I’m melting here in awe. Absolutely gorgeous. I really enjoyed seeing all the steps and I have a new appreciation of just how special each print is. All that work put into them, and it shows. Rare beauty! Thank you for sharing!
Wow, Those are incredible. I've just begun to get into printmaking and you are an absolute inspiration to me. The way you compose images and capture light (and with only 12 or colours!) is amazing. Please don't ever stop making such beautiful pieces af artwork :)
You explain everything beautifully! It's often hard to talk to beginners about the intricacies of ink mixtures and complex processes. I appreciate this, cheers!
Thank you Sine... I always say that my process is 1) create a problem 2) find a way to fix it, which 3) creates a new problem! There are plenty of days when I am convinced I'm not going to get to a satisfactory conclusion, but there's nothing to do but "press on." (Printmaker jokes = terrible)
Señora York, thanks to your advice the first color, so far, has come perfect. You are a wonderful teacher and I appreciate very much your taking the time to answer my questions. Thank you.
I love the design and the contrast of colors. I appreciate the explanations about the layering of colors. I have done a reduction print, and you cleared up one of those questions I had when you did the yellow color.
Thank you so much Sherrie! I started lino printing a couple of weeks ago and I needed an instruction video like yours to get a better sense of the reduction method. You explain it very well! And what a beautiful peace of art!
Well done Sherrie! It is so nice to see you in person and hear your voice. As a long time fan this is a really nice introduction. It is always so cool to see another printmaker, carve and share their process.
Aw, thanks, Wendy. Yeah, funny, isn't it? We've "known" each other for years now... but still only virtually. Gonna have to fix that one of these days. :-)
I agree with Wendy Willis.I was lovely to see you work and I learnt heaps. I appreciate your generosity in sharing your process. Loved seeing your registration system being used.
That was absolutely brilliant! I have just received a Lino cutting kit for Mother’s Day, and found this video fascinating . Can’t wait to to try it! Thanks so much for sharing your process.
Thank you so so much for your generosity of spirit - your print is absolutely delightful and I have learned so much . I look forward to looking at all your work and I will try and attempt another reduction print 🙌 🌸🧡
Decided to comment and now I don't know what to say ... I can't come up with anything that sounds as sincere as I would mean it to be received, or as honestly flattering and grateful that doesn't appear gratuitous ... after some though I came to this ... Today I was, once again, unexpectedly touched by Serendipity when I found you on TH-cam while merely searching for a couple of decent tutorial videos on lino cutting and printing - I've been an acrylic painter since my high school days in the very early 70's and am just getting stocked up and about ready to get busy in printmaking so to expand my options when creating ... anyway, that's the plan - but today I took an unexpected turn and was held in awe as I walked right into your Sistine Chapel, your Louvre, your Webpage. I am certain that if I had begun relief printmaking 50 years ago instead of painting you would still be, today, my Master. I have been studying many very talented lino printmakers in Great Britain (seems like everyone is doing it there - and they are remarkably talented in their own ways too) and I've seen much that I admire and marvel at, but I was not ready for the complete cultural experience that you have created for yourself all centered around nature and the love of it - while my style of art doesn't reflect this at all, my life appreciations that I've accumulated does in my vital force within. What can you say to your Master when you meet her, what can you offer her in appropriate compensation for what you've so generously been given? If I were somewhat younger than the years that I am now I would offer you my daily services as your apprentice as they used to do. But alas, that cannot be for me ... I can only hope to someday perhaps meet up with you in person, take you to dinner and properly thank you for what you've done for me today and all my tomorrows. I have signed up to your newsletter and will glean what I can from it, and your on-going works, what I possibly can in order to be, myself, more like my Master in the end.
My goodness, Gary. I am so pleased that you found this video helpful and that you are enjoying the work that I'm making. Thank you for sharing your heartfelt and generous response. You are correct that there are many printmakers in the UK, and some really excellent ones. I'm sure you will find plenty to inspire you and your own work. I hope that you continue to find the process rewarding and just the right amount of challenging. Cheers!
Bravo! That is so cool. Love how you used the opaque layers to change gears, and I’ll be using your newsprint mask idea, very helpful. Thanks for posting.
Thank you very much! You explained the process so well and I loved watching how the image came to life with each colour pass. I think you've got me hooked on trying lino printing.
Thanks for the great walk-through! I especially appreciated how you talked through those tricky decision-making processes. It's cool to hear an artist describe how they make choices. I need to explore your channel a little more, but I'm curious about how to construct a jig. I got the general idea of how yours works, but I'm interested to see how to line things up and attach the pins. Anyways, very cool! Your print was beautiful as well.
Emily, I'm so sorry I missed replying to this when you posted it... somehow I don't think I ever saw it. As for the jig... the one I am using in the video is just a piece of matboard with an opening cut in it that is the same size as my block. I attach the pins to one end of the matboard, and then attach mylar tabs to the back of each piece of print paper before I print the first color. When I was printing by hand I used lino mounted on 3/4" board and built a wooden registration jig. A description of that is on my blog, here: brushandbaren.blogspot.com/2008/12/linocut-jig.html Thanks for watching, and for taking the time to reach out with your question!
I am new to lino printing and this is the first video I have watched which clearly and simply shows me how I might make some reduction prints when I get a bit more experienced. As someone who has sketched for much of my life, I am struggling a bit to get my head around the idea of negative space. As well as the fact that my lino cut will be a reverse of anything I sketch.
Thanks so much for doing this. As a self-taught reduction woodcut printmaker, I'm forever questioning if I'm doing things right. I've long been a fan of yours, so seeing you work through the same issues I have in the same ways I do, has been a great confidence boost. I often print lighter colors over darker, bolder ones, and I love that you refer to the "ugly duckling stage" -- I call it the "awkward stage."
I'm glad you found it helpful, Jeff. I, too, am self-taught... I try not to think of it as whether it's "right," but whether it will work! Mostly I describe my process as creating successive problems that I then have to solve. ;-) I rarely have a plan when I start... just a solid (I hope) drawing and an end goal. How I get there (if I get there) is almost never straightforward. Press on!
Hi Sherri, amazing work, as an absolute beginner to lino cutting reduction prints the video is so concice and very well presented. It's by far the best explanation of a reduction print that I have seen. I have been inspired by the process and I have to say I am quite excited to try a reduction. I look forward to seeing more of your work.
Mark, I am so glad you found this helpful. When I first started doing reduction work I kept it really simple: my first reduction was a color plus black, and my second was three shades of gray (which I struggled mightily to get right and only ended up with an edition of two!). So... whenever you're ready to jump in I'd suggest modest ambition. ;-) Or what the heck... just jump on in and go for it. Why not?
That was so instructive and beautiful! I am starting back after many years of hiatus from printmaking. Your video was amazing and makes me want to invest in a press (of course LOL). Thanks for putting the time into this excellent video.
I'm so glad you found it helpful! I understand about wanting a press... I printed by hand for... hmmm.... 12 years? 15? before I finally got one. My neck and wrists and shoulders are still cranky, but not as much as they might have been by now! 🙂
Your work is really beautiful. Thank you for such a great instructional video. I would have no idea of the work behind making such a pleasing print. I will be watching, and enjoying more of your work. Amazing!
Just came across this and enjoyed it very much! Thanks! I have been making prints for about a year now. I was never taught or trained and videos like this help alot, so thanks for sharing!
I'm glad you found it helpful, Tom! I never had any instruction in linocut, either, and I made a lot of messes along the way. Happy to share what I've figured out so far!
Wow, fascinating, fantastic and inspiring. I had to repeat the video a few times to really understand the process of carving, painting and how shadows and highlight develop with every pass of paint. Thank you very much for the video. I found your gallery and I am amazed of the beauty ofd your work, so inspiring.
I so wish more videos could be music-free. Thank you for making such a technically good audiovisual artifact, as well as a challenging and ultimately successful reduction print! If TH-cam had a "stars" rating system, I'd give this 5 out of five.
thank you Sherrie for this reduction process tutorial. Have admired your work for nearly two decades. I believe (not certain though) you might have posted and/or commented in the Wetcanvas printmaking community at one time? I haven't been active at all in that community for several years due to health challenges but recently returned to the medium in limited capacity. I have never attempted reduction lino and feel inspired to after watching this tutorial. Best wishes.
Hi Brian, yes... for a brief time I was on the Wetcanvas forum, but couldn't keep up with another platform. I'm surprised you remember! But I'm glad you found the video helpful, and wish you the best for improving health and your new explorations in printmaking!
Thanks, Michele.. I'm glad you found it helpful! Good luck with your efforts, I hope you will find the process to be just the right combination of challenging and satisfying!
Yeah really enjoyed watching you wrestle the colours back in a different direction and it was very informative.... I'm going to be trying my first reduction very soon and it'll probably be a complex piece... This really helped. Thanks
Just found this video and I can’t wait to go home and try it. A quick question: what is the best way to clean the linoblock and how long did you wait between color passes?
I am using oil-based inks, so I clean up with mineral or vegetable oil. (I put some mineral oil on my inking glass, roll it onto the brayer, and use the brayer to put oil on the surface of the lino. You don't want oil to get down into your cut areas!) How long to wait between colors depends on several factors: type of ink, how many colors are already on the print, thickness of ink, thickness of paper, and the weather! In the early stages I can sometimes print more than one color pass in a day, but after 4 or 5 layers are printed the drying time slows down.
Thank You for covering every detail. i watched a few times to get it straight. The colors are beautiful together. Do you have a separate roller for each color ?
I'm glad you found it helpful! Because I have more carving to do on the block in between each color pass I usually have to clean the roller between each step so the ink doesn't dry on it. But sometimes if I have a situation in which I can print a couple of colors at the same time, then I might have multiple rollers/brayers inked up. If that makes sense! (For example, I might have a blue in the top part of the image and a green in the bottom, and they are far enough apart that I can ink them both with different colors and then print.)
🙂Yep... I spoon printed for probably the first 10 years that I was making linocuts. Thinner paper and fewer color passes (generally), but totally doable. Just hard on the wrist after a while.
Wow ....the masking of the yellow bits is exactly where I am stuck. The sticky paints mean I need to dry them 1 day more......no-one tells you that at college. Neither did the Masters degree tutor tell me to sketch the image onto paper, trace it, draw it in ......the carve thin lines...wax crayon over the carved image with newspaper to get an idea of the possible lines of the print to see before taking out too much of the block. I paid a tutor who had no idea about the process and how to teach the steps. I did litho printing. The tutors told us everything in one go and there were 38 steps because I drew them in a flowchart. They really do need to learn how to teach first before they start importing technical knowledge. Now I understand because you broke it down so well and it’s answered a lot of my problems because I couldn’t work out how to keep the yellow bright without it getting darker from the other colours. Thankyou! Beware of bogus tutors online who don’t know the process!
That sounds so frustrating! I'm glad you found this helpful! Masking is a good way to isolate color. You still need to be careful about drying times... if the ink already on the print is too wet, the mask will pull it right off. But it's good to have lots of possible techniques in your mental toolbox.
Wow! How fun is that?! Can I come for a visit??? I am taking my first relief printmaking class coming up here soon. You do beautiful work. Thanks for sharing.
There are lots of different ways to make multi-color prints. You could carve a block for each color pass and print them singly or all together. Or you could, for example, make 20 prints to the point where all the purple layers are complete, pull out 10 prints that will stay that way, and print the remaining colors only on the next 10 prints, if that makes sense?
Excellent reduction. I'm wondering if the petals left white is going to suit the overall image? They look like need some divergence colour to soften them. sufficient
The petals aren't completely white... they do have some pale tones in them that might not be visible in the camera. One could (and I have) spend a lot of time trying to fuss with subtleties, but the trick for me is always trying to find a balance between the flat, graphic nature of relief prints and my desire for more value range.
Thank you, Declan... I am using "traditional" oil-based relief inks. Mostly Cranfield brand, but also sometimes some Gamblin or something out of my stash of no-longer-manufactured Daniel Smith.
Thank you, Sherry! This video answered so many of my questions!! I would love to know where to buy the Mylar tabs and metal hooks you use for accurate positioning. Would you please share a link(s)? Your work is gorgeous!!
Hello! I'm glad the video was helpful. The pins and tabs are available from Ternes Burton : www.ternesburton.com/ In "the old days" we used them as stripping tabs for commercial offset printing, but now they are a beloved tool for printmakers!
Wonderful work! Could explain again how the accurate placement of your paper works? Which material do you have on the paper? I mean these blue stripes?
Thanks for your questions. The blue stripes are pieces of tape used to hold mylar tabs onto the paper. The tabs fit onto metal pins which are attached to a matboard frame. I wrote blog post about registration methods here: brushandbaren.blogspot.com/2015/12/process-notes-registration.html
Hi! Great video. I live in Maine and recently began to focus on printmaking. This was a great explanation of process and things to consider, and I like your drying rack!
Hi Tara! Thanks for watching! I like my drying rack, too! It's really simple, just clothespins on a piece of 1 x 2, attached to a garment rack on wheels. Moveable, adjustable, and cheap! :-)
Contrary to popular belief, one does NOT need to use turps to clean up oil-based inks! I use plain mineral oil... I scrape as much ink off the inking slab as I can, then I put some mineral oil down, roll my brayer through it, and then roll the brayer on the block. I don't apply the oil directly to the block... I end up with too much, it takes longer to clean, and residual oil can stay in the finely carved areas and cause problems later. Wipe it all up with a shop towel! At the end I hit the hard surfaces with a citrus or green cleaner. (Inking glass, brayer handles, ink knife.)
Do you mean the the clothespins on the drying rack? No, I haven't had a problem with that... but I do have a wider margin on the edge where the registration tabs attach. When I remove the tabs the tape damages the paper, so that extra inch for tab damage and potentially the clothespins gets trimmed off anyway. The wooden clothespins are pretty gentle... a grip that's just tight enough without being too tight.
This is so interesting! It takes such a different way of thinking to do this technique .. i kept thinking, "why paint the whole background purple if you want it green?" ... But that is literally the only way to get the layers of just white and purple since you have to do it in sequence. I am still questioning it in my mind even though I have thought it through and know that to be true!! Beautiful work, and very good video. Thank you!!!
One could (and many do) cut a block for each color in an image and print them one by one. The advantage is that you don't have to print the entire edition at once.... but then you have to store all the blocks somewhere and remember your color mixes until the next time you print. Reduction printing has all sorts of challenges with color layers, but when you're done.... you're done! One block with hardly any surface left on it... kick it under the table and move on to the next one! 😆
I'm using the most shallow Ternes Burton pins. .055, maybe? When I run through the press my paper padding covers everything, including the pins and I use a stiff cutting board over the top instead of blankets. The pins slightly indent the paper padding but not the cutting board, so it seems like I'm good. No problems yet, anyway!🙂
Hi Sherrie, Just returning to printmaking and really don't have much experience with block printing. I'm curious what is your paper choice, and also where did you get (make?) that amazing drying / hanging system?? Thanks!
Hi Jill... On the press I use 250# BFK Rives paper, but if you're hand printing you'll want something lighter weight. I used papers like hosho and the Awagami kozo for years of hand printing. As for the drying rack... yep... made it myself! It has evolved a bit as I've moved around, but there's a post about it on my blog: brushandbaren.blogspot.com/2016/04/not-so-high-tech-drying-rack-aka.html
Needless to say that you have inspired me to start printing again because the last tutor put me off as I got so overwhelmed with 38 steps that I couldn’t remember anything they told me.
If my drawing on the block is done in pencil, will it be removed the first time I ink and clean the block? Should I go over the drawing in permanent ink to be safe? Thank you, very helpful video!
Yes, pencil will disappear the first time you clean the block. I typically go over my drawing with a permanent marker (Sharpie here in the US). The caveat is that the marker lines can bleed onto the prints in early stages, so use a light touch. If you're doing reduction printing a little bit of bleed won't matter because it will be covered by subsequent color passes. Some people have said they have good success with India ink, and that it doesn't bleed, but I haven't tried it.
This is the best video I have seen on this art.
Thank you, I'm glad you enjoyed it!
I’m melting here in awe. Absolutely gorgeous. I really enjoyed seeing all the steps and I have a new appreciation of just how special each print is. All that work put into them, and it shows. Rare beauty! Thank you for sharing!
Thank you so much for your generous words. I'm glad you enjoyed it.
Wow, Those are incredible. I've just begun to get into printmaking and you are an absolute inspiration to me. The way you compose images and capture light (and with only 12 or colours!) is amazing. Please don't ever stop making such beautiful pieces af artwork :)
Thank you, Jasper. I am glad you're finding it helpful for your own work and I appreciate your encouragement!
Beautiful picture! I am stunned that so many printing prosesses can end up so well!
Printmaking is a surprising practice... always something new to learn! 🙂
What a great instructional video on the process of reduction printing!
Thanks, Coral! I hope you're finding ways to stay creative!
You explain everything beautifully! It's often hard to talk to beginners about the intricacies of ink mixtures and complex processes. I appreciate this, cheers!
Thank you, Dana... it IS hard to help folks wrap their heads around the process sometimes, so I'm glad to know this felt helpful.
Best lino video I've seen! Great teacher. Thanks!
Thank you, Carolyn! I'm glad you enjoyed it!
Thank you Sherrie. Your work is wonderful. I enjoyed all 4 videos and wish there were more!
Thank you! I'm hoping to get some more made in the next few months.... stay tuned!
I have watched this several times now. I like how you work through the different problems, always with an optimistic attitude!
Thank you Sine... I always say that my process is 1) create a problem 2) find a way to fix it, which 3) creates a new problem! There are plenty of days when I am convinced I'm not going to get to a satisfactory conclusion, but there's nothing to do but "press on." (Printmaker jokes = terrible)
Señora York, thanks to your advice the first color, so far, has come perfect. You are a wonderful teacher and I appreciate very much your taking the time to answer my questions. Thank you.
I love the design and the contrast of colors. I appreciate the explanations about the layering of colors. I have done a reduction print, and you cleared up one of those questions I had when you did the yellow color.
Thank you! I'm glad you found it helpful.
Thank you so much Sherrie! I started lino printing a couple of weeks ago and I needed an instruction video like yours to get a better sense of the reduction method. You explain it very well! And what a beautiful peace of art!
You are very welcome, I'm glad you found it helpful!
Well done Sherrie! It is so nice to see you in person and hear your voice. As a long time fan this is a really nice introduction. It is always so cool to see another printmaker, carve and share their process.
Aw, thanks, Wendy. Yeah, funny, isn't it? We've "known" each other for years now... but still only virtually. Gonna have to fix that one of these days. :-)
I agree with Wendy Willis.I was lovely to see you work and I learnt heaps. I appreciate your generosity in sharing your process. Loved seeing your registration system being used.
You are very welcome, Jacky, I'm glad you found it helpful. :-)
Fabulous, thanks Sherrie. Glad to see someone else has reservations during the reduction process and just keeps going to see what happens
:-) I tell people my entire process is to create problems for myself and then try to solve them!
That was absolutely brilliant! I have just received a Lino cutting kit for Mother’s Day, and found this video fascinating . Can’t wait to to try it! Thanks so much for sharing your process.
Thank you, Eileen! I'm glad you found it helpful. Good luck with your experiments, I hope you enjoy the process!
@@SherrieYork I’m sure I’ll love it! Thanks again for the vid, beautiful work and really informative and helpful. Thanks for sharing 😀
Thank you so so much for your generosity of spirit - your print is absolutely delightful and I have learned so much . I look forward to looking at all your work and I will try and attempt another reduction print 🙌 🌸🧡
You are welcome! I am so glad you found this video useful. Good luck with your next print project(s)!
Absolutely gorgeous… it’s amazing how painterly these prints look
Thank you! I do like to let my linocuts be influenced by painting...
Decided to comment and now I don't know what to say ... I can't come up with anything that sounds as sincere as I would mean it to be received, or as honestly flattering and grateful that doesn't appear gratuitous ... after some though I came to this ...
Today I was, once again, unexpectedly touched by Serendipity when I found you on TH-cam while merely searching for a couple of decent tutorial videos on lino cutting and printing - I've been an acrylic painter since my high school days in the very early 70's and am just getting stocked up and about ready to get busy in printmaking so to expand my options when creating ... anyway, that's the plan - but today I took an unexpected turn and was held in awe as I walked right into your Sistine Chapel, your Louvre, your Webpage. I am certain that if I had begun relief printmaking 50 years ago instead of painting you would still be, today, my Master. I have been studying many very talented lino printmakers in Great Britain (seems like everyone is doing it there - and they are remarkably talented in their own ways too) and I've seen much that I admire and marvel at, but I was not ready for the complete cultural experience that you have created for yourself all centered around nature and the love of it - while my style of art doesn't reflect this at all, my life appreciations that I've accumulated does in my vital force within.
What can you say to your Master when you meet her, what can you offer her in appropriate compensation for what you've so generously been given? If I were somewhat younger than the years that I am now I would offer you my daily services as your apprentice as they used to do. But alas, that cannot be for me ... I can only hope to someday perhaps meet up with you in person, take you to dinner and properly thank you for what you've done for me today and all my tomorrows.
I have signed up to your newsletter and will glean what I can from it, and your on-going works, what I possibly can in order to be, myself, more like my Master in the end.
My goodness, Gary. I am so pleased that you found this video helpful and that you are enjoying the work that I'm making. Thank you for sharing your heartfelt and generous response.
You are correct that there are many printmakers in the UK, and some really excellent ones. I'm sure you will find plenty to inspire you and your own work. I hope that you continue to find the process rewarding and just the right amount of challenging. Cheers!
what a great instructional on reduction linocut printing. Clear and very straight forward . I learned a lot thank you for sharing .
Hi Jane, I'm glad that you found it understandable and helpful! Thanks for taking the time to comment.
Bravo! That is so cool. Love how you used the opaque layers to change gears, and I’ll be using your newsprint mask idea, very helpful. Thanks for posting.
Thanks, Carol! I'm glad you found something useful in it. Newsprint masks are a game-changer!
Fascinating process and breathtaking work. Thank you so much for sharing! ❤
You're welcome! Thank you for watching!
Utterly beautiful. I am just starting the print making journey and your work is inspirational!
Thank you... and best wishes for your printmaking discoveries! Let me know how it goes. 🙂
Outstanding. Love the process. That last run is always so gratifiing.
Yes! It can be a bumpy ride up until the last run, but whew! Such a relief (no pun intended) when it all works out at the end. 🙂
Very very interesting. I have always wondered about the process, and your demo ( and finished piece) were outstanding!
Thank you, Sharon, I'm glad you found it helpful!
Love your art, patience, and sense of humour 😄👌
🙂Thanks!
Inspirational and such a clear commentary and process. Thank you!
I'm glad you found it helpful! Thanks for watching.
Thank you very much! You explained the process so well and I loved watching how the image came to life with each colour pass. I think you've got me hooked on trying lino printing.
Be careful, Mark! It can be rather addicting. ;-) I'm glad you found the video helpful, good luck with your lino efforts!
best video i have seen on this process so far, and what a beautiful print.
Thank you! I'm glad you enjoyed it.
This is amazing! Thank you so much for sharing such a detailed account of your process!
You're welcome! I'm glad you enjoyed it.
Thanks for the great walk-through! I especially appreciated how you talked through those tricky decision-making processes. It's cool to hear an artist describe how they make choices. I need to explore your channel a little more, but I'm curious about how to construct a jig. I got the general idea of how yours works, but I'm interested to see how to line things up and attach the pins. Anyways, very cool! Your print was beautiful as well.
Emily, I'm so sorry I missed replying to this when you posted it... somehow I don't think I ever saw it. As for the jig... the one I am using in the video is just a piece of matboard with an opening cut in it that is the same size as my block. I attach the pins to one end of the matboard, and then attach mylar tabs to the back of each piece of print paper before I print the first color. When I was printing by hand I used lino mounted on 3/4" board and built a wooden registration jig. A description of that is on my blog, here: brushandbaren.blogspot.com/2008/12/linocut-jig.html Thanks for watching, and for taking the time to reach out with your question!
I am new to lino printing and this is the first video I have watched which clearly and simply shows me how I might make some reduction prints when I get a bit more experienced. As someone who has sketched for much of my life, I am struggling a bit to get my head around the idea of negative space. As well as the fact that my lino cut will be a reverse of anything I sketch.
I'm glad you found it helpful! If you've done a lot of sketching, you probably already understand negative space, even if you don't realize it!
Thanks so much for doing this. As a self-taught reduction woodcut printmaker, I'm forever questioning if I'm doing things right. I've long been a fan of yours, so seeing you work through the same issues I have in the same ways I do, has been a great confidence boost. I often print lighter colors over darker, bolder ones, and I love that you refer to the "ugly duckling stage" -- I call it the "awkward stage."
I'm glad you found it helpful, Jeff. I, too, am self-taught... I try not to think of it as whether it's "right," but whether it will work! Mostly I describe my process as creating successive problems that I then have to solve. ;-) I rarely have a plan when I start... just a solid (I hope) drawing and an end goal. How I get there (if I get there) is almost never straightforward. Press on!
Hi Sherri, amazing work, as an absolute beginner to lino cutting reduction prints the video is so concice and very well presented. It's by far the best explanation of a reduction print that I have seen. I have been inspired by the process and I have to say I am quite excited to try a reduction. I look forward to seeing more of your work.
Mark, I am so glad you found this helpful. When I first started doing reduction work I kept it really simple: my first reduction was a color plus black, and my second was three shades of gray (which I struggled mightily to get right and only ended up with an edition of two!). So... whenever you're ready to jump in I'd suggest modest ambition. ;-) Or what the heck... just jump on in and go for it. Why not?
Beautiful. Thank you for showing
Hugely inspiring Sherrie, and thank you much for making this video and showing us your technique !
You are welcome! I'm glad you found it helpful!
That was so instructive and beautiful! I am starting back after many years of hiatus from printmaking. Your video was amazing and makes me want to invest in a press (of course LOL). Thanks for putting the time into this excellent video.
I'm so glad you found it helpful! I understand about wanting a press... I printed by hand for... hmmm.... 12 years? 15? before I finally got one. My neck and wrists and shoulders are still cranky, but not as much as they might have been by now! 🙂
Your work is really beautiful. Thank you for such a great instructional video. I would have no idea of the work behind making such a pleasing print. I will be watching, and enjoying more of your work. Amazing!
Thank you, Marlene, I am glad you enjoyed the video (and the work!).
Stunning work and a great explanation of the risks! But the resultant print is beautiful work, almost photographic. Thank you for sharing.
Thank you, and you are welcome! I'm glad you enjoyed it. 🙂
This was so inspiring! I've been dabbling in Lino printing, but this is a whole other level! Thanks for sharing :)
You are so welcome! I'm glad you found it helpful!
Thank you Sherrie! You made my day brighter!
You are welcome, Freddy! Thank you!
Just came across this and enjoyed it very much! Thanks! I have been making prints for about a year now. I was never taught or trained and videos like this help alot, so thanks for sharing!
I'm glad you found it helpful, Tom! I never had any instruction in linocut, either, and I made a lot of messes along the way. Happy to share what I've figured out so far!
Wow, fascinating, fantastic and inspiring. I had to repeat the video a few times to really understand the process of carving, painting and how shadows and highlight develop with every pass of paint. Thank you very much for the video. I found your gallery and I am amazed of the beauty ofd your work, so inspiring.
Thank you Marcelo, I'm glad you enjoyed the video and found it helpful!
Gorgeous work.
Thank you!
What a great demo and a beautiful work. Thank you.
I'm glad you enjoyed it! Thanks for watching.
I so wish more videos could be music-free. Thank you for making such a technically good audiovisual artifact, as well as a challenging and ultimately successful reduction print! If TH-cam had a "stars" rating system, I'd give this 5 out of five.
Thank you, Jon! I'm glad you enjoyed it. And thanks for the virtual stars. 🙂
I've enjoyed your work for years and it's lovely to hear you talk about how you make it.
Hi Hannah! Thanks for stopping by to watch and say hello!
thank you Sherrie for this reduction process tutorial. Have admired your work for nearly two decades. I believe (not certain though) you might have posted and/or commented in the Wetcanvas printmaking community at one time? I haven't been active at all in that community for several years due to health challenges but recently returned to the medium in limited capacity. I have never attempted reduction lino and feel inspired to after watching this tutorial. Best wishes.
Hi Brian, yes... for a brief time I was on the Wetcanvas forum, but couldn't keep up with another platform. I'm surprised you remember! But I'm glad you found the video helpful, and wish you the best for improving health and your new explorations in printmaking!
Great tutorial. Appreciate you showing some of the tricky decision making involved. Thank you!
You're welcome! Thanks for taking the time to comment. :-)
Excellent video, Sherrie. Thanks!
You're welcome! I'm glad you enjoyed it.
Excellent demonstration! Answered a lot of my questions. Thank you.
Thank you, Diane! I'm so glad you found it helpful!
I’m losing my mind this is so stunning!!! Wow.
Oh dear! I hope you find it soon! 😉
That was fantastic, Sherrie. As a beginner, I loved seeing what's possible, and how complex it can be. Inspirational work. Thank you.
Thanks, Michele.. I'm glad you found it helpful! Good luck with your efforts, I hope you will find the process to be just the right combination of challenging and satisfying!
That is a wonderful demonstration and explanation, absolutely love your work. Thank you so much for sharing ❤
You are welcome! I'm glad you enjoyed it.
Yeah really enjoyed watching you wrestle the colours back in a different direction and it was very informative.... I'm going to be trying my first reduction very soon and it'll probably be a complex piece... This really helped. Thanks
I tend to think of reduction printing as an exercise in creating problems that I then have to solve. ;-) Good luck!
that was outstanding! such a wonderful explanation and demonstration and of course a brilliant end result print. thank you!
You are very welcome! Thanks for watching; I'm glad you enjoyed it.
Excellent. You're the real deal.
:-) Thanks.
Wow! It's gorgeous, and thank you so much for sharing
You are so welcome! I am glad you enjoyed it.
Thank you so much. Lovely video and lovely prints. Appreciate the clear info.
You are very welcome. I'm glad it was helpful!
Excellent demo and honest and sincere. Great work thank you
You are welcome, Paulette, I'm glad you enjoyed it.
Just found this video and I can’t wait to go home and try it.
A quick question: what is the best way to clean the linoblock and how long did you wait between color passes?
I am using oil-based inks, so I clean up with mineral or vegetable oil. (I put some mineral oil on my inking glass, roll it onto the brayer, and use the brayer to put oil on the surface of the lino. You don't want oil to get down into your cut areas!) How long to wait between colors depends on several factors: type of ink, how many colors are already on the print, thickness of ink, thickness of paper, and the weather! In the early stages I can sometimes print more than one color pass in a day, but after 4 or 5 layers are printed the drying time slows down.
Thank You for covering every detail. i watched a few times to get it straight. The colors are beautiful together. Do you have a separate roller for each color ?
I'm glad you found it helpful! Because I have more carving to do on the block in between each color pass I usually have to clean the roller between each step so the ink doesn't dry on it. But sometimes if I have a situation in which I can print a couple of colors at the same time, then I might have multiple rollers/brayers inked up. If that makes sense! (For example, I might have a blue in the top part of the image and a green in the bottom, and they are far enough apart that I can ink them both with different colors and then print.)
This was so satisfying to watch and so instructional. Thank you so much!!
You're very welcome, I'm glad you enjoyed it!
Awesome depth! Great to see the evolution. I've wanted to try this for like 10 years. I only need a SPOON?!?!
🙂Yep... I spoon printed for probably the first 10 years that I was making linocuts. Thinner paper and fewer color passes (generally), but totally doable. Just hard on the wrist after a while.
Wow ....the masking of the yellow bits is exactly where I am stuck. The sticky paints mean I need to dry them 1 day more......no-one tells you that at college. Neither did the Masters degree tutor tell me to sketch the image onto paper, trace it, draw it in ......the carve thin lines...wax crayon over the carved image with newspaper to get an idea of the possible lines of the print to see before taking out too much of the block.
I paid a tutor who had no idea about the process and how to teach the steps. I did litho printing. The tutors told us everything in one go and there were 38 steps because I drew them in a flowchart. They really do need to learn how to teach first before they start importing technical knowledge. Now I understand because you broke it down so well and it’s answered a lot of my problems because I couldn’t work out how to keep the yellow bright without it getting darker from the other colours. Thankyou!
Beware of bogus tutors online who don’t know the process!
That sounds so frustrating! I'm glad you found this helpful! Masking is a good way to isolate color. You still need to be careful about drying times... if the ink already on the print is too wet, the mask will pull it right off. But it's good to have lots of possible techniques in your mental toolbox.
thank you for this! It's very useful for people just starting like me to see all the steps
You're so welcome, I am glad you found it helpful.
Wow! How fun is that?! Can I come for a visit??? I am taking my first relief printmaking class coming up here soon. You do beautiful work. Thanks for sharing.
🙂 How far away are you? And where are you taking your class? I hope you have piles of fun with it!
Love your explanations of reduction method. Beautiful work!. Thank you.
You are welcome, Lisa, I am glad you enjoyed it!
Absolutely wonderful!!! Thanks for sharing this extremely informative video.
I'm glad you found it helpful! Thanks for taking the time to comment.
Inspiring work!!! What if I don't want to carve the same block and keep the purple original?
There are lots of different ways to make multi-color prints. You could carve a block for each color pass and print them singly or all together. Or you could, for example, make 20 prints to the point where all the purple layers are complete, pull out 10 prints that will stay that way, and print the remaining colors only on the next 10 prints, if that makes sense?
A really great review of your process. Thanks for sharing!
Thank you, Susan, I'm glad you enjoyed it!
Thanks!!! Very nice work! And soo deep colors
Thank you, Sergei! I am glad you enjoyed it.
Wow, it looks so good! I love it! You're amazing
Thank you! I'm glad you enjoyed it.
Excellent reduction. I'm wondering if the petals left white is going to suit the overall image? They look like need some divergence colour to soften them. sufficient
The petals aren't completely white... they do have some pale tones in them that might not be visible in the camera. One could (and I have) spend a lot of time trying to fuss with subtleties, but the trick for me is always trying to find a balance between the flat, graphic nature of relief prints and my desire for more value range.
Beautiful print, and excellent rescue.
I love to lino block print the artwork on the packaging for my sculpture casts.
What inks are you using?
Thank you, Declan... I am using "traditional" oil-based relief inks. Mostly Cranfield brand, but also sometimes some Gamblin or something out of my stash of no-longer-manufactured Daniel Smith.
Really like your drying rack set-up 👍
Wonderful instruction. Thank you for enlightening us about the procedure
You're welcome, Margaret. I'm glad you found it helpful.
Wow! Great work!! Very inspiring...
Thank you!
Thanks for making your video! Loved it.
You're welcome!
Great video. Thank you so much (ex new englander living on the olympic peninsula)😊
You are so welcome! Thanks for watching.
Thank you, Sherry! This video answered so many of my questions!! I would love to know where to buy the Mylar tabs and metal hooks you use for accurate positioning. Would you please share a link(s)? Your work is gorgeous!!
Hello! I'm glad the video was helpful. The pins and tabs are available from Ternes Burton : www.ternesburton.com/ In "the old days" we used them as stripping tabs for commercial offset printing, but now they are a beloved tool for printmakers!
Wonderful work! Could explain again how the accurate placement of your paper works? Which material do you have on the paper? I mean these blue stripes?
Thanks for your questions. The blue stripes are pieces of tape used to hold mylar tabs onto the paper. The tabs fit onto metal pins which are attached to a matboard frame. I wrote blog post about registration methods here: brushandbaren.blogspot.com/2015/12/process-notes-registration.html
@@SherrieYork Ah perfect! Thanks for your answer!! I did'nt see the Blogpost jet🤗
Hi! Great video. I live in Maine and recently began to focus on printmaking. This was a great explanation of process and things to consider, and I like your drying rack!
Hi Tara! Thanks for watching! I like my drying rack, too! It's really simple, just clothespins on a piece of 1 x 2, attached to a garment rack on wheels. Moveable, adjustable, and cheap! :-)
Thank you very much, Sherrie. I got quite a few nice tips from you.
You're very welcome, I'm glad you found it helpful!
Really nice video…and prints! How do you clean the ink off your block?
Contrary to popular belief, one does NOT need to use turps to clean up oil-based inks! I use plain mineral oil... I scrape as much ink off the inking slab as I can, then I put some mineral oil down, roll my brayer through it, and then roll the brayer on the block. I don't apply the oil directly to the block... I end up with too much, it takes longer to clean, and residual oil can stay in the finely carved areas and cause problems later. Wipe it all up with a shop towel! At the end I hit the hard surfaces with a citrus or green cleaner. (Inking glass, brayer handles, ink knife.)
@ Thank you!
Awesome work!! Absolutely love this
Thanks! I'm glad you enjoyed it.
Sherrie, do the clothes pins dent the paper? Do you tear off an extra edge after they dry ..where the clothes pins were? Thanks! Thanks for the video!
Do you mean the the clothespins on the drying rack? No, I haven't had a problem with that... but I do have a wider margin on the edge where the registration tabs attach. When I remove the tabs the tape damages the paper, so that extra inch for tab damage and potentially the clothespins gets trimmed off anyway. The wooden clothespins are pretty gentle... a grip that's just tight enough without being too tight.
This is so interesting! It takes such a different way of thinking to do this technique .. i kept thinking, "why paint the whole background purple if you want it green?" ... But that is literally the only way to get the layers of just white and purple since you have to do it in sequence. I am still questioning it in my mind even though I have thought it through and know that to be true!! Beautiful work, and very good video. Thank you!!!
One could (and many do) cut a block for each color in an image and print them one by one. The advantage is that you don't have to print the entire edition at once.... but then you have to store all the blocks somewhere and remember your color mixes until the next time you print. Reduction printing has all sorts of challenges with color layers, but when you're done.... you're done! One block with hardly any surface left on it... kick it under the table and move on to the next one! 😆
Excellent demo! 👏👏👏👏
Thanks! I'm glad you enjoyed it.
Thank you for an informative video. This is a beautiful print!
Thank you! I'm glad it was helpful!
I’m another long time fan. Great to see a video.
Thank you, Richmond! I appreciate you taking the time to say hello!
Thank you! I'm just starting and this was so very helpful.
You are welcome! I'm glad you found it helpful.
Hi Sherrie, wonderful demo! Question - what size or height of registration pin / button are you using??? Afraid to damage drum on press.
I'm using the most shallow Ternes Burton pins. .055, maybe? When I run through the press my paper padding covers everything, including the pins and I use a stiff cutting board over the top instead of blankets. The pins slightly indent the paper padding but not the cutting board, so it seems like I'm good. No problems yet, anyway!🙂
Thank you Sherrie for the prompt response
Amazing, thank you for sharing!!
You're welcome, thanks for watching!
Hi Sherrie, Just returning to printmaking and really don't have much experience with block printing. I'm curious what is your paper choice, and also where did you get (make?) that amazing drying / hanging system?? Thanks!
Hi Jill... On the press I use 250# BFK Rives paper, but if you're hand printing you'll want something lighter weight. I used papers like hosho and the Awagami kozo for years of hand printing. As for the drying rack... yep... made it myself! It has evolved a bit as I've moved around, but there's a post about it on my blog: brushandbaren.blogspot.com/2016/04/not-so-high-tech-drying-rack-aka.html
@@SherrieYork thank you so much for this helpful video and your info! I'll check out the blog article you wrote, too! :)
Needless to say that you have inspired me to start printing again because the last tutor put me off as I got so overwhelmed with 38 steps that I couldn’t remember anything they told me.
Great! I hope you enjoy the process more this time!
lovely work Sherri
Thank you, Paul!
Great info!! You answered a lot of my questions.
Great! I'm glad you found it helpful.
If my drawing on the block is done in pencil, will it be removed the first time I ink and clean the block? Should I go over the drawing in permanent ink to be safe? Thank you, very helpful video!
Yes, pencil will disappear the first time you clean the block. I typically go over my drawing with a permanent marker (Sharpie here in the US). The caveat is that the marker lines can bleed onto the prints in early stages, so use a light touch. If you're doing reduction printing a little bit of bleed won't matter because it will be covered by subsequent color passes. Some people have said they have good success with India ink, and that it doesn't bleed, but I haven't tried it.
This was awesome! Thanks for sharing.
Thanks, Sine, I'm glad you enjoyed it.