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Hi! my name is Sofia Salazar. I’m a textile designer from Argentina, and I’ve been living in Norwich for the past 8 years. I come from a family of makers and in my practice, I try to explore and experiment with almost every technique I learn about. Although at the beginning I used to work a lot more on textiles, mostly doing embroidery, in the last few years I’ve shifted almost completely to printmaking; Cyanotypes, linocut, woodcuts, screenprinting, pochoir and even kitchen litho.

Describe your printmaking process.

It depends on the printing technique I’ll be using; some take more preparation and designing than others. For instance, I can sketch with charcoal on a big piece of MDF and just start carving the lines for a very expressive and rough print that will take me only a few hours. Or, on the other side completely, I can spend days or even weeks planning a reduction print on my Ipad before getting anywhere near my lino piece. For a reduction print, I’ll first sketch a design on paper. Once I’m happy with it I’ll start working on it on my Ipad, first considering where to apply colour and how many layers the design needs. Then I’ll define the layers, decide the order in which they should be printed (because I use very strong colours I need to make sure the inks will cover each other completely) and once I’m finished I’ll start trying different colours schemes and combinations. Only once I’m done with that I can start putting the tabs on my paper, transferring the first layer to the piece of lino and thinking about carving.

How and where did you learn to print?

Oh, we are 100% self-taught. I say “we” because my partner has been interested in the process from the beginning and many times he’s the one insisting on trying something new. I’ve known about different printmaking techniques since I was a kid because at home prints were hanging from the walls, from the time my parents were students. I remember since then, paying a lot of attention every time I was in a museum, to see what techniques were used in the pieces I liked. So let’s say I knew the names; I knew linocut was a thing, that etching was a thing, that lithography was a thing. Eventually, I started googling and watching YouTube videos, many times just buying the tools and giving it a try intuitively. We have printmaking books, we’ve read blogs, we’ve tried, failed and succeeded eventually too. We bought our first inks from Handprinted, in 2014 and from then on we’ve been trying almost everything in their catalogue! From my screenprinting screens to my ABIG press, it all came from them.

Why printmaking?

I’ve always liked the possibility of doing multiples without losing the handmade aspect. I like to be able to feel the texture of the inks, to see the colours blending, the uniqueness of the mistakes, to see the relief and marks left by the press. I like the feel of the paper and I love smelling the ink while prints dry around me. I like seeing something materialise in front of me, I like knowing that I’ve been involved in the making of each one of my prints and that you can tell by looking at them that a human made them. I like to think in terms of printing, dividing a design into layers, considering the order in which colours should be printed. I think I enjoy the process throughout.

Where do you work?

I work from home, I have my studio in the front room of our house, in Norwich, so I get to see a lot of passers-by and I love whenever someone stops to look at what I’m doing. I also like coming back from the shops or whatever I’ve been doing out and seeing from outside all my prints hanging on the walls, drying, and the tools on my table.

Describe a typical day in your studio.

Well, I try to take care first of what I like least… so I usually start my day tidying up, makings to-do lists, taking care of emails and preparing orders for shipping. That takes up more than half of my workday, but once I’m done I can “relax” and take care of re-stocking, printing or planning new work. Even though shipping is very time consuming and repetitive, there are advantages, like not needing to use my brain a lot and being able to re-watch films or listen to podcasts or things I can’t really do when I need to focus a lot.

How long have you been printmaking?

I’ve attempted printing on a few occasions before but I’ve been doing it more seriously and non-stop since 2018.

What inspires you?

Other artists at work, either on Instagram, a museum or in a documentary. I love hunting for second-hand art books and seeing people’s sketchbooks and studios. I love to study an artist or a subject in-depth until I hit something new I want to try or make. Wandering around a city just looking at buildings, watching films, people watching. Museums always have an effect on me, always make me want to go home and make something. Of course, I like art a lot and I’m inspired by the likes of Picasso, Matisse, Cocteau, Le Corbusier, Malevich, Arp, Calder, Miro, Picabia, Schiaparelli, Hepworth and Hockney.

What is your favourite printmaking product?

My Hawthorn Roller: I love a good and heavy roller. I find the Ternes Burton Registration Pins essential to my work.

What have you made that you are most proud of?

My partner and my father in law built a big press from scratch back home and with it, we managed to print our first large scale print. A print I’m still very proud of. Also, all my reduction prints take me so much time and effort that I always end up feeling proud even if it’s only for finishing them. I think that’s my favourite technique at the moment; I really enjoy how you carve away layer after layer until there’s almost nothing left of your lino plate. And how there’s no going back.

Where can we see your work? Where do you sell?

You can see my work and my process on Instagram and I sell on my website.

What will we be seeing from you next?

I’m working on some flat pieces for wooden sculptures that I want to try and print instead of paint, but I’m still sampling and trying out materials at the moment 🙂

Do you have any advice for other printmakers and creatives?

Well, I think a good piece of advice would be to follow your curiosity even when it feels like drifting away from your original goal. Exploring new tools, techniques and materials usually leads to new work and even to new styles, so that’s always a good thing to try when you find yourself blocked. Lastly, it is always good to remember what you see on social media is only the best-curated version of ourselves and our work… you rarely see all the failed attempts so it is easy to think you’re the only one making mistakes or not producing daily work that is museum ready!

To see more from Sofia follow her on Instagram.

It can be tricky to see where you are carving when making a lino block, making it more easy to make mistakes. An easy solution to this problem is to stain the lino. That way, the colour of the lino on the surface is different to the inside, allowing cut marks to show easily.

Read on for one simple way to do this (or scroll to the bottom to watch a video).

Choose a bright or dark coloured acrylic paint that is a strong contrast to your lino. We are using traditional grey lino. Red acrylic paint is a strong colour option for staining.

Use a large wet paintbrush to apply acrylic paint to the surface of the lino. We don’t want a thick layer, just enough to cover the whole block.

Let the paint sit for a couple of minutes and then use a dry rag to buff off the excess acrylic paint. We just want to leave the stain behind, not a layer of paint. A damp rag may clean the block too much.

The block can now be carved, showing our gouged lines as we work.

It is recommended to clean the lino before inking up to remove any excess paint that may otherwise transfer to your print.

For this project you will need:
– Acrylic paint
– Paintbrush
– Sheet of Lino
– Rag

Hello, I’m Haychley and I’m a linocut printmaker based in Norwich, Norfolk. I’m a full-time printmaker and I work from my little home studio that often features my lovely cat, Stella. I run my own linocut workshops in Norwich and also organise pop-up shops for other creatives in East Anglia.

Describe your printmaking process.

Most of my prints start life as a digital design on Procreate on my iPad. Often my ideas come to me nearly fully formed and I have to work quickly to fill in the details and get them out of my head. Creating my designs digitally to start with allows me the speed to change parts of the design with ease and use layers to plan multi-block or reduction prints. I’m not a printmaker who necessarily follows a strict start to finish process; I’m often working on several linocut prints at once! I like to take my time and enjoy the carving process and then try to set aside several hours when I can test the print on different paper types to see which one suits the design best.

How and where did you learn to print?

I’m a self-taught printmaker. I watched countless hours of videos on social media and just kept persevering until I felt confident in what I was doing. I run my own workshops now for beginners and I’m a big believer that anyone can learn linocut printmaking.

Why printmaking?

I think it’s the freedom to be able to fully control what you create. You are in charge of the whole creative process from design to carve to print. It’s such a multi-sensory medium too; from the feel of the paper and the smell of the ink to the physical exertion of printing by hand. You feel like you’ve really worked hard to produce each print and there’s such a sense of satisfaction when a print is dry and framed or mounted.

Where do you work?

I mostly work at home in my little studio. I’ve made a conscious effort to join groups and organise events that get me out of the house regularly to meet new people and interact with the local art community. I’ve made brilliant connections this way and these in turn have opened more doors for me and pushed me to keep putting myself out there as much as possible.

Describe a typical day in your studio.

There’s not often a typical day for me at the moment. If I’m not at a market or acting as a duty artist in the shop, I usually let my mood dictate what I do each day. Some days I feel like getting lots of behind the scenes work done; updating my website, bookkeeping, organising my studio. Other days all I want to do is put a podcast or TV series on in the background and carve for the day. So long as the essential tasks are done for the day, this way of working really helps my mental health as I’m focused on how I feel that day and not forcing anything.

How long have you been printmaking?

I started printmaking in late 2017. My first prints were far beyond my ability at that point; A3 designs with a lot of solid ink coverage! Those first six months were such trial and error (and very frustrating at times) but I’m so glad I stuck with it. I would get up every day and try again, varying paper types and tweaking my process each day until I eventually cracked it. The actual printing part of printmaking used to be something I dreaded but now it’s one of my favourite parts.

What inspires you?

It always feels so vague to say that inspiration comes from all around but it’s true. I can be walking around the City and see a little piece of stonework and want to go straight home and carve it. My prints tend to vary a lot depending on the time of year, too. Last summer I made a print called Forage that depicts a woman collecting mushrooms under a full moon in the forest. My most recent print was of a girl sat relaxing on the grass and an inquisitive butterfly in front of her dreamt up whilst sat in my own garden. As autumn and winter approach my prints will often get darker in colour and include more cosy nighttime scenes. I try to keep in tune with what’s going on around me in nature and reflect that in my prints.

What is your favourite printmaking product?

Japanese HoSho paper. I’ve tried lots of different paper types over the last few years and always come back to my old favourite! It’s brilliant for printing by hand using a wooden spoon or baren and it’s such a strong lovely paper. I tend to hoard it a little because it can sell out fast so I always have several pads at a time to hand.

What have you made that you are most proud of?

I think I would have to say my Norfolk Broads print. It was my first reduction linocut and taught me a lot about the process. It’s a print that really reflects the beautiful landscape of Norfolk I feel too. Before this print, I focussed a lot on single colour linocuts, often in darker shades, but this is such a bright and happy print that was a step in a new direction for me.

Where can we see your work? Where do you sell?

Most of my linocut prints can be found in my Etsy shop. I hope to integrate my shop into my website by the end of the year too. I have a gallery and blog on my website and I publish a lot of process videos on my Instagram. If you’re local to the Norwich area, I have my prints in the Norwich Art Shop and Anteros art gallery as well as greeting cards in a couple of other local shops.

What will we be seeing from you next?

My next three linocut prints focus on the relationship between women and nature. They’re fun and joyful designs I think; one beach-themed, one of a woman lying on the grass (using the negative space on the block), and a large colourful reduction print of a girl sitting on a lilypad.

I also have plans for a new Norwich themed print based on a gorgeous historical design in the City. It’s one of the best feelings when inspiration strikes and the second I saw it I knew I had to try to turn it into a linocut.

Do you have any advice for other printmakers and creatives?

I feel like the biggest thing I’ve learned is that you have to constantly put yourself out there, even if it’s out of your comfort zone. Nothing will happen unless you make it so try to push yourself to try new events and interact with different types of artists who will help you grow. I’m an introvert so it definitely doesn’t come easy to me but the more you do it the easier it will get, I promise.

If you’re just starting out as a printmaker, my advice would be to just keep going. Become a linocut sponge! Watch all the videos you can on Instagram and YouTube, read online tutorials and try to follow along and absorb all the information you can. Keep varying your technique, paper type, ink, tools, everything you can until you find what works best for you and allows you to create what you want to.

To see more from Haychley, follow her on Instagram or visit her website.

Hi, I’m Katie, also known as Sotibab. I’m an Architect and printmaker currently based in Bristol, UK. My husband and I moved back to the UK 7 months ago after living in Hong Kong for 9 years. My background in Architecture has allowed me to explore other creative mediums, which happens to be printmaking! I’ve been creating botanical and typographic inspired linocut cards and prints of a minimalist nature.

Describe your printmaking process.

I start by sketching an idea roughly into my sketchbook. I’ll let the idea sit for a while before drawing it properly with most of the fine details intact in Procreate on my iPad. I will then print and transfer the image using Japanese Red Carbon Paper onto my choice of carving material which is usually Lino, Japanese Vinyl or Blue Easy Carve. The choice of carving material depends on the design. If I want nice crisp lines, I would choose Lino or Japanese Vinyl. If the design is more flexible, then I would use Blue Easy Carve.

Then the fun part begins – carving! I’ve learnt to work slowly here. I used to be a bit impatient and rushed carving which led to chipping unwanted parts off.

Once carved, I’ll test print with Versafine ink pads, take a step back then make some amendments. There’s a lot of putting the design down and reviewing it in my process. I find that you can see things more clearly after taking a break from it. I’ve rarely designed, carved and inked in one go.

When I’m happy with the design, I’ll start my inking. If I’m using colour, I’ll play around with different colour combinations and keep those swatches in my sketchbook for reference later. I’ll ink with Cranfield’s Caligo Safe Wash inks and depending on the size, I will print using a baren or my press.

How and where did you learn to print?

I am self-taught. A year ago, a friend lent me her Speedball carving tools where I carved my first stamp. Eventually, I bought my first Flexcut carving set and the carving frenzy began!

Books, online resources and lots of experimenting have helped me along the way. The printmaking community on Instagram has been a great resource. A lot of printmakers are very generous in sharing their tips and tricks which has been extremely helpful. I started off making small stamps with ink pads and experimented with heat embossing powders.

Moving over to the UK meant printmaking suppliers were more easily available. I started trying different carving materials, different papers and playing with different relief printing inks.

Why printmaking?

I have always enjoyed having a creative outlet and I would go through different phases with watercolour and calligraphy but printmaking was the one that really stuck.

After carving and inking my first stamp, I was hooked. Carving is a very addictive and meditative process in itself. The first test print is always extremely exciting and satisfying as you really don’t know what to expect.

As an Architect, it takes many years for a project to come to fruition. With printmaking, you’re able to see the results a lot sooner. I try to explore subjects other than architecture in printmaking. In a sense, printmaking is my way of escaping the day job!

Where do you work?

We have a small temporary set up in our bedroom where I do most of my carving, inking and printing. We will be moving to Edinburgh shortly so we shall see what the set-up is there!

Describe a typical day in your studio.

Due to my full-time job, I try to fit printmaking in after work hours during the week. I’ll try to do as much sketching and carving as possible during the evenings and work on multiple carvings and designs. During the weekends, I’ll clear my desk and do most of my inking and printing.

How long have you been printmaking?

I have been printmaking for around a year.

What inspires you?

My biggest inspiration comes from nature, landscapes, strong geometry, patterns, colours and typography.

What is your favourite printmaking product?

My favourite printmaking tool is my Pfeil 11/0.5mm cutting tool. This little tool allows me to carve the finest details accurately; it stays sharp for a long time and cuts through lino easily.

What have you made that you are most proud of?

I’m still relatively new to printmaking, but a print that I am most pleased with is my latest blue landscape piece. Although it looks like a simple print, this print was made of many firsts for me – using a registration system, creating a reduction print, applying a large gradient ink roll and mixing complementary colour schemes.

Where can we see your work? Where do you sell?

You can find me on Instagram for my progress and latest prints. My cards and prints are also available here.

What will we be seeing from you next?

There’s a lot that I’m keen to explore! I hope to create more reduction print pieces such as landscape scenes – reduction printing has opened up a lot of different possibilities. I would also like to create some geometric and typographic prints.

Do you have any advice for other printmakers and creatives?

Allow yourself to experiment and play with different subjects, colours and techniques that interest you without being pressurised on focusing on the end result.

To see more from Katie follow her on Instagram

This method is quick and simple. No digital equipment or software is required: all you will need is paper, a pen/pencil, tape and scissors. With this technique, a repeat pattern can build seamlessly with no awkward joins or obvious lines. It’s perfect for a scatter design and can be used for screen printing or block printing.

Read on for instructions or scroll down to watch a video.

This technique will create a straight repeat pattern: you build up the pattern by printing directly alongside and below your previous print.

Begin with a piece of paper a little smaller than the piece of lino you will be using, or a size that will easily fit in the printable area of your screen.

Start to draw your design in the centre of the paper. Fill in the middle of the paper with design but don’t work at the edges yet. Scatter designs are perfect for this technique: this means that the design is created from separate motifs with spaces between them.

Fold the design in half and cut along the fold line.

Mark your corners 1, 2, 3 and 4. You can also do this before you fold and cut (but we may have forgotten…)

Swap the two pieces round so that the cut lines become the outside edges. Stick them together at the back with small pieces of tape.

You should now have a new blank space in the centre of the paper, created where the two edges have now met. Draw more design over this new middle. Again, don’t draw all the way to the edges yet.

Next, fold the paper in half in the other direction. Cut along the fold line.

Swap the two pieces so that the top becomes the bottom and the bottom becomes the top. Follow the pictures (or watch the video at the bottom of the page) to avoid confusion!

Stick them together with small pieces of tape at the back.

Draw over the new join to fill in any blank spaces. You can draw more closely to the left and right edges but do not touch them with the design.

Unstick the pieces and rearrange them in their original places: 1, 2, 3 and 4.

Stick them at the back, with long pieces of tape this time to make sure they stay in place.

We now know for sure that the edges will match up because of the way they were drawn. If we were to expose this design on a screen or carve it onto a block, we would have half-shapes trying to match up. This is absolutely fine for some designs, but to avoid this, we can take it a step further:

Take a different colour pen or pencil and draw a line down the middle of the design in one direction. This time though, we will wiggle the line between the elements in the design, sticking in the gaps between the motifs.

Cut along this line.

Swap the two pieces around again.

Match up the design and tape it at the back.

Repeat down the middle in the other direction by drawing a wiggly line between the designs, cut, swap and tape.

You should now have a design that fits together like a jigsaw piece but with no half shapes! This design is ready to be transferred to a lino block or screen for printing your repeat pattern.

This method is fantastically quick and easy. If you’re looing for a way to loosen up your drawing skills and mix up your printmaking, this is one to try! Scroll to the bottom to watch a video or read on for instructions.

Begin with a sheet of plastic (drypoint plastic works well for this). You could also use an Inking Plate or piece of toughened glass. It needs to be solid, flat and smooth. This is for us to roll ink onto.

An oil-based ink is better for this project as it has a longer drying time on the plate. Water-based inks could dry before you have finished making the print, causing the paper to stick to the plastic. We like to use Caligo Safe Wash Relief Inks for this technique but Cranfield Traditional Relief Inks or Hawthorn Inks would work well too.

Roll a little ink onto an Inking Tray or separate Inking Plate. Using the roller, transfer some ink to the plastic. You need an even layer that is not too thick but not sparse. Fill most of the plastic sheet but don’t go all the way to the edge – ideally, your inked area should be slightly smaller than the size of your paper.

To begin a print, gently rest a piece of paper on top of the rolled out ink. Use a couple of small objects to hold the paper down at the very edges if necessary.

Use a pencil to draw on the back of the paper. Stay within your inked up area (which should be most of the paper minus the edges). Try not to touch the paper as fingerprints will pick up ink on the other side and potentially spoil your print. Press quite firmly with the pencil to make sure the lines pick up ink.

If you’re struggling with drawing freehand, you can lay a magazine page or similar on top of the printing paper and draw over the top. The printing paper will still pick up the drawing.

When you have finished drawing, peel up the paper to reveal the print! There is likely to be background texture from the background ink but the drawing should be bold. Different papers will produce varied results so experiment to see what gives your preferred result.

To take another print, replenish the ink, lay another sheet of paper down and draw again.

To experiment further, try different mark making tools, use your finger to press lightly on the paper to add shading and tone.

You will need:
– Sheet of plastic such as Drypoint Plastic or an Inking Plate
– Oil-based Ink such as Caligo Safe Wash Relief Inks, Cranfield Traditional Relief Inks or Hawthorn Inks
– Inking Tray or another Inking Plate
– Roller
– Pencil
– Paper on which to print
– Magazine pages or similar (optional)

Heya, I’m Gareth, an amateur printmaker currently living in Leeds with a 6-year-old Whippet called Lola.  The majority of my time is spent working at a high school supporting blind students, but outside of that I’m busily working on, or thinking about the next print project. I studied design and illustration at university in my home country New Zealand yonks ago, and after that threw myself into different creative adventures – having a bash at film character design, oil portraits, and general illustration. After a handful of years not doing very much creative work, I felt the yearning to get back to it and after borrowing some lino cutting tools, I had a go and loved it.

I’m definitely still a learner in some ways and have plenty of skills to sharpen. I’m really enjoying flicking between creative portraiture and larger scale reduction prints that throw in a bit of colour. 

Describe your printmaking process.

After a few thumbnail sketches of potential ideas and a lot of staring off into space visualising it, I draw out a full-size design, leaving out a bit of detail to add later. I then transfer it to the lino using carbon or graphite paper and draw in a few more details.

If it’s a straightforward monoprint, I’ll draw it up with an ink pen and get carving, but if it’s a reduction I’ll coat the pen linework in a layer of coloured ink to seal it. This helps protect the drawing from getting rubbed off every time I clean the lino after a layer has been printed. It’s the best solution I’ve used so far. Then, when it’s all carved and I’ve high-fived the whippet, I do a test print to check if there are any carved areas to tidy up. Then, I cross my fingers and get printing using my Ternes Burton pins, baren and printing press!

How and where did you learn to print?

I’ve learned what I’ve learned so far mainly through the experience of doing it a lot in a short-ish space of time and learning from mistakes. I have picked up a few useful tips from Youtube and printmaker’s blogs. The Handprinted website has also been super useful for learning about materials and how to get the best out of them. I haven’t really been doing it for very long and there’s still loads to figure out. 

Why printmaking?

One aspect I really like about it is the process. I really enjoy the different stages involved – the drawing, the carving, the inking and working with paper.  It’s been a really helpful creative outlet to focus my mind on (especially during the Covid crazy times). It also enables me to produce work that is a satisfying mixture of graphic, bold, and finer detailed bits. It brings together the different styles I’ve used with illustration and painting from the past, and is very hands-on which is ace.

Where do you work?

I mainly work at my desk in the converted loft of my house. It’s a bit of a chaotic room, where I share the printing space with DIY tools, tents, squirrels, and a load of other things that get stored in lofts, so it’s not quite as photogenic as a lot of studios you see! It’s nice and light and has a futon for my Whippet to snooze on though, which is the main thing really.

How long have you been printmaking?

Since January this year, so a bit of a newbie.

What inspires you?

Other printmakers and other artists of course. Always great to see their jazzy work and what processes they use.  With my portraits, definitely the subjects themselves. The main reason I’m making a print of them is that they’re inspirational and awesome in different ways.

What is your favourite printmaking product?

I think my Woodzilla A3 press is my favourite printmaking product I’ve used. Looks like a dream, saves time and achy muscles. Closely followed by my Pfeil 12/1 carving tool, which I use all the time and has become an extension of my hand…in an Edward Scissorhands kind of way.

What have you made that you are most proud of?

I guess I’m most proud of my Jurassic park print which I rolled out recently. It quickly turned into a much more complicated piece than I’d originally planned, with four layers in total and two separate lino pieces. It was a little stressful at times, but I was really chuffed with the final print in the end.

Where can we see your work? Where do you sell?

At the moment you can see my work on Instagram, and my prints are available to buy on Etsy. You can also message me directly to buy or for a commission.

What will we be seeing from you next?

I’m working on some ideas for a two-colour reduction print which I’m excited about and aiming to have some t-shirts, patches and cards in the mix.

Do you have any advice for other printmakers and creatives?

My advice would be to try not to compare your work to others, and devote your time to what you enjoy, what makes you the happiest. Don’t get bogged down by the number of Instagram followers you have.  Immerse yourself in the creative community and talk to other creatives as it’s a warm and welcoming place. Also, get a whippet.

To see more from Gareth follow him on Instagram

Etching presses aren’t just for printing etchings. They have a bed that is rolled between two rollers, the top of which is adjustable in height. This makes it great for printing from lots of different surfaces as the tension is customised for each print! Printing a linocut with an etching press is easy with a few adjustments.

Scroll to the bottom to watch a video or read on.

One of the presses we use in the Handprinted Studio is the Abig geared 50 x 70 press but you can print linocuts on any etching press.

The most important thing to amend when using an etching press for lino printing is to use a pair of runners. These are strips of lino that run down the edges of the press bed. They are the same height as lino (3mm) and help keep the roller in contact with lino the whole way along the bed. This means that your top roller will turn easily at the right height. It will not get stuck on the edge of the lino block, which would cause smudges and jumps.

To set the press height, first establish whether or not you will be using a press blanket (read on for more information on that). Raise the top roller up. Lay the runners either side of the press bed. Lay the blanket(s) on top (if using) and lower the top roller so that it sits on top of either the blankets or the lino runners. If you like, you can put an un-inked piece of lino and a blank sheet of paper through the press. You should be able to tell the correct pressure from the paper as it comes out – too much of a dent from the lino and the top roller is too low, absolutely no mark at all and your top roller is probably too high.

Most etching presses are used with blankets. Some have just one, some two or three. Printing linocuts with the blankets will result in the paper being presses into the lino more. This is likely to pick up lots more of the ‘chatter’ background lines. Whether or not you would like this is an individual design choice for your print. Printing linocuts without blankets will result in less chatter.

You may want to use a registration sheet under the lino to help position the paper in the correct position for your print.

Lay the inked lino face up in the centre of the press bed.

Gently lay your paper on top of the lino.

If using blanket(s), carefully lower down on top.

Turn the handle on the press to wind the bed through the rollers and take your print.

You will need:
– An Etching Press
– Runners
– A lino block, inked up
– Paper on which to print

If you are completely new to linocut and would like help getting started, you are in the right place! Read on or scroll to the bottom to watch a video.

Start with a piece of lino. There are several to choose from, from traditional Lino to Easy Carve to Softcut. You can learn more about which may be right for you, here. We will be using traditional grey lino for this project. If you have memories of using hard, crumbly lino at school or college don’t worry – it only goes like that when it’s old! fresh sheets should be flexible and not crumbly at all.

You will need some lino carving tools. There are lots of cutting tools available to choose from. We are using a set of Japanese Cutting Tools for this project. They’re inexpensive and carve beautifully. You can also keep the blades sharp with a Slipstrop.

Pfeil Tools are another one of our favourites – the quality is fantastic. They’re more expensive, come in a range of sizes and shapes and can be bought individually.

A roller is needed to transfer the ink to the block. A little Abig Roller is a great one to start with as they’re inexpensive and lovely to work with.

There are lots of different rollers to choose from, with hard or soft rubber, in various weights and sizes for all budgets. For a wider option, these Soft Rubber Rollers are a great option. Hawthorn Rollers are fantastic if you would like something a bit special.

When choosing ink, there is one main factor to contemplate: oil-based or water-based. Water-based inks dry quickly – Schmincke and Speedball make lovely ones.

Oil-based inks dry slowly – Caligo Safewash Relief Inks are a great option. We are using Schmincke water-based ink for this project.

When you’re ready to make a print, the first thing to do it to draw a design on the lino. You can do this with a pencil (or permanent pencil) directly onto the surface, use tracing paper or carbon paper (red or blue).

The next step is to decide which areas will print and which will be carved away. We are starting with a single colour block. This means that the design will be binary – the areas of the lino will either print or not. Print areas will be left as raised lino, the rest will be carved away. It can help to mark them on the lino, for example, drawing an x on areas to be carved.

When carving, you are likely to want to choose a few different shapes and sizes of tools. A V tool will be great for edges and detail. A small U tool can be good for thin lines and a large U is good for clearing away unwanted areas of lino. You may want to start by going around the edges of your main shapes with a V tool.

Make sure to hold the tools in your hand correctly. We want the handle in the palm of our hand, not like a pencil. You can use your forefinger to guide the tool by placing it further down the tool. Keep your other hand behind the tool at all times.

For carving curves, it helps to rotate the lino instead of the tool. We want to always be carving away from ourselves.

Use a large U tool to clear away large unwanted areas of lino. Try to get the surface as smooth as possible so it doesn’t pick up unwanted ink. This is called chatter (which can add interest to the print – some printmakers choose to include it in their work whilst others prefer to remove it all). Clearing areas in a direction that suits the print will help the design. The chisel in the Japanese Cutting Tool set can be used to skim off peaks if desired.

Pfeil Tools are excellent for carving tiny details – try the 12/1, 11/1 or 11/0.5 tools for the smallest details.

When you’re ready to print your block, roll out a little ink onto an inking plate. You only need a little. Roll out a square that is the size of your roller in height and width. The ink should make a slight zzzz sound and not be too squelchy. Water-based inks will dry quite quickly on the plate, roller and block so it’s best to just use a little ink at a time and to work quite quickly.

Roll the ink onto the block, taking care to cover all the areas of the design. Top up the roller with ink if necessary. Try to avoid areas of background if possible.

To take a print, place the block face up. Lay a piece of paper on top of the block, being careful not to move it or the image will smudge. You can take the print using a baren, spoon or just your hand. Rub all over the back of the design. Lightweight papers will usually give the most even results. Starting off with plain 80gsm copy paper will be fine for test prints while you learn.

Peel off the paper to reveal the print!

To take another print, re-ink the block and repeat. When you have finished printing, remove excess ink from the block with a damp cloth. Water-based inks can be cleaned with just water, Caligo inks need washing up liquid, some oil-based inks need oil to clean them or Zest-it Printmakers Cleaner. If water-based inks have started to dry on your plate or roller, you can use Zest It Printmakers Washdown to remove it.

You will need:
– Lino (or other carving surface)
– Lino Cutting Tools, we used Japanese Cutting Tools and Pfeil Tools
– A roller like this Abig Roller, Soft Rubber Rollers, or Hawthorn Rollers
– Ink (like Schmincke, Speedball or Caligo)
– Pencil, permanent pencil
– Tracing paper, blue carbon paper, red carbon paper (optional)
– Inking plate
– Baren or spoon (optional)
– Paper on which to print (you can start with just 80gsm copy paper)
– Cleaning supplies like rags, washing up liquid (plus oil or Zest It Printmakers Cleaner for oil-based inks or Zest-it Printmakers Washdown for dried on water-based inks)

My name is Hayley Anderson and I am a printmaker and artist from Lossiemouth in the North East of Scotland working under the name Buff and Blue Prints.

Describe your printmaking process.

I mainly work in linocuts and really enjoy the whole preparation process of the medium.  My inspiration usually comes from a single image which is then built and layered as the drawing stage develops.  I tend to start carving before I’ve drawn a final image onto the lino as I find that the pieces almost have a mind of their own when I’m in the process and other elements will start creeping in.  I’ve never really gone for a minimalist look and my prints tend to have several different shapes and patterns included in the composition. 

How and where did you learn to print?

I’m mostly self-taught although I was first introduced to the medium at college 20 years ago.  I remember thinking at the time it was far too complicated and time-consuming and basically didn’t try it again until I bought myself a beginner’s kit a few years ago.  Since then, it’s been a case of trial and error, plus obsessively watching other linocut artists process videos to try to pick up tips.  I’m still learning and really hope that I never get over the joy of managing to pull off a new technique.

Why printmaking?

I really enjoy the physical aspect of printmaking and that you can create something wonderful from very little.  I find carving lino an almost meditative practice and love to see the image develop from the tiny cuts and markings I make.   There’s also the added surprise element of pulling that first print, hoping that all the hours of carving have created the image in your head.  It’s probably my most favourite part.

Where do you work?

I work from my kitchen table at home in Lossiemouth, which tends to have mountains of different printmaking materials covering it.  I am a very messy worker but can still manage to create amongst the chaos.  Last year I made the decision to return to University to complete my BA Hons Fine Art and have just concluded year 2 at Moray School of Art which is part of the University of the Highlands and Islands.  When I return in September, I will have a dedicated studio space to work from so finally my kitchen will be free of inky equipment for the first time in ages!

Describe a typical day in your studio.

There really isn’t a typical day – as well as my own print projects and Uni work during term time I also take commissions to create brand stamps and printed bags for other businesses.  I’ve been lucky to work with some amazing independent businesses from a hand-poured candle company in Wales, a cruelty-free skincare brand from Australia and a local sustainable luxury cashmere bedding firm in Scotland.  I also teach Lino Printing workshops in my local area which I absolutely love.  It’s a joy to watch people create their very first prints and I’m always amazed by the gorgeous results.  I love that I have the mix of projects to keep me busy and it means that it never really feels like work.

How long have you been printmaking? 

I bought a kit around 4 years ago and starting experimenting.  I started small and to be honest, they were really terrible!  My very first stamp was a tiny cactus that was barely recognisable and took around 10 minutes to do.  My latest completed project took over a month of serious carving so I could say I’ve definitely improved in both patience and technique.  Like anything else, printmaking is all about practice and it’s lovely to look back on how far I’ve come.

What inspires you?

I love botanical shapes and have around 19,000 photos on my phone which are mostly of leaves and trees!  Most of my work will feature plants and leaves but recently I’ve started adding figures after taking part in some online life drawing classes.  I’m not a confident portraiture artist so it’s been a massive challenge to create faces that I’m happy with and I’m always scrolling through Instagram to look at how other artists create shading on lino portraits.

What is your favourite printmaking product?

Changing over to Cranfield’s Caligo Safe Wash inks was a game-changer for me.  Beforehand I was using water-based inks and had struggled to pull a decent print but now my work has vastly improved in quality.  Their metallic inks are a dream too and give gorgeous results.

What have you made that you are most proud of?

My most recently completed work The Forest Queen was a huge step up in size and style for me.  She’s a 76 x 76cm lino which is more than 4 times bigger than anything else I’ve done.  I did masses of research for all the different elements contained in the composition; from the crown she wears taken from a 1930’s stage production of Midsummer’s Night’s Dream to the trees in the background which was based on the Alders described as being magical in George MacDonald’s book Phantaste published in 1858.  I tried to emulate the style of classic botanists for the foliage surrounding the figure and create depth which was a departure from my previous two-dimensional compositions.  

Where can we see your work? Where do you sell?

I post regular updates on my Instagram and Facebook and show what I’m working on.  I love a time-lapse so quite often pop these up to show my progress.  I sell through my website which contains a variety of prints and linens within the collections.

What will we be seeing from you next? 

I’m currently working on a portrait of Hedy LaMarr who as well as being a 1940s movie star was also the inventor of frequency-hopping technology that was a precursor to the secure WI-FI, GPS and Bluetooth that we all take for granted now.  I’m trying to challenge myself to work on pieces with more fine detail over the next few months before returning to Uni in September.  I’m also hoping to return to holding classes locally now that meeting restrictions are starting to lift, I’ve really missed getting out and meeting new people.

Do you have any advice for other printmakers and creatives?

Embrace your own style and don’t compare yourself to others.  There are no mistakes in your work only the chance to change it for the better and enjoy the process.

To see more from Hayley follow her on Instagram.