't have to just be lined, so textures can be kind of like stippling. If you've ever used pen and ink, Um, you can see I went ahead and switch to a I think it was my You go door, My deep V. It's able to carve away larger areas of the block, and, um, just makes for a different overall texture. So right now I'm going over the plumage area, making sure that I'm kind of getting that effect of large fathers or something kind of text Cherie and white in nature and kind of working it that way. It takes on the a couple seconds to switch your gouges, so I highly recommend it. Think about if you're using kind of line variety for anybody who's ever taken a drawing class or any other art classes usually want variety in your line. Weight on that just refers to like the thickness of the lines. The same thing with your gouges and making marks. You really wanna have, like, line Wait variety, Mark variety, um, again. Something I'm constantly instilling in my own practice, but also with my students. So, um, that's kind of why it's important to switch gouges as mentioned before the speedball gouge . That kind of comes with a pretty standard. You have, like your tiny V your deep the your shallow you and your deep You, um, experience those. Don't be afraid to try different ones. You'll be surprised at different types of, um, sort of looks and aesthetics that you'll get. Another great suggestion I have is to look at other people's black prints if you're on instagram or if you're, you know, surfing the Web on Google type of black printing, get an idea of what a block print can look like. How did somebody create a texture or highlight on some? Maybe a figurative, um, image of somebody's face? Or how did they do hands? How did they do in all? Um, that's something that I'm always asking myself as I am making something, because if somebody else did it, chances are they probably had some successes with their practice. Um, and so seizing. And so it never hurts to kind of reference that to see, like, how did somebody else do it? What do I like about it? How did it work? How did it not work? And how can I kind of, um, implement that myself, so you'll notice that the debris from carving kind of gets in the way. So you want to shake that off every once in a while? It does get a little bit messy, so I would suggest not wearing anything too nice. I usually wear an apron or just an old baggy sweatshirt, But since I'm filming, I'm trying to wear a little bit of a nicer shirt. Um, so you'll see. It can kind of get in the way, and that's all right. You can use, like, a brush or something to get it out. Um, sometimes those little carvings get stuck, so you want to make sure you remove them. So that way it doesn't kind of interfere with your image making or you're carving. Um, so this is kind of the fun part, the shallow you able to carve a really beautiful kind of line, almost like water droplets. So I feel pretty good about that. Um, so we're going to move on to our next step, which is going to be inking up the block, but first, we're gonna have to clean things up. 6. Inking Your Block: So now we're going to go ahead and go over the inking process. So I have together, um, my ink, my Breyer, and my plexi glass plate. You can see I placed it right next to my image. I'm just drawing out a really thin line with it. I just do that by gently squeezing the tube like you would toothpaste and pressing it firmly against the Plexi and making a beat of ink. So I tried to make it is wide is my Breyer. So right now I am charging the Breyer. I'm just going in a couple different directions on did with kind of going forward and backward, forward and backward. But just so that I can get a consistent sort of coding on my Breyer. So now I'm taking my charged Breyer, and I am applying the ink to my block. You'll notice your image will magically appear, which is always really fun. So I'm just charging it up until it's full. Um, you'll notice that I am kind of grabbing from my inkwell and then applying it onto the actual black itself. You never want to kind of put the Breyer into a group of ink and then try to apply it that way. You want to really kind of gently grab it from your original inkwell, Make a little station for it, and you don't want to get too messy. It's just gonna save you a lot of hassle when it comes to cleaning things up. So it looks like my ink black is fully charged. 7. Printing + Registration: All right, So for this part, we're going to go ahead and get started with our actual Quentin. You want to make sure your hands are clean. Mine does have a little bit of gunk on there, but I am going to be extra careful s o far paper. I already have something that's prepared. It's just an artist paper. 8.5 by 11 inches that I picked up at the local art store. So it's good quality. There are nicer papers that you can get, such as any Eastern papers, things like Masa Kida cada. If you're getting more advanced, I might progress into those types of paper. But today I think this should be perfectly fine. So I'm going to kind of eyeball registration. This and what's nice about what I have here is that I have a sort of quilters grid on the back of self healing, Matt, so I can sort of eyeball it that way. If it's not perfect, I can always go back and cut down my paper afterwards, and then I'll show you guys another way to do your registration. So I'm just gonna gently set this down just trying to keep it level in square. From there, I'm gonna use a couple different tools. One of them is my Barry. So if you guys remember this, I'm just gonna place my hand gently down on the paper and I'm gonna go over in kind of circular motions and you'll start to see that our prince image are linoleum. Black is showing up on the other side. The ink isn't necessarily spilling through. It's just starting to interfere to the actual paper. So this works really well. And this is why linoleum or relief printmaking is called the tabletop printmaking. You can do it virtually anywhere. Your kitchen table, for example. A small studio dust like I have set up works great too. I'm also going to use my spoon. So if you guys remember this and I just kind of go at it with the flat surface, I want to make sure the backside isn't dirty at all. This is all dried up, so it should be okay. But I'm gonna do the same thing, just kind of going and gentle small circles across the surface. And we're just releasing that ink from the actual linoleum block. Sometimes I going back and forth motion Sometimes circular just kind of depends how my hands feeling among other things. But I'm just trying to youth pressure without sliding out. So I want to be careful for things like that, just so that way. I know I get a nice and consistent front, so it looks like I'm pretty even to I can already tell from the back side. So I'm just getting kind of the edges to Sometimes they could be a little bit on level or lower in some spots. So just supplying a lot of pressure and going over it. So I think that looks good. I do see one little corner that looks a bit odd. So what's great about this type of for making is that we can kind of take a peek at our print. We can check the consistency the banking on, and from what I can see right now, it looks pretty good. So going to lift it all the way up, and we'll kind of push our black to the side. But you can see from there we have a really beautiful relief prints, something that's unique, something that you can make replications off you can print many, many, many, many times, which is wonderful. Another thing that one might do. At this point, it's say they don't like the way something turned out. So say, if it was my print, which it is, I might say, OK, one, some of the eyes to come out a little bit clear, like I'm losing some depth, kind of like the shape of the eyes bothering me. This I could try to go back, and from here I could white my block off with some soap and water, and I can start carving a little bit more. Another thing I could do is I could take like, a white charcoal marker or I'm sorry pencil and I could start to draw. I've talked of this, so I have one here. It's just General brand. It's a white charcoal pencil, and I could start. It won't work now because ink is wet, but I could start making white marks to decide, like where do I want to keep carving? How can I improve this image? So I think that's that's pretty good. I'm going to go over the other type of registration. So I showed you paper down on top of block. I'm gonna go ahead and think this baby back up and when you're in key and a good thing to notice that you really want to charge your Breyer so going back and forth, it's like we talked about in the last video. So make sure you're keeping that pretty consistent just going over my image again and it's hard to tell, like the quality of ink at this point are like the quantity. So you really have to be mindful of how much in goes on there. Which areas are you going over typically try to go in one direction, meaning I don't go back and forth, back and forth on my block. I just go one direction, one direction, one direction. Sometimes they will go back and forth, but I try to keep it pretty consistent. I think that looks pretty good. This ink is really nice. So it tends Teoh do a really good job. I'm just gonna move my black out of the way for a second here, and I'm gonna put my paper down first and then I'm going to pick up my block and flip it upside down and you'll see there's another image on the back, but from here, I'm going to try to eyeball it and decide like where my center should be. So I think that looks pretty good, good, and set it down and some artists will apprise apply pressure just to this block. But what I like to do from here is do a little bit of a flip. So I'm gonna go off camera for a second, and I'm gonna slide my favor to the edge of my desk. And I'm gonna hold the bottom, hold the print so that something like this and I'm gonna gently flip it and make sure nothing moves and do it like that. So a lot of people prefer that type of registration. Um, otherwise, there's better like Riggs that you can make, which I'll probably discuss in a future video here on skill share. But, um, same process, a lot of pressure, circular motion. And sometimes you'll notice things start to happen on the back. It either means that you're breakers dirty, your hands dirty, or somehow you got something down there. So it's not that big of deal. Just got to be careful. It will happen regardless. So just again. Applying a lot of pressure going over the surface, getting those edges, making sure it's printing as it should be. So I think that looks pretty good from what I can tell. So, yeah, I actually comptel right now that there's one spot that's a little light, so I might need add a little bit. Morning. You can just charge of your Breyer, go over that section again and then set it back down. The reason this works is because the Incas sticky. That's what relief has inherently, and it's kind of makeup. It has to be sticky so it can stick to the block. And that said, it can also be released from the black so you can fix little things like that, which is really cool. Yeah, already looks a lot better. Nice. So I have a two prints here. You can see that only took me a couple minutes. It's looking really good. It's a lot of fun. These make great cards, great gifts, great things that you can send out into the world. You know this tutorial, this demo. I made an image, and I did it pretty quickly. So you can only imagine what type of work you can create if you have a different design in mind. If there's more detailed, the larger black you know, things like that we all work a little bit differently. So I would encourage you to kind of follow your path, your method of drawing illustration. What makes the most sense to you as a visual person, So your style might not fit my style and that's okay, That's fine. You're gonna make something really interesting and I hope for my new printmakers out there that you really enjoy this. I hope for those of you who have done for making before that you learn something new. Eso thank you guys for watching and we'll move on to our next segment. 8. Cleaning: So another fun part about printing is the cleanup. Because we're using this cool ego safe wash Relief thinks it makes it really easy to clean up for me. I just use a thing of water that I made. So just has water in there pretty straightforward. We're gonna have to clean our black, our little inking station, and also are rare. I want to start the hardest thing first, and that's a prayer. So one thing I like to do is use an old like telephone books, some kind of printed material that, unfortunately, I will never get the chance to look at. And I'm just going to kind of go over each a couple pages just getting the ink out. So I'm gradually taking it off. I can already tell that my Breyer is getting a lot a lot lighter. The next thing I like to do is just kind of spray spritz of it and then run it over that. So now it's starting to release in the colors or started to come forward off with a couple of pages and do it some more and what they get to a point where I think it looks pretty good. I will use a paper towel. You can also use rags to It doesn't have to be brand new paper towel like I'm using here, but it just makes it really easy. So I just sprayed a little bit on there, and then I could take my Breyer and I could just start toe white and rotated. So as I am wiping, I'm moving the Breyer ruler around, so I think that looks pretty good. Every once in a while do kind of like a deep clean on my breakers just because the, uh, they take a little damage from the printing. Next, I can go ahead and clean my all prints. I could get something kind of similar. There's something you're still So what I could do with sterile piece My paper just kind of thrust it with my hand. So it's looking enough. Some extra inspiration there, making a beautiful print on news newsprint from there could just kind of spritz it with water. And you can wear gloves. I don't I probably should. This is technically more non toxic than what was printmaking stuff. But if you're like working in different jobs and you need to have clean hands and I would suggest wearing gloves. But you can see it's pretty easy to clean up. And I'm just kind of Whiting. A lot of pressure. Getting that excess looks pretty good. Some people will clean. There's nothing. I just like to do it on the table. It makes a little bit more sense to me, so that looks pretty good. I'm gonna try to get it as clean as I can. It might take a couple a couple of sets of doing this to get to that point, but it's worth it in the long run. So again just getting it wet and waiting and and working some more. And that looks pretty good. So I'm gonna set this off to the side and last on that least I get to clean this lovely little section here, Inc. Right. So I'm just gonna leave again, use newsprint, apply pressure to try to pick some of that up, make kind of a funky print there. But I got a spray water on it, and there's by the most ink in this little section, so it will get pretty messy, but it should clean up. Looks great. Yeah. So this ink is kind of new to my toolbox, and I'm I'm really loving it, so I highly recommend it. I have a little description of it at the bottom, so that looks pretty good. I'm a medic over just one more time. And since I'm working on set up like this, I'd probably go ahead and white this thing off to my little green self healing Matt just because it's gonna make my life a tiny easier. So my black looks great. I could ways wrap it up in newsprint if I wanted to just protect it. So that way, nothing that sits on top of it could ruin it. This could probably use another cleaning. Because you can see my hands were picking up some ink, so I would probably go over this one a couple more times. You might even add a little bit of dish soap, Tear water. Well, I think mine just straight water. It seems to be okay, So that's how you clean up your black printing ink. You'll notice I just use a tiny section of my desk. So again, your favorite does top printmaking practice, and we'll move on to signing our additions in the next video. 9. Signing Your Edition: So next I'm gonna do what's referred to as signing the addition. Um, it's pretty straightforward, but it's something that all printmakers should know, regardless of their skill level. So essentially, what happens is we make a block or we make something to print with, and we never printed. Once that would be crazy. Visible Reason why we choose to do something like printmaking is because we can make the same impression literally hundreds of times until your block like breaks or falls apart or something happens to it. So we do. It's called an addition, and that's like a limited run or limited number of prints on. We want to tell people what addition? Never they have. So I'm just gonna do a quick little drawing off what's going on here and looks like my pens a little wonky. Let me push it out really quick. Let's do this one so you'll have your paper right. So this let's pretend this is your paper, and then we have your image printed on the paper, and then we have a couple spots where we like to do this at so first thing we're going to list is our addition number so to do that, we just need to count how many prints we have and which ones are good or not. So let's see which ones I have are good or that are consistence. I want Teoh three, four and five. So I find really good Prince. This one I'm gonna set to the side because it didn't print quite as good as the rest. There's a little bit of spotting along the birds chest here, and it's just not really consistent. It's not something I want to put my name on, so I'm going to just put that off to the side. So I believe I said I had five prints. Yeah, five. Looks like the magic number here. So first thing I do as I put my addition number, and you're gonna put the number that you have Total, which is five. And then you're going to do a fraction sign and then you're gonna put one. Your second print will be 2/5, then 3/5, 4/5, and finally five out of five. So that's how we sign. In addition, each one is going to be in the lower left hand corner of actual image itself. So this is your black. We don't want any information to jump on either side. So we try to keep it contained within the image in the middle is gonna be your title. So you have to title your work and then on this little edge here is going to be your signature. I I like to do the years well, so I'll dio something like that being eight. And I'm just using permanent marker to show you guys what that looks like. So you always wanted to be your addition number title, and then a signature of some sort. Some instructors can tell you we'll jump around a bit, but this is the way I was taught. So that's why I'm gonna show you guys today. So I'll put that off to the side. And then from here, I can go ahead and sign my real addition. So my 1st 1 I'm just gonna use my handy dandy, uh, mechanical pencil, and I'm gonna do one out of five and then my title gonna call it wax swing for the type of bird it is So x wing, and then on this lower right hand corner I'm gonna put my signature so everything falls into place. It's where it should be. So if I keep doing that, that one was 105. I'm gonna go on and do two out of five, call it wax swing and then title. In that way, you know exactly what you have. You want to make sure your prints are dry before you do this. That's the reason I'm using a different print instead of the one we did for our video. Those air still wet. So I want those to drive thoroughly with that. That particular Inc. I would probably wait, like 2 to 3 days at least, just to make sure, because it will kind of offset onto your fingers. So just something to be cautious oven to think about. But this is also a good practice to you, because if you start making a lot of Prince, you'll find that you might have a hard time remembering when they were done. And if you do it soon, is there ready to go in there dry? Then you don't have to worry about that. You have a chronicle. You have kind of, ah, an inventory of the prince that you have. So So this is my very last one I had to erase because I accidentally started writing my name Way. Don't want to do that. So you can kind of see here in the camera five out of five wax wing JBs. Um and that's another friend that I had created just a couple of days ago. So happy to finally sign it and doing what we call Coley the print position. So now that I have this, it's ready to go to go on, to live its own life, to do other things out there in the world, maybe for gifts, or maybe for your Etsy shop, things like that. 10. Final Thoughts + Tips: So the last thing I want to talk about is printing on different stuff, straits substrates. Just a fancy word for what you're printing. So the last third of demo we did, we printed on paper. Like I said, there's different types of paper. The paper that I showed for are all print waas, just a regular old drawing paper. This is the kind of upgrade from that. It's a Japanese type of paper called Masa. It's M A S. A one side is really smooth, and the other side is really fibrous. It's usually marketed as like an eastern paper, Japanese paper, rice paper. So those are some common terms. For that, I typically print on the softer, fibrous side. I feel like it picks up the ink a little bit easier, and it looks really crisp that way. So that's one type of another type of paper. I should stay. You can also print on like construction paper, so this is kind of awesome medium card stock. I guess it's more on the verge of light card stock, but I was kind of making some Christmas cards things like that. So I was like, OK, I want to add an element of color. So how did I do that? Looks work with colored paper, so they still need to be kind of trim down to have even margins all throughout. But you can see it just makes a really nice image that way, and then you can customize the interior. So that's another option. And the third option that I wanted to discuss is pretty non fabric eso. To do that, you can't use the same ink that we used. You can't use that cool ego safe washing que have to get something that's fabric specific. So this is speed balls, fabric block printing ink. It functions pretty much the same as the other Inc The only difference is that obviously it's meant for fabric, and also it has to cure so often times it has to be either, Heat said. But for this particular brand, you just have to let it sit at room temperature, for I think it says a week. Yeah, so, um, curing one week at room temperature on and then when it gets the fabric item gets washed cool water and mild soap so it functions and pretty much the same way when I do fabric base stuff. A lot of times I will cut to the shapes out So you can see this one is like a wolf or coyote or something of that nature on These are all kind of goodies. I have my Etsy site, some fun little tea towels and things like that. But you can see it's basically printed, you know, inked up in the black fabric based ink. And then I have my fabric down and I go ahead and just, like, stamp it. I have to recharge my image every time. So I have to apply ink printed, apply pressure. This one, I just kind of pushed down on it. But I'm gonna do a devil on that for another another class. But you can work with different colors. It can add a little bit of vibrancy and fun to it. It could be small. It doesn't have to be the size of the block print itself. This is just like regular muslin fiber. So it prints really well. If it's too thick, you might have some troubles with it, so you can get some pretty fun and funky stuff. Your relieve prince can last a really long time. So these air images I've used for other prints along the way of cut things out and made kind of a new life out of it. That's my favorite part about for making is the ability to experiment, to explore toe work in multiples and layers and things like that. So I hope you guys are inspired to produce your block print and to sign your addition and to make something really beautiful to share. Thank you.