Printmaking Practice
A reduction linocut uses the same block for colours it cannot print again
A reduction linocut creates several colours by carving one block in stages. Plan the edition before removing a surface you cannot print again.
COLOUR, CRAFT & A LITTLE PATIENCE
Printmaking Practice
Printmaking Practice
Mezzotint begins with a surface that could print entirely black
Mezzotint builds an image by reducing the ink-holding texture of a prepared plate. Learn to notice its light, dark and transitions when viewing a print.
Printmaking Practice
Drypoint’s soft line begins with a burr
Discover why a drypoint line can look velvety, how the burr holds ink, and what to compare when looking at different impressions.
Printmaking Practice
Make a monotype from a painted plate and discover what the first pull changes
Explore monotype printing with one painted plate, a first impression and a lighter second pull, while recording what changes between them.
Printmaking Practice
Register Two Print Colours Before Inking the Final Sheet
A dry registration check helps two print colours land in the right places before you commit ink and final paper.
Printmaking Practice
Reverse the Lettering Before Carving a Relief-Print Block
Plan reversed lettering on a relief-print block, test the design on paper, and check orientation before removing material you cannot put back.