Re-Leaf Printmaking: Nature Inspired Lino Prints | Jennifer Belair | Skillshare

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Re-Leaf Printmaking: Nature Inspired Lino Prints

teacher avatar Jennifer Belair, Printmaking + beyond

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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 (32m)
    • 1. Introduction

    • 2. Materials

    • 3. Getting Started-Image Transfer

    • 4. Defining your Image + Carving

    • 5. Test Print

    • 6. Adjustments-Digital + Cutting

    • 7. Printing

    • 8. Multiple Plate Printing

    • 9. Experimentation + Clean-up

    • 10. Class Project

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About This Class

Re-Leaf Printmaking: Nature Inspired Lino Prints

In this class we will be creating a cut out relief print sourcing the beauty of fall leaves! You can use pressed leaves, pick some from your favorite tree (or on the ground :D) or check out our Pinterest board here.

From there I will break down the process step by step, so you have all the knowledge and know how to make this project come to life. First, I will go over how to transfer your leaf shape onto your lino block. Then I will go over the steps to define and cut your image. After that we will make some digital adjustments in Procreate and translate those changes to the block for our final image. Additionally, we will go over multiple plate printing and experimentations in color. This class is a great way to welcome a seasonal and festive approach to art making. Make great prints—sell them, give them away this holiday season and remember—everything prints in reverse :D

This class is great for beginning students, seasoned printmakers or anyone wanting to try something new!



Relief Printmaking Pinterest Board

Fall Leaves Pinterest Board



Fall Leaf Drawing

Plexi or Glass for ink

Soft Rubber Brayer-3 inches works best

Printmaking Ink (I use Cranfield Caligo Oil based washable ink) or acrylic paint (it dries much faster)

Wooden Spoon or Baren

Tracing Paper

Thin Rice Paper

Linoleum Block (you can cut down to size to what works best for you)

My Other Printmaking Classes:

Mark marking with Linoleum Blocks

Illustration Based Linoleum Block Carving + Printing

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, everyone. It's Jennifer Bellaire, Sicari in, and this class is titled Relief Printmaking. It's not just a class that talks about this very fun and intuitive process of relief printmaking, but it's also a fall themed and festive based class project. Eso With that being said, you will need some special materials, one of them being some sort of reference at here. I have a contol belief from my backyard that has been pressed, but it's a chance for any of my fellow leaf lovers to get out there and collect or check out what grows in their area and Doosan pressings. Here I have a sassy France leaf, but we wanted to be focused on the season, the fall season. So with that being said, the project that you'll be creating for this class will be just that's gonna be referencing a leaf or some kind of natural element. If you don't have any of your own pressing, that's okay. You can also reference images online, but for the project, we will be using an actual leaf and will be creating a in my opinion, it quite beautiful relief print that references the exact leaf. So here's the project that I completed for this class, and you can see the, uh, obvious reference of the catalpa. And we're gonna have some fun with some intuitive based imagery, kind of coming up with things right off the tip of your head and see what comes up in your imagination. So this is kind of what to expect yourself to make. We're gonna have a cut out of the actual leaf and make some visual imagery that is akin to your style. Ah, this class is great for any new printmakers out there who want to try something new who have always wanted to do it for making project, but weren't sure where to start. Eso great for beginner students. It could also be fun for intermediate students as well. So let's go ahead and go over the materials that we will need for this project. 2. Materials: So let's take some time to go over the materials that you'll need for this project. I'll make a list in the project description. So that way you can see exactly what you're going to need. Chances Area. If you've already done some printmaking, you might have a few of these tools on hand. But if not, I'm just gonna go over them really quick here. Eso The 1st 1 you're going to need is a rubber. Breyer, this is a speedball. I think it's about a 3.5 to 4 inch Breyer and it works really well. I have the soft white rubber one eso you'll want to get something like that. But honestly, anything is gonna be sufficient. Um, another thing you're going to need is something to transfer your image with. So I typically use either a wooden spoon. This is just a rice spoon that I got it like a local HomeGoods stores maybe $4. But essentially it has a back end to it, and that's how we're going to be doing are transferring. So that's one way of transferring. Kind of most, I guess common. Besides, that is what's called a barren um again, I'll put a link to it. This is Ah, wrapped, and I believe either bamboo or banana. But it's essentially another way to transfer the image or the ink from your, um your linoleum black. Uh, next, you're going to need some type of printmaking, Inc. Um, I like to use the kill ego. Ah, safe wash by Cranfield. It's a little bit more expensive than I typically get, but it is oil basements also washable eso. It makes cleaning up really easy. If you're in a pinch, you can try to use acrylic paint A swell. I've seen people do that, but the problem with that is it dries a little bit too quick. So just keep that in mind. Um, some other things that you're going to need are your carving tool. So this is just a speedball kind of quick, easy carve. Essentially, it has ah, but end to it. And in there you'll have a bunch of different gouges that you can use. But they come in handy there under 10 bucks. And, um, you can kind of see this is like a you some kind of you go cheer, So it's a little bit more wide, but it will come with an assortment of gouges, so just keep that in mind. Really useful on If you are a little unfamiliar with that particular tool, I would suggest checking out some of my other printmaking classes relief for making classes that I have. You confined them under my profile or I'll try to do a link for For that, um, other than that you're going to need a piece of plexi glass or glass sheet so you can see mine's pretty, pretty dirty. It's from an old picture frame I believe I had. So something like that works really well. Um, also in regards to the other materials, you're going to need a linoleum block. Eso This is Ah, quick carve. Easy cut by speedball. Um, again, I'll put the link to it, but I think this one will. It says. I got it from Blick, and it's a 11.5 by nine inches, so this works well. You can cut it down with a utility knife, so that's really great thing. It's super easy to carve, but there's tons of varieties out there, so this one doesn't mean it's the best one or the right one. It's just one option. Other than that, you're gonna need some tracing paper. This is just an old tad. I have, um and it works great. And a to B pencil. So something you can transfer with, um I use a bone folder. But you can also use a blunt object when you do your image transfer, which you'll see in the next video. Um, and then you're going to need your printing paper. So I have some rice paper, and again I'll place a link to that. It's essentially a nice thin fibers paper that picks up the image. Really? Well, um, there's a really popular one called Kida CADA. This is just a kind of typical rice paper. One side is usually smooth. One side is more fibrous. You can get him in packs so you can save a little bit of money. Otherwise they come in large sheets. So that's essentially what you're gonna need besides some news print, something to clean up, maybe paper tall, maybe spray water. In addition, Teoh, one of the most important parts is your reference material. So maybe you you have some leaves that you've been collecting over, Um, the fall on deaf You do. That's fantastic. It's wonderful, but it's not necessary. It's just kind of an incentive. If you are that type of person who likes to get out in nature and kind of see what's what's lying around. Um, you can also work from your own sketches. You can do drawings from photos from film and things like that, too, but that's pretty much what we're gonna need to get started. So let's go ahead and check out the process. 3. Getting Started-Image Transfer: to start working on our fall relief themed prints. We're going to need some leaves to look at or to check out. So, luckily, I have a few that I have collected throughout the fall, and I wanna had impressed mind. So they're nice and flat. I did that just by placing them between a couple sheets of wax paper and some newsprint and putting some heavy boards on top. So I'm gonna actually choose this large green leaf, which is a contol belief from my tree. And I'm gonna make sure my linoleum black is big enough, so that way, the leaf can fully fit on it. And the next step that we're going to do is go ahead and trace the shape of our leaf onto a piece of tracing paper. Go ahead and trace our leaf shape with a soft pencil, something like a to B. And we're just going to get a general outline because this project is gonna be a little intuitive. So I'm just getting my general outline or shape of the leaf to start. So again, just a piece of tracing paper with a soft pencil and drawing the outline. So that way we can transfer this onto our linoleum. That looks pretty good. So from here, before we do our transfer, we want to make sure that we'll be able to see where we're carving when we're doing this project. So I'm just using a little bit of acrylic paint, and I'm going to rub it into the surface of the linoleum block, and sometimes it can take a little bit of effort to get it to be nice and thin. But our main goal is to make sure that the surface is getting covered as best as possible. As, ah, uniforms possible. The in guy chose was a little bit too thick, So if you have, you know, more watery kind of consistency, acquire like it doesn't have to be anything expensive, just something that constrain the surface to help us see where we're actually carving. And this is a really important step for any type of relief. Printmaking. It comes in handy, just really helps you see actually where you're carving, because if you imagine the whole black it's white, you won't be able to see the difference in the values. So once that dries, what you're going to do is Take your tracing paper and you want to line it up, Aziz, Best is you can so that way you're entirely fits on the surface. And from there you can either tape it down or hold it down with your hand and you want to use a blunt object. So that way you can transfer the the soft pencil that we use. So remember, I used a to B pencil, maybe a three B and essentially, I'm just rubbing into the surface using a device called a bone folder, which is useful on bookmaking. But you can try, um, the edge of a big a pen, anything like that. Your fingernail works great, too. So just holding it down and rubbing into the surface. So that way we get a nice clean transfer, and this one is looking pretty good. So it'll give us a good idea of where we can take this project next 4. Defining your Image + Carving: Now that we have our original drawing transferred from the tracing paper, I'm going to go ahead and use a black Sharpie marker. So that way I can really see my lines and kind of dictate where I'm going to be carving from this step is well, I'm also going to be deciding what kind of imagery I want to start drawing what kind of lines I want to be there. Um, essentially, what's going to make up this relief based print using the leaf right. So sometimes I'll directly start carving. Other times all draw exactly what I want. I'm a pretty intuitive person when I work, So my method might not be 100% good for you, and that's fine. Um, but I'm approaching it from this kind of playful standpoint. Not really having anything to look at a reference, but just pulling upon the imagery that I've been using in my own practice. If you want, you could also, once we did that first initial transfer, you could have a rough sketch kind of drawn out and transfer that as well, instead of drawing directly on top. Ah, with this, I like to use a fresh Sharpie marker just because the line quality will be much stronger, much richer, and it will kind of give me the idea of the image that I'm trying to achieve. From there, I can go ahead and start carving. A good thing to remember is that wherever you carve will essentially be white or whatever color of your paper. Anything that's raised will be the ink right, so areas will hold ink. Some areas will not. So it's about kind of using light and dark to decide what our final image will look like. One thing I like to do is carve in the same direction at a time. As you can see, I'm doing with these kind of eyelash shape. So if there's this line that's going one direction, I try to make sure I'm doing all those at the same time. Another thing Teoh keep watch of is make sure you're always carving away from your fingers or that you're very controlled. I have a lot of experience, so I don't mind getting a little risky, which I should it. But just being mindful of how fast the blade is moving. So I have this certain gouge. I'm using one of the smaller ones. I believe it's a size one. Ah, and the speedball carving tool and just getting some small kind of lines started some line work. So that way I can kind of approach us in a very intuitive method. It's always good to use different gouges to make sure it's going to get the idea across or the right amount of space removed. So I went to a U gouge to kind of take away for more of the surface. It's always a good idea to go back in and use your Sharpie to kind of sketch out where your lights and darks are gonna be right. This drawing isn't meant to be realistic in any way, but they're still a concern of where should my light areas be? Where should the dark areas be on? This is essentially my approach. Sen. I went ahead and added some new visual elements to the peace. I am starting with the right hand side because it's my most comfortable side, and I'm using the kind of blade that comes with the speedball carving kit, and essentially with that, you can make a A line or an incision and then use your gouges to easily cut along that knife line. So it comes in really handy. A lot of times, students don't really know what to do with that particular tool inside the speedball line. Oh, cut toolkit. But essentially, it's a blade, and it can be really great for some detailed edges parts that you don't want to accidentally slip something to remember with. This process is, you cannot go back most of the time, especially if you're working in linoleum eso. It's great to have patients, and it's great to carve with intention and make sure that you're getting the line quality and again thinking about wherever you carve. There will be the white of the paper or the color of the paper, and wherever you don't car will be your, uh, where your bank is going to hold. So this is kind of the imagery that I'm working with right now. We're gonna go ahead and keep building it up, and we'll meet up in just a bit here. Now I'm just going back, Teoh my peace and starting to get into the areas where I really want to bring in some different details, mostly using the smallest guy Ouch to create some really fine lines, adding into areas of the pupil and things like that and getting into a good place to kind of reflect and think of where it can go next. 5. Test Print: Now that I've done a fair bit of carving, what I want to do is prep my linoleum, so that way I can pull a proof print or like a test print and see exactly what I have. So for me, it's all about the shape of the leaf because it's so beautiful. So I'm just cutting that out with a utility knife, just being extra careful, to cut away from my hands and to not cut too far so that I don't rip into the actual image or, ah, the positive area that I want to be part of my prints. So I'm just cutting that away regarding those pieces. You can always use them for other projects for smaller types of prints and things like that . But just taking my time, slowly, cutting around the edges, making sure that everything looks very nice and clean. And now I'm going to go ahead and clean up the inking station and get everything prepped. So I have my block printing ink. I'm going to put a little bit of that on the plexiglass and then use my rubber Breyer and go ahead and charge it or fill it with the Printmaking Inc Sometimes it takes a little while you don't want to use too much. I actually have a little bit more than I would normally have, so you'll have to excuse that. But starting small and gradually adding it. I usually do a nice little bit of ink and then go through it. Um, now I'm going to co to the actual plate and get it nice and solid. Sometimes it can take a little bit of time because the first initial, um, contact it tends to be very absorbent, so it wants to soak up a lot of the ink, the linoleum. I'm not quite sure why this happens, but it does so just something to be aware of. So you want to get a nice even coat all throughout, making sure there's no, uh, what we call printmaking, boogers or pieces of paper or, like little inked a breeze. And I'm just using a piece of scrap paper and using my hands to press into it to make sure there's good contact and then using the Baron to ensure that all of the ink it's going to transfer working in small areas at a time if you have thin paper. Sometimes it will bleed through. So just be careful of that. You could always put a piece of newsprint between your baron and the actual print. Um, sometimes you can peak, which is really great. That just means the ink is really sticky. You can lift it up from one corner and make sure that it's printing in a satisfactory way. This one's looking pretty good, gives me a good idea what I have and now time for cleanup. So that way I can get back to carving. So I'm just using some water, some paper tall. This particular Inc that I have is water soluble, so just make sure that yours is as well, and it will be just as easy to clean up. You'll want to make sure it's as clean as possible, just so that way, when you're making more marks, your hands or getting too dirty, and I would even advised to wear gloves as well, because it will make clean up a little bit better with your Breyer, you can just kind of used paper and roll off any excess. I think that way you can also use a little bit of water is well to clean that just want to rotate it, make sure it's getting fully released. That's especially important if you tend to use a lot of different colors in the same Breyer . This is black ink, So imagine I use yellow tomorrow. I want to make sure everything's nice and clean. It's great to use scrap paper just so that way you can use it as part of your cleanup routine. Wherever you're printing at. I always save mine from the mail and things like that. So just getting things nice and tidy is super important in any printmaking or home studio space. So just make sure you're taking good, good stock of your materials. You can use a razor blade. Um, Teoh get off some of the ink from the plexiglass, so it's a little bit easier to clean. Some inks dry a little bit faster than others. So just keep that in mind and from there, just adding a little bit more water and some more paper tall, and we should be in a good, good place to move on to the next step, which is deciding what we need to change about our block 6. Adjustments-Digital + Cutting: Now that we pulled our first proof, we can go ahead and decide where we want some changes to be made. I'm using my iPad. I took a photo of it and now I'm loading it into procreate. It's a really great app to have. If you do have an iPad, I'm gonna go ahead and use a white white color and make some kind of rendering some drawings just to make sure I know exactly what I'm going to be carving. What the basic idea of it is going to be like, what it's gonna look like, what kind of lying quality do I wanna have, and I honestly never stay two married to this decision here. I often change it along the way, How some different thoughts and different ideas along the way. Ah, but this works really great for me. It's a new tool that I'm trying to incorporate into my creative process. So just using the stylists and drawing you can use your finger as well, but just making some kind of creative decisions, some intuitive and kind of fun and funky ones along the way as well. So we'll go ahead and adjust that as needed and try to replicate that honor actual block so we can make some adjustments. Then once you have something you like, you want to make sure that you can flip your canvas horizontally. So that way it matches the, um the impressions off the block as you look at it. So I'm essentially just gonna have my iPad rendering next to my image and start making some similar renderings. That suggests kind of the idea that I had going into it. So I'm just gonna go ahead and use my Sharpie and start rendering away and trying to get some of those drawings on iPad. Another way that you could do it is to print this out and then make some soft tracings with a pencil and then do the same way that we transferred thea the initial leaf shape. So that's always an option as well. So I'm just going through an to my best ability and best knowledge. I'm gonna go ahead and start making those renderings, making those drawings on my actual block and trying to have it. Lineup is best. It's possible. And then, from there, I can go ahead and start doing my carving and making sure that sort of fits the vision that I had again changing my gouges along the way, making sure it matches the vision or the idea that I had and just being patient with the process, as it does take a lot of time, especially if you want an image to turn out really nice and crisp. But I think this is turning out really well, and we're going to go ahead and start printing in our next video here. 7. Printing: So let's start our printing. I have my blocks set up on a piece of scrap paper. That way I don't make a mess of my space. And then I just put out a really nice thin bead of my relief Printmaking Inc. I use Cranfield call ego safe wash relief inks that are water soluble but their oil based. And then I can go ahead and use my Breyer and start to charge it. And I like to work in a small, tidy space, so that way it's not too overwhelming and too much to clean up. So I'm just fully charging it, going back and forth in different directions. And I'm gonna go ahead and make sure my surface doesn't have any, um, debris on it and going to start loading up my new image. Sometimes the image can take a little bit of time to fully develop, so you might have to add a little bit more ink to your workstation, which is fine. Just added very minimally, and you can always add more from there, but again working the surface until it's nice and evenly coated. It looks like in cousin on every surface as best as possible. Now we can go ahead and start printing. So I just positioned my printing paper directly on top, and I'm just gonna gently eyeball it, lay it down and then use my hands as, ah unit of pressure. So that way, the paper sticks to are our linoleum black. From there you can use a barren or a wooden spoon, which I'm gonna try to use in a little bit here and just apply pressure gently and evenly throughout the image. Sometimes, depending on the paper, it can bleed through. So just be careful of that. You might want to use a piece of newsprint or something like that to create a little barrier between the two. So that way you're not transferring it. I typically don't just cause I'm pretty mindful of how I'm approaching it, but you have to do what works for you. Um, the spoon is great for getting a little bit more detail. I tend to use a little bit of both, depending on my hand and how it feels. Ah, the spoons are great because they are really traditional, um, tools that are used in a lot of Eastern for making practices in China and Japan and just supplies a lot of nice pressure. Another thing you can do while you're printing. If it's not, if it's printing a little salty or salted peppery, as you can see minus, you can lift up one edge and apply a little bit more ink to it, and then go ahead and continue printing until you get a knife. Solid color. So this looks like it's working out pretty well, and I think the images looking really spectacular, even from the back side here. And, um, everything seems to be transferring quite well and with really nice crisp line so I can tell that I did not over in Kit, which is really important. Eso the bottom side is looking really good. Now. I kind of want to check the top side and see what's going on, and I think it can use a little bit more ink, so I'm just gonna add that. Make sure I'm getting at nice and even on both sides there and even that Stam. But it's great to do this kind of peekaboo check test and see what's going on. The inks really sticky, so your paper shouldn't shift If it does, you might be using the wrong kind of paper. So just keep that in mind again. This is a rice paper picked up at the local craft store on. I think we're ready to pull the print and it looks really awesome. So let's see what we can do next. 8. Multiple Plate Printing: you have a couple other kind of natural elements that I carved out. One of them is the SAS Afr ass tree. So I have that leaf that I had shown from my leaf collection and then a rendering or a carving of a cone flower. So I wanted to use Thies to kind of smaller relief elements in a print combination with the original catalpa. So same principle here, just adding Inc until it's nice and even. And then I can go ahead and figure out How do I want to add this to my print that I had just created? So you want to make sure your stations nice and clean, put down a piece of clean newsprint, and then you can take your first print that you pulled and position your secondary images down. You can use your hand to create a little bit of, um, stickiness. So that way it's not gonna move and then do a little bit of a very gentle, very careful flip. So while holding the block down and rotating it are turning in space, you can see that it's transferring really nice. I can use my wooden spoon on the flat side and go ahead and start transferring that image and seen what I have. So this might be a un approach that you take is well, but I just wanted to show some smaller components of this project and how you can incorporate multiple plates or multiple prince into one piece. So that looks really good. I'm going to do the same thing with my south of France Leaf just gonna go ahead. And now that it's inked up, lying at to position it as carefully as I can. And once I get that, I'm gonna press it down with my hands a little bit. And then I'm going to do a gentle and very careful flip of the paper. Make sure your hands are not dirty when you're doing this like minor could be a little problematic. So just taking a second to clean your hands or, uh, you some talc or powder to absorb some of the oils. It's always helpful. Then you can go ahead and flip it, and we're gonna do the same thing that we've been doing. Just go ahead and apply some pressure to properly print this image, and we'll have a unique one of a kind print using a couple different natural elements, using some inspiration from the natural world around us, which can be a lot of fun. And let's go ahead and see what we have. And it turned out really sharp. It has really great crisp lines, and I'm really proud of how this one looks, and I'm excited to see where else this project could take me. I also wanted to take some time just to play around with using the image of the catalpa Liefer original image printed in black and then using the purple cone flower and printing it in that kind of magenta red. And instead of doing two separate leaves at the bottom or to separate natural elements, I wanted to just use the same one. So that's the beautiful thing about prom making is that you can carve something one time, and you can use that same image many, many, many, many times until the actual black breaks down, which, honestly, I've never had that happen. And I've printed quite a lot of things, so you can see just by using different colors Theatre mount of variety that you can get how you can really make this project a lot of fun, just using simple shapes and designs found from your own natural environment. So I think this looks really sharp and I'm happy with help. ALS prints turned out. 9. Experimentation + Clean-up : I wanted to try one last experimentation before moving on and getting ready to clean up. So I decided to print two of my Sassa press leaves at the bottom of my main image. Thekla tell belief that we started with. Sometimes you're black, might run off the edge of the page and that's okay, a way to kind of combat. This is to take a piece of scrap paper newsprint and place it on top. That way, you're not getting any ink on your hands, which, you know can be hard to clean up and take the time to take care of. So this is, I think, my last experimentation piece for this project. As Faras color goes, I wanted to highlight fall colors in their beauty, so that looks really great. I'm really happy without turned up. And now time for cleaning up for cleanup. You're just going to use a little bit of water or soapy water or vinegar water. I just use some vinegar water and you're gonna go ahead and spray the surfaces of your blocks and use rags of paper tallest or something too. Pick that up. This best is you can remember. You want to keep things clean. So that way, when you print it in another color that nothing bleeds into it. So this is red. Imagine I tried to use white or yellow or something like that, so making sure everything is as clean as possible is really important with your printmaking supplies. Also, clean your Breyer because again, you're gonna use it many, many, many times. So just using some newsprint or some scrap paper and getting any of the excess in golf. That way, you can also spray the rubber roller and pick up any excess using some super tall. And now we're going to go ahead and clean up our plexi glass or glass plate. And I just like to use a razor blade cause it's really easy. You can also try a putty knife that works just as good and just picking up any of that excess information. So that way, the service is nice and ready. For the next time we decide to print 10. Class Project: So now that you know how, Teoh do a relief. Ah, relief based print. And I just wanted to announce your class project. So for your class project, it's pretty much kind of what we went over in class. You're going to create a print that references a leaf in some way. You can cut yours out just like I did with mine here. And as far as the interior imagery goes, it's up to you. You can sketch it out. You can have something that's really planned, or you can approach in a very intuitive manner. It's more or less just like creating the space, right? So, like the black of the ink or the the base of the board that were using and what kind of imagery What kind of imaginative quality can you bring to it? So it's gonna be up to you to decide, more or less, I just want to see some kind of reference to baby your favorite tree, your favorite leaf. What is that Leaf symbolized to you? Mind has kind of an emotional sense because it is in my backyard, and it's where I do a lot of bird watching. Um, I spent a lot of time in my garden and in my yard. So for me it's it's kind of personal, is also very intuitive. So I'll be looking forward to seeing your project as a senior print and really looking forward to seeing how you approach this. So thank you all so much. And please check out the Pinterest board for this class so you can get some more direct reference as to what different approaches to this type of printmaking can be. Because my style is only one way of working and you're gonna work in a way that's most comfortable to you. I also feel free to check me out on Instagram and check out my other classes on relief. Printmaking. If you wanna kind of developed those skills some more so thank you all so much and happy printed