15x19 2 layer reduction linocut to be included in my BFA show in a couple weeks!

And I still am. I just have never spent so much time to have an idea come to fruition. I could see it in my head and the idea was amazing, and it looked really good on the initial sketch. But when I printed the black, it just looked so unfinished. So I took some duralar and enclosed the shapes, which helped immensely. And then I added more lines and shapes to mimic the doodles in the colored shapes and it looks so much better. But now, I’ve got a 3rd block to carve. I know it’ll be worth it, but it seems like a lot of unnecessary effort for some 12x12 prints. 😕

I’m looking to try out some more exciting paper if anyone has any uk based recommendations.

I really like how this turned out! I know it’s not quite straight or centred on the paper but I will cut it to be straight at some point

Any Johnny Blue Skies fans in the sub? :)

Wish I’d thought to mirror so it came out the “right” way, but I still dig it!

Inspired by vintage Halloween decorations! Got these hot off the press and into the mailbox for my annual spooky season greeting. I had such a good time figuring this one out (made a lot of models to make sure the cut and construction would hold.)

Another tattoo artist's flash style print of another set of odd fellows. Much happier with this one in terms of both line work and layout. I'm particularly happy with the skeleton florist, the walking fish, and the human radish.

Hi, I’m taking Intaglio printmaking and I ended up messing up the plate by leaving it too long in the acid I suppose. I was wondering if anyone has any tips on fixing it without having to start on a new plate because I don’t think my instructor will give me a new one and he’s very hands off.

I have scraped it a bit but I’m worried about the fact that the plate dips in the hair, torso, and flowers. I have included pictures of how the print originally looked, how it’s coming out now, and the plate itself.

Any advice would be appreciated! TIA

I am really feeling defeated, I cannot work out what i’m doing wrong with my lino printing process. I think my first problem might be the water based ink i’m using, it dries so fast which means i tend to over ink. But i cannot tell if i’m pressing down too hard or not hard enough. Any advice would be greatly appreciated.
Thanks in advance ☺️

It's a long, complicated, and not very interesting story, but a woodcut I made 10 or so years back has become indelibly associated with a serial sexual predator and I obviously want it erased as much as possible from my catalogue.

I've deleted it from my shop and portfolio and shredded the ones I still had in stock already, but how do I approach the ones I sold?

There's a chance I'll be able to buy back a few as they went to people I'm still in contact with, but there's 5 in the wild I have no hope of getting back.

How does one abandon or disown a work? Or do I just hope people forget about it and hope it never comes up?

😮

a bit too ambitious. I wanted to make the cover of A Court of Thorns and Roses print for the midnight release party of A Court of Splintered harmony. I was planning to give out prints to the ppl there. Yay or Nay??

Japanese papers can't give me the registration precision I need. I use Ternes Burton pins and tabs and lay the paper down as straight as I can but I can never be sure what will happen. Fabriano Rosaspina won't let me get even solid coverage with large areas of color but is great with registration. Rives 175 is better with coverage than Rosaspina but the weird thing is my first layer registration is always slightly off from all subsequent layers. All layers except the first one have rock solid registration. Based on my research it seems that maybe my paper is being stretched by the press with that first layer? (The way the registration is off would support that idea.) My first layer is almost always a solid color background with any white carved out first. So not only is my first layer possibly being stretched but the solid backgroound ink may be expanding the paper slightly? At this point I feel stuck because I can't fiind a paper that gives me registration, and ink coverage. I realize that my CPL may be the whole problem but maybe someone here knows a workaround? Thanks

I take a free printmaking class for veterans. We have ink, plates, and presses, and about three hours to see what we can come up with. I have arthritis, so I don't do much carving, but I've really enjoyed experimenting with monoprints.

I see the work shared here and I'm blown away by how beautiful, clean, and detailed so many of your prints are. I genuinely admire the skill and patience behind them.

My own work is pretty simple. Mostly just me pushing ink around, playing with colors, trying not to muddy everything, and seeing what happens.

I've realized that my artistic fingerprint just doesn't seem to leave that kind of mark.

I am texture. I am messy. I am rough and visually agitating. I am, and I like it.

I guess there's a little vulnerability in sharing something that looks so different from the work I admire. But there's thought and feeling in what I create, even when it looks chaotic or unfinished.

I'm really happy to be part of a community of such talented people, and I'm proud of what printmaking has helped me discover about myself.

Any thoughts or tips are always welcome!

I want to make a two part image that is just a one color shape, outlined, and I'm wondering with my materials what is mostly to work out well- two stamps that don't overlap or a silhouette stamp and then an outline stamp on top.

I rewatched Heated Rivalry a few weeks ago and it really gripped me hard this time, so I made lino prints! Two layers - a roll on gradient for the sunset, and then a black silhouette of Shane & Ilya on top.

cant really tell wether i like the aqua tint version or not. its my first time doing this technique so i definitely learned some things😅

What do you think of my recent etching? It is two etched colour plates (Verni Mou/ Softground etching) and a monotype for the background colour.

After 4 months, 850 fish carved, and 10 layers of ink, I finally finished “plenty of fish in the sea”! I’m sooo relieved and proud to be done. It was a tough print, and I learned a great deal.

This is a few of my favorites from over 575 of these I made. They are all painted/drawn on Black Rives BFK and then I print from Japanese Vinyl with White Caligo Safewash on a Woodzilla Press, and then sometimes add a bit on top.

I learned a lot making so many of them and never got tired of the process or ran out of ideas.

​

4 layer reduction

This very sweet woman in my small town who knows I do linocut/printmaking, thrifted this thing called a "Cardmaster". Anyone encountered one of these before?? I think it's specifically for postcards.

I’m switching from using the green easy carve stuff to the traditional burlap backed stuff in my classes to help reduce some of the obscene plastic waste my classes produce.

For image transfer, I normally photo copy a kid’s drawing, have then go over the photocopy in 6b pencil, and then have them rub the back of the photocopy to transfer their drawing.

I tried staining the lino with diluted India ink and doing this transfer method today, and the image barely appeared. Even using one of those super toxic transfer marker with a photocopy didn’t take.

Ink stain was fully dry.

If anyone has better stain and transfer methods, I’d love to hear them!

*Title should read stained lino

Second round with tetrapak. This time was a bit blurry. I think is because this tetrapack is harder than the usual (2l juice) and the plastic coat thicker.