Linocut Printmaking: Learn the Basics to Create your First Print | Harmony Cornwell | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Linocut Printmaking: Learn the Basics to Create your First Print

teacher avatar Harmony Cornwell, Illustrator & Surface Pattern Designer

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

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

11 Lessons (52m)
    • 1. Introduction

      1:27
    • 2. Class Project

      0:45
    • 3. Tools and Supplies

      6:36
    • 4. Sketching

      8:25
    • 5. Transferring

      5:59
    • 6. Prep and Safety

      2:45
    • 7. Carving

      9:56
    • 8. Test Prints

      5:24
    • 9. Final Art Prints

      4:14
    • 10. Final Art Prints with a Twist

      6:18
    • 11. Thank you

      0:35
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

315

Students

4

Projects

About This Class

114572db

In this Skillshare class you are going to learn how to make a single color art print from a lino block carving.

This class is great for beginners or if you are looking to streamline your linocut printmaking process.

Simple tools will be needed:

  • a piece of lino
  • a carving tool
  • block printing ink
  • a brayer
  • we will review the must have and nice to have tools in one of the first lessons (Speedball has a great beginner set that will be linked in the class resources section). 

Before we start carving we are going to create a sketch that will set you up for carving success, and then transfer the design to your lino block. A beginner level sketch will be provided for download if you would like to jump ahead to the carving lessons.

Meet Your Teacher

Teacher Profile Image

Harmony Cornwell

Illustrator & Surface Pattern Designer

Teacher

I am Harmony Cornwell, I went to a high school of the arts (think real-life Fame) that has fostered a continuing passion for creating through adulthood. I love to experiment with different mediums but gouache has my heart.

My work is a combination of quirky and whimsical, I love to paint birds and other animals giving them cute and sometimes sassy personalities.

 I have been a member of the Skillshare community since 2017 and have watched over 250 hours of classes to date!  I am thrilled to contribute to other creative's artistic journeys with my own classes.

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Introduction: Hi, everyone and welcome to my class Lado Cat printmaking learned the basics to make your first print. I'm Harmony and artist and illustrator living in British Columbia, Canada. I'm a lifelong creator with a passion for learning and artistic endeavors. In this plast, I'm gonna share with you my process to create an art print from a line of block carving. We're gonna go through the entire process that I follow, and this is going to include the tools that you need, including some of the must have tools you'll need specifically for this class. We're going to go through my sketching process, how to transfer your design to the line a block. We're gonna carve our design and then finally, we're gonna create in our print that will also be your final class project. If you're inches and want to jump right to the section on how to carve your line of block, I have included a pdf download with three of the designs that I have created for this class . You can find that in the class resource section. Once you've downloaded the pdf from the class resource section, you should watch the class project in the tools needed section. And then you can join us again in the transferring section, which will show you how to transfer the designs you've downloaded to the line of block. All right, so now we can jump in the class. I'm looking forward to carving and creating with you. 2. Class Project: the project for this class is to create your own art print from a line of block carbon. We're gonna do a simple sketch together. Then we're going Teoh car that sketch into a line of lock so that we can get the final product of your art print. I want to see the process. I want to see your initial sketches, the refinement of your sketches, your test prints. I want to see Messi. I want him to see your mistakes. And I want to see all those successes and winds on. I think everyone else will, too. Now we're ready to jump into the tools needed lesson. See there. 3. Tools and Supplies: that's review tools and supplies. And remember to use whatever you like to sketch with my favorite sketchbook for my rough sketches and where I get my ideas down is this. Sketchbook for Michael's is essentially computer or printer bond paper in a book format. Of course, you can feel free just to use loosely bond paper or what? Like I said, anything that you like to sketch with is going to be just fine for this. I like to start with a harder pencil, and you can use a space school quality pencil. This is a four H pencil from Tom Bow. It's a little bit harder, harder pencil. And then this is the black, the black wing 602 You're also going to need a softer pencil once we start, uh, getting to the point where we're going to transfer the images to the line of block. So I was saying, minimum of a three be something that's going to allow you to put down a lot of graphite on your image that will be a will be transferred to the line of block or the original black wing pencil is also quite soft. You can use that as your sketching along, If you I want to clean up your sketch and just trees hope you're drawing. I would highly recommend some tracing paper and you are going to need this for the transferring portion of the class. We are going to need a way to transfer your sketch to a clean piece of paper. The tracing paper that I mentioned before is great for that. You can put it on a light table, your drawing and trace that way. This is a USB powered, fairly simple liked table that I got off of Amazon tracing paper or bond paper on a window with some type of tape. And, of course, you're gonna need some Lionel blocks. I have a few options to show you. This is a green, easy car block. I'm not sure of the brand. I haven't used this one before, but they saw at my local art store and wanted to by and give it a try and show it to you. This you might see that in your store. This is called a speedy cut. Its from speedball. It's fairly thick, and it is when I say speedy cut, I almost call it buttery because it's a very smooth cut. Great for beginners. You do have to be careful, you know, over cutting. With that, you might see speedball with a similar name, but it might be pink. It's a little bit thinner, fairly similar. Carding attributes. This is also by speedball, and this is my preferred line or to use for my carving and printing. They're essentially the same product and thicknesses one is mounted to a block, and the other is free and loose. I'll use this one if I want to do a multicolored print, and I I'll cut it apart and use different parts of the same drawing to layer different colors. And you're also going to need a permanent marker for this product for the transferring process or you're carving tool. I'm just gonna recommend that you use the speedball version just like a handy screwdriver. You can store all of these carving points in the handle. I have to only because I've purchased a couple of kits, and I do find it handy when I'm doing larger pieces. Just toe have the different sized carving points already loaded up into the handle, but that is completely unnecessary. One with a couple of side different sized Nibs are complete are perfect to start with, I have here a one which is going to be your smallest, which I use quite a bit at the beginning and at the end to which is a V shaped deeper gouge and then a three a little bit deeper. And then five is a U shaped the final block that you're gonna be carving throughout the class. It's gonna be needed to create the final art print. You're gonna need some paper. I recommend the Strathmore printmaking paper. It's nice and thick. It's made for exactly this application. However, I don't always stick with that. He was a bit of a lighter weight watercolor paper I've even printed on Kraft paper. I just like the way it looks. So really personalize this and make make your heart sing and use whatever paper you want to present your final product on. You're also course going to need something so speedball does make block printing ink. This is the water soluble version. They come in varying sizes. These air two of the larger sizes. There's also a smaller one. You can get non water soluble. You can also get block printing ink. That is for fabric. If you wanted to put your final design onto a T shirt or a tote back, you're gonna need a smooth, flat surface to put the ink on. This is called a Breyer, And I would say, if you're going to invest anything that is going to be the carbon tools and a. Breyer, you're gonna need this to smooth out the ink on and have ah, you know what a good amount on here to spread onto your in clock and then you're gonna put your paper on top. This is called a barren, and this is going to help you transfer eight onto your final paper. I've only invested in this in the last year and before that, I used this handy. I keep kids spoon, and I just made sure that I went over all the the surface area where the ink is in a methodical manner could also use a bone folder, and that would be just fine as well. You just want to make sure that you're being very thorough in getting all the areas go to the class resource section for a downloadable supply list. And then I'll see you in the next lesson. What? We're going to start sketching 4. Sketching: when I start off to make sure that the drawing I'm going to create is doesn't need to be modified getting making bigger, smaller. All this trace out the blocks that I plan on using so that the sketches the right size and I just have to worry about. We're finding it and modifying the drawing, but the sizes already going to be there going to do three kinds of fruit grapes, lemon and watermelon slice. So I look at you pin dressed, of course, or unspool Ashour, another stock photography Web site, just to get inspiration. I'm going to show you some examples now of the, uh, searches that I've done to get inspiration for the images for my three fruit carvings. So my go to trick when looking for a reference image is on Pinterest is to add the word photography to your search term. I like having a clean feed of Onley images and not being shown other artist pieces or illustrations when I'm looking for a reference photos, so I'm looking for just some rough shapes. I'm not gonna use one particular image to influence the sketches for my drawings. We're gonna need to have something that is quite simple. So these this bunch of grapes is a great one. I like how the stem is here, but I'll just scroll down a bit and I'll probably just have this up on my screen while I'm sketching the great studio like it's I just have some reference. I already have a pretty good idea, even seeing a few of these images. What? I want the grave image to look like. And I did the same thing with lemons. This is another great stem and leaf. I probably wouldn't overlap the leaf and the lemon. And just because you want, especially for a begin their Lionel block print, you're gonna want to have all the shapes separate. You don't have to worry about how you're gonna carve around this. Overlap with definition. The third block I'm going to be carving for this class is going to be a watermelon slice. So again I take in water melon sliced photography while he could have done this one without a reference photo. But it's always nice to see something. So, like I said, just look, you're looking for a simple shapes. If you find an image that you're not sure How you gonna carve it? Look at how you can really simplify the parts of that image. And then we'll start sketching as I'm sketching on my other screen. I do have the reference images we just looked at on Pinterest and you can see as I'm starting on the stem and the leaves that I did use some inspiration from that one image we talked about. But I'm moving the leaf up so that I'm going to have a clean space to carve around. We're not looking for a perfect clean sketch yet because we are going to be tracing these images with our tracing paper. Once we're done, you can see here did the great sketch. I just wasn't happy with the float to make liberties. E took, I guess did the same thing here that I did hear where I put these two grapes too close together. But I'm gonna fix that when I do my refinement and do a trace of it, and I probably just moving a little bit further down on in this rectangle. So when I put on the block, it's more centered. No, for the watermelon slice. Do it on a bit of an angle. I think what you also want to be doing is thinking how am I going to car? This is too close to the edge, so I'll move it over during the process. But what I think I would like to have have here is all of this area be negative space with seeds carved around one of the decisions. I'm gonna have to make it if I want the entire block around here to be Captain tax so that this is a just a negative space. Or I could do a line here just to indicate the outside of the pink, fleshy part of the fruit and then just have a thin line that will take up some ink again. I can move this around. What? I'm doing the sketches, and I may want to just put a thin line here to indicate where the green rind is from the white part. Okay, so have my rough sketches. And now I'm going to refined them and trace them onto some tracing paper. I do the same thing where I traced the blocks out so that any adjustments I make use in relation to the size of the block super quick here and then we're going to trace and refined just to make it easier for working purposes. I just cut my tracing paper to more manageable size and going to your suggestion. So I'm centering the actual design a little bit better on the block and making sure I'm giving myself lots of room to carve out the negative space you can take this down to. I'm trying just to hold it. But you have that. You do this more if you want to have intricate designs, gonna tape it down. I like to have a free so I can move it around. It's not so set in stone that I'm worried about something shifting a little bit. Do you mind to that I have two grapes touching that. I'm not gonna be able to carve around in the say just so I'm going to make sure I do that as part of this Good thing is, we're starting off with easy shapes. Composition is really simple. This down again, finding and making it a little bit easier for myself. When I start carving that I'm not having to think some of these grapes circles so close together. Yeah, there we go. That's going to be the greatest. I'm pretty happy with that. So I'm going to speed this up. Ally, trace over the lemon and watermelon. At this point, you should have one drawing that is traced out on tracing paper. Or if you used a light box on a clean piece of bond paper that is ready to transfer over to the line of Block, please note that even though I did three sketches, all you need for this project is one final sketch. 5. Transferring: So you're in a wildly down a pretty thick layer. Graphite. I am using a four being like, is there anything softer than a three? B should be fine for this, but you're going to want to go really thick over the lines. These lines are gonna be off what is transferred on to the line of block. It's okay if you get things a bit too close. Just one more opportunity to find with the Sharpie marker before we start curving. I would like to make the lines pretty thick. They are, um, sometimes hard to see in the block, depending on the color block you use as well. Not sure how this green block is going to not sure how the green Block's gonna show up where the graphic is going to show up on the green block. So able we will discover that together. Let's speed this up as I get through these three sketches that we're gonna be transferring over. Gonna have the lemon all one solid blocks. I'm not gonna be carving it, but I do want to put a little but a texture in there. Show you a trip to make tiny little circles in the carving, but I don't want to forget. So I'm gonna put those in there. However, three sketches ready, though, I'm going to show you the speedy car from speedball Block for because I know that this for sure that this is gonna be the easiest one to see. So I just line up the odor edges you can see on hold it in place again. You can trim it right to the edge and, um, tape it down if you like, but I don't think it's necessary. And I do some transferring of that graph, right? We laid down onto the block. So that's just how we do it. The spoon you could probably do with your finger to This isn't going to be super precise with neat lines, and that's where we're gonna use the Sharpie afterward. But you can use this phone folder as well. Just lift it up. That's a pretty good transfer. So let's get him to speed this up while I do the other two blocks and then we'll slow it back down. Oh, right. Pretty happy How those turned out you're going to see? I didn't I wasn't very good at getting all the spots. I missed some areas on the greats, but it's enough for us to trace over these with the Sharpie markers because as you're carving, these graphite lines will go away, so we're gonna have to make them a little bit more durable. As so, we see our references. While we're sketching. I like to have the transfer close by. In case just like this, you don't see all the graphite. You can use that as a reference again. This is going to be something that's more important if you do more intricate designs. One thing I should mention, and it's a great tip that if you ever want to carve words because you're writing the word on your transfer sketch, as you would see it, it's quite easy. And then when you turn it over your old, you're automatically gonna have a reverse image of your warning, so it makes it really easy. If you see it on your transfer sketch as you like it, then you can know that it will be proper when you, uh, do this method of transferring your image on. So now what I'm going to do is go over my graphite lines with some Sharpie. So they stay as I am carving, and I don't lose those reference lines. What I'm going to decide is negative space and what I'm going to keep. As part of the actual Stamper Block. I will remind myself of what part in carving and what part I'm going to be leaving. So I know that I want the grapes to be what picks up the ink and it shows in my final print so I can just do something like this really easily. And then, as I'm carving it, I don't get messed up about what is supposed to be the negative space, which is in what's supposed to be the space that's picking up the ink. So I'm going to speed this up again. I quit. Know that your Sharpie starts to give out on you. Just do some scribbles on some paper to get that graphite off of the tip, and I'm going to slow down again because I've just realised I want another lying here. This is the white part of the rind of Ah, watermelon. So I wanna have that as negative space. So I need to carve or leave a little bit of the line of block there, just two separate theme pink flash from the white part of the rind. And I think that would do that. So I'm going to speak some exits here. So they remind myself that that needs to be carved out as well now that you have your line of block already meeting in the next lesson where we can start carving. 6. Prep and Safety: just a few notes before we get into carving or blocks. So I showed these previously. But for these of speedball Lionel cutters, you loosen the top head. You'll see there is a small metal peace that is loose, and you take the rounded edge of the blade and you slide it in between the round ball that's inside the head there and that loose piece of rounded metal kind of seed it in there and then you tighten it up. So you want to make sure it's really sturdy before you start so that you don't have any mistakes with a blade coming out on you. Sometimes they're not, but it's actually good that this has happened. Sometimes they don't sit properly and just want to show you how they go together there. So there's the rounded edge and the rounded part, So sometimes I take it apart. Sure that it doesn't like if it's not sitting properly, looks right. Very good, and I'm going. Teoh have a one and a five loaded up into the blade of the line of cutters in the handles to start women, and just a note on safety safety first, always cut away from your hand. I have done this on a few occasions. It doesn't feel nice. Day are sharpened, will cut you no questions. Some people on that they do have contraptions that will hold the It's almost like a piece of wood that will hold the line on so it doesn't slide away from you. I prefer not to use those because as I'm carving like I mentioned before, we do circles. I like to move the line Oh, versus my, um, bladed, sometimes just to make those small little round holes. But this is the one very fine cut. And this is the five, which is the U shaped gouge, and you can take up a lot more material that way you doing backgrounds. 7. Carving: we're going to start carving the lemon first. As I mentioned, I'd like to start with the smallest one first, which is the number one and I trace around the outside border of my design creates a bit of a gap or just a protective legend as I'm carpet the negative space. So I don't cut into the design that I want to be with. Ink it. So is that I'd like to have the block free so I can move around. Pick that up. So this is one of the softer blocks. You're just going to go in at an angle and curve around. If you have any rounded edges, if you're gonna do a right angle, if you have one on your design, you go like this and then kind of go up and that will cut it off. And then I would lift it up and move my arm if I wanted to make a straight edge. But for this initial tracing of the outside edge, I don't go to just a light touch again. It's just a protection, really get for the design. So I don't make any mistakes and carve into an area that I want to be a solid color. Nice. Smooth. Walk around as I traced him, he's going to speed this up and before I go into the next step will slow back down to explain what I'm doing. Okay, so that is all the borders done. It's gonna walk you through my intense, this design. I am going to carve around all this outsides parts and you can see why we trace over with Sharpie. Because the graphite is now also lodged in all those clean lines would have been gone. I'm going to leave the leaves as one solid piece is wall with just a being of naked of space through the middle on both leaves. And then these little circles are going to be carved up just to show put some texture on this big solid piece of 11. So what I'm going to do now that I made that protective barrier between my design and the negative space is switched to my number five and just start really getting the larger chunks of the line Oh, away from the main design that we can do some details. Good. Speed it back up. That there tracing my design saved me from cutting off more in my stand that I wanted Teoh , I'm gonna pause there and gonna change my blades to Thea two or the three, which is the V shaped got so I could get into this area here without cutting too much? No, no. I have my two final cutter into the handle and was going to get in caring gets more detailed areas. The pain down here, I want it quite noticeable. And I think the one will be too small. So I'm gonna use to for that to a little bit more. Once we do, our test prints will know if we need even more than what I've taken out. I already know that in between the stem and this leaf, it may not register as being two separate pieces that may have to remove some more. Don't want too much until I know I need to. And then what I was talking about before these little texture dots when you put on the lemon gonna use the number one for that. And this is I just kind of turn it holding the blade in place when I get a nice little round. So it's gonna do that for each of these and before I finish with this one, I am going. Teoh, go back to the five that can tell that there's already some high spots here that I want to remove, then on the edges to take over the divots. They seem to always show up on the print, However, Sometimes I don't mind the little lines from ATS character and uniqueness. You have to decide how clean you want the print if you like some of the straight lines from these curved negative spaces. But we'll get to that in Mr Piece here, but we'll get to the we're flying part after we do our test. Prince, I think I'm going to leave this one for now and start in the next one. Speed it up and I'll slow down if there's any other tips that come up as I'm doing this part. So I'm going to start carving. And like I said, this is a how I'm wiggling the blade here. It's just gonna let me get a bit more control in a longer line. This is not a smooth asi. Other ones open can see here. I've been a bit too deep. I don't like it when both sides of my blade are not shown because a lose control. So I'm gonna just back it up here a bit and cut that part, but was too deep. And look what I've done this'd is definitely not gonna be one. My favorites is not the end of the world. I just know that I can't go with deep on this 11 thing I will mention about this is this some we've on the back of those people, ones that are fairly similar prevents you from doing that. So will not be going as deep. I can see there. That's where I went a bit too deep. And that's when I that one side of the blade was covered as well. So we'll continue on just a good thing to notice that now that I've been serving with this for a few minutes now I am getting the hang of how hardening to push and the deaths I need to go to to get away enough with the rhino material, but obviously not too much. So I have a few areas here. Have an idea what I want to do. A show at the end it, instead of carving out the rest of this negative space, cut around theatrical stamp portion and use it like that because this is fairly thin, these air pretty thick scissors just fine. It's a little less precise if you want to place. It's completely centered on a page. And I'm not worried about these spots that we did that I did and had went too deep on, because the ink is only going to be hitting the actual race faces, so we're gonna be fine. I do find that this harder line. Oh, it's a bit more effort to curb, but it's sturdier. We're not gonna go right through it like we did with the green one. Now we're ready to do some tests printing with ink. See you in the next lesson. 8. Test Prints: all set up to do my test prints on the three fruit designs sometimes, uh, on more intricate designs. I'll just take a Sharpie and go over detailed areas to see if there's any rates pieces. But because there's a very simple I'm just gonna go right to the ink and because there still may be some areas we want to change after we do our test prints, I'm only going to use some bond paper, too. Do these initial tests I don't need a lot of. So I have my glass sheet. These air, just from frames going to get all the ink onto the Breyer was moved around. I've heard people refer to it as an orange peel texture and you'll hear and see little patterns within the ANC's toe. Let you know that you're not getting too much. You saw that when I put some ink on the piece of glass. It wasn't a lot, and I can see the you can see that, but you can see the orange peel, skin texture, and that's what we're looking for in that sound. All right, I've done a white down of the print trying to get all little bits of debris and dust off of it. And here we go. I do it from different angles. And again, this is just a test print and will be a little bit more precise when we do our final ones on our good paper. Okay, so there is no, actually, that's pretty good. I'm excited how this is gonna look. This is the exciting part for me. I am going to use the Baron. But like I said before, you can use a bone folder of a spoon, your hand, anything that is going to help you all the ink onto the paper. I think it's kind of sticky, so you don't have to worry too much about the paper moving around when the when you're smoothing it out, but still hold it firmly so you don't get smudges or distortion on your image. All right, so there is test print one of the lemon. I can see a few pieces here on my block that show black. And because this is so clean, otherwise I am going to make I am going to get rid of those black raised marks just to have a very clean lemon soap. A few tweaks, but overall, very happy with the lemon test print. The ink will not dry out overly quickly. I think they're still enough on here to do the grease. Okay, so a couple of things here this the less ink on the these couple of grapes here are mostly because I didn't apply more ink to my plate in. So there wasn't as much on the block trying to this application and thes little white spots here. If you conceive them, they're still little bits of debris that was on my block that prevented the bank from being spread out onto those areas. And just because I want them to be a set, I am going to carve off these raised areas when I do some tweaking. Okay, Not too bad. There's again. Probably just a bit of duster any or little bits of the line of they didn't clean off very well after I finished carving. I think overall it's good, but I will again, just these little bits of high areas that are that picked up think I'm gonna carve those away, so I'm going to wash my block. So just because this is the water soluble ink that I am using. You just need to use some water. I rub it a bit and I do pathum dry with a lint free cloth and then let them air dry. So I'm going to do a bit of carving and washing. Drive them so that there's no debris at all. Me start on our final art prints. I will say also that if you're doing a more intricate design and do need to do some tweaks that you may want to do another round of test prints before you go to your final design. But I'm pretty confident with the simplicity of these designs that the little bits of areas I'm gonna be removing is gonna be just fine. 9. Final Art Prints: Okay, now all the rays black areas have been carved off. I have washed and dried the block, and I'm ready to do an art print. I'm going to be using that printmaking paper by strapped more for the first art print I'm making. And I'm gonna do the same for all three pieces of fruit using the black ink on white paper to start. So no different in the process. What we're doing our test prints here's going Teoh various directions. Just make sure you get Breyer completely inked with a nice even layer. Not too much what you're gonna see. You're gonna know if you do too much as the little detail areas are gonna filled with ink and you're not going to see them on your image. Take some practice and that is OK. I've had somewhere. I definitely had too much ink on the night that I enjoyed the what the overall look was. So embrace any come and learn from it or using in your final piece. OK, so and something I should mention is Well, this was me going down because this is lower than the actual print. It may not show up if it doesn't. Great. As you clear off high areas, you also may see that the next high area shows. I'm not gonna worry about it. I'm going to just whatever this is, what is going to be now? It's great. When you have a print, a block and a piece paper that's exactly the same. You can create some guides on here so that you can perfectly center it. I'm just gonna eyeball up for for this frontier Looks good to me. A little press down, so the ink adheres to the paper and doesn't shift on us. But I'm really good over me with I don't need to do this. I always feel better doing a final rubbed in with my hands. Make sure you have all the pieces, but I will know that's probably when I get black carries on here cause I pushed down further than the Baron will be pushing down. All right, so they're just going to gently lift up the print there We go very happy with that. I like I really like it when the ink doesn't it here all the way. Just gives it some individual characteristics, But like with the test of the test print, you can put more ink. The different paper is also going to affect what the final outcome is. This is a bit more. This is to thier than the bond paper, which is quite smooth, and this has some texture to it. Now I'm going to reapply ink onto my plate here and do the same process for both the watermelon and grapes. So I did get too much in going here, so I'm just gonna do a little a bit on a piece of paper to remove some of the X ring. As an aside, there's what the orange texture should look like on. You should be able to see that better on Breyer and do any other type of illustration. What a great way to create some textured backgrounds. 10. Final Art Prints with a Twist: When I was carving the green line A White said I had an idea what I could do to make me like this green line of more. And I'm gonna show you I had as I was going through this process. I haven't washed the block in between doing the art print of supplying more of the same. Think on and you can keep keep applying. You do not need to keep to wash in between each application. Same Inc. Same color. Go ahead now. So what I did was I took some watercolors and I just did a very loose outline of the pink flesh and the green rind of a watermelon. And I'm going to attempt to I think it's bigger than the prince. But I'm just going to center this on top like so. And if you press it down just gently so that stickiness it goes to the paper and turn it back over your and content. Thank you fingers. I'm getting it on the back of the paper. I think. OK, on the front. One of the hazards of printmaking is fingers and making sure that as you're going to this process, you have something to wipe your hands on data getting explosions on your front of your friends. You want that? Then of course, that is okay. All right, there we go. We're happy with that. I could put a little bit higher up, but I'm not going to fuss. I think I think it's quite pretty. Now I'm gonna show you what we can do with two more ideas for these simple designs that were just carved for the lemon. I'm going to use black paper and the white soluble ink also from people on black paper. It's a card stock thickness. It's pretty smooth, so we'll see how evenly the transfers over my hand again. E have too much going on here like the paper is sliding around a bit. See, in a moment you feel slighted. So that's OK. Experiment that didn't quite work out. Think a bit too much ink on Breyer, and it's smooshed and moved a little bit, and you can see a little divots got pink inside of them from that excess ink, and you just can't see the details as much. But I do think the overall effect is nice with the white ink on the black paper. I'm gonna try again. This time I'm gonna add a little bit of yellow to the white. I'm just gonna leave it everything as it is that I do like it when there's some on evenness to the almost gone on, even as to the colors and you can see striations of the yellow and white was held. This mixes up together with just the Breyer. If you wanted to have a more even mix you can use like a pallet night for spoon or something, just to mix the colors together. You can see that's not an even coat of yellow versus white. There's some variations. I wonder. What I'm thinking now is that that's what I use was a It's a brand new tube, so there was a little bit of separation, and I wonder if it was just too watery you saw when the yellow came out, it was quite thick. I'm wondering if that played into the result of the first lemon print on the block paper. I feel good that this is gonna turn out better, and for the last creative option, I'm going Teoh mix up some colors to make some bullish grapes coming together nicely because I don't I'm putting on white paper. I don't want the white into two dominant and applications, so I use my palette knife to mixed up. Still a little bit of a spotty coverage. So I'm gonna try this again and see if I can dio more thorough job. Different some additional pressure. Much better by now. You should have one art print that you're happy with. I hope you play around with different colors and papers. 11. Thank you: Thanks everyone. So much for joining my class. I hope you've had fun and that you have an art print that you loved. I'm so excited to see your class projects. If you also put your work up on Instagram, please tag me so I can see at Harmony. Cornwell, If you run into any questions or need some help troubleshooting throughout the process, feel free to reach out to me and I'd be happy to help. Hope to see you soon.