Printing Info


A design is drawn on the surface of the lino and then parts of it are cut away using sharp specialist tools, leaving a relief surface to produce the image. This is inked up using oil based or water based inks and rollers and printed onto paper by hand pressure or via a crank operated printing press.


To produce additional colours the first or key block is offset onto paper then transferred onto a second and subsequent pieces of lino. The rest of the design can then be cut away on those blocks.


Each piece of lino is then put in turn into a registration block which holds them in place, then paper is put on top and it is printed, removed and allowed to dry.


The process is repeated for each colour.


It is possible to produce a large number of prints in this fashion - or until the lino (or the artist) wears out!




This linocut method of printing uses a single piece of lino to produce a multi-coloured print.


The lino is gradually reduced in size as each colour is cut then printed and the image emerges. This means that the whole batch of prints, plus any trial and artist proofs (A/P), must be printed at the outset and will determine the final number in any edition. The print and edition number is marked in the corner of each print.


The lino is carved and printed in the next colour, by placing the lino exactly over the previous print . Then the process is repeated until the artist has decided it is finished. The prints are allowed to dry, then numbered and signed.


As the block is essentially destroyed during the process, a reduction print can never be reprinted. This process uses a lot of paper and one piece of lino, and a lot of effort!


A collagraph is a collage of materials glued on to a "printing plate," which is a piece of sturdy cardboard, hardboard or similar. After inking, damp paper is pressed on to the surface to produce a print.

Other textures can also be applied - more-or-less anything flat enough that can be adhered to the plate and put through the press without damaging it can be used, including fabrics and plant material.  In fact the very slightest ‘edge’ will hold ink and print. Then the plate can be cut into and peeled.  Lines and other marks can also be scored or cut into the plate and its textures.

When the plate is finished it is sealed, first with dilute PVA which helps adhere the various elements to the plate, and then when this is dry with a coat of spray polyurethane varnish.  This stops the ink from soaking into the plate and makes it easy to clean.  After a couple of days the sealed plate will be dry enough to print from.

Heavyweight printmaking paper is first soaked and blotted. Then

the plates are printed using the intaglio method, and inked up with extended etching ink, then wiped with scrim and tissue paper. The print is taken using a high-pressure etching press and the dampened paper.


This process forces the paper into the cut lines and textures to pick up the ink left after wiping and also renders the textures used in making the plate. Colour can be applied in many different ways – e.g. the plate can be inked ‘a la poupee’ in different colours; a contrasting colour can be rolled over the top of the intaglio inking; chine collé (coloured lightweight papers adhered during the printing process) can be used; or the dry print may be hand-coloured.




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