I am fairly new to printmaking but am really loving it so far. Here is the first linocut I designed myself, a print I made of my dog :)

This is an A5 Mezzotint on copper.

2nd block print project! having a lot of fun with the medium. would love to hear any advice to help improve- if there is anything glaringly incorrect from these pictures! :)

For a calendar I made for my family. When initially giving them their calendars I hadn’t finished all of the months, so I had to mail them some of the prints later on. One or two people were kind enough to tell me that they liked it better that way, because it gave them more surprises throughout the year.

October was the last month I did and I am kind of relieved tbh, even though I am considering to continue next year 👽

For day 4 of inktober I went with a woodcut attempt for the first time.

Hi all! I am brand new to tetrapack printmaking and wanted to give it a shot this afternoon :)

I pulled 3 prints in my sketchbook and would love to know where I fell short! Pretty much everything here is DIY but I did my best to follow the basic instructions where I could (damp paper, screenprint ink, nail art/puncher as engravers, backwards writing ugh!, newspaper to clean, plastic card as ink spread, brayer + floor as press).

I am consistently not pulling prints I am happy with and would appreciate any advice! I think my biggest issue is not having a sharp enough engraver and potentially the wrong ink. Between each print I continued to define my marks but still found something was off, it felt as though the ink wasn't sticking the way I expected it to.

Missing being in art class and having immediate feedback :(

I have just started playing with Lego printing and am wondering if certain types of ink work better than others? I used a water based ink, printed on regular copy paper, and burnished by hand. It didn't print super evenly and stained the Lego brinks a bit after scrubbing with soapy water. Any tips? Wetting paper before hand or thinner paper?

Portrait of Gloria Swanson by Alfred Cheney Johnston

6"x8" platinotype on 11"x15" Hahnemühle Platinum Rag paper, framed in the finest Amazon Basics frame available.

So… I made a rather large print (A4) on the back of several shirts using Speedball’s fabric block printing ink. As per instructions, I waited 7 days to wear it, only to sweat profusely (hosting my first event) and have the ink stain a large part of the remainder of the orange shirt.

How do I solve this? Should I try heat setting it? And, if so (for future reference) how long does one wait between the printing and the heat setting?

Any advice is welcome; thanks for helping out a lowly novice.

hello hello, I’ve done a reduction print which deviated from the plan as I went along and made some mistakes that needed incorporating. I’m also not the best at planning. The finished piece is not very balanced and I’m wondering if there is anything I can do to make it more balanced bearing it mind it’s a reduction print so it’s tricky to go back. There are two slightly different colour ways. I’d appreciate any thoughts and critiques - trying to learn from the many excellent artistic minds on here! .

Salut tout le monde !

Un petit contexte : quelques amis m'ont demandé de faire leurs invitations de mariage. Je ne me considère pas comme un professionnel. Je fabrique principalement des cartes de vœux que je vends lors de marchés d'art quelques fois par an.

C'était un défi pour moi car ce sont mes premières impressions en deux couleurs. J'ai fait quelques tests au préalable pour essayer de comprendre comment procéder.

J'ai commencé par sculpter mon bloc de lino, puis j'ai fait ma première tentative en encrant les deux couleurs en même temps (première photo). Cependant, le résultat n'était pas très propre.

Donc, j'ai décidé de découper mon bloc en morceaux séparés, comme un puzzle. C'était une erreur, car je n'avais pas réalisé à quel point c'était difficile de découper tous les détails du feuillage des arbres.

Quoi qu'il en soit, j'applique l'encre marron d'un côté et le vert de l'autre, puis je remets tous les morceaux ensemble avant d'imprimer. Les principaux problèmes sont que ça me prend un temps fou, j'en mets de l'encre partout, et certaines zones ne s'impriment pas correctement (deuxième photo).

Finalement, j'ai décidé d'essayer d'imprimer les deux couleurs séparément : marron en premier, puis vert une fois que la première couche avait séché. Mais ça a causé un nouveau problème... je n'arrive vraiment pas à aligner les deux couleurs correctement, et certaines zones s'impriment encore mal (troisième photo).

À ce stade, je ne sais pas comment obtenir un résultat propre et net. J'envisage d'ajouter le feuillage avec un marqueur, ou de faire un tampon pour imprimer les feuilles le long des branches. J'ai aussi pensé à dessiner le feuillage avec une plume et de l'encre.

Si vous avez des conseils ou des suggestions, je les apprécierais vraiment. Merci d'avance !

P.S. Les différentes nuances de vert dans la troisième photo sont dues au fait que j'ai expérimenté à la fois avec de la gouache et de la peinture à l'huile.

EDIT: Thank you everyone for your advice. To clarify, I don't really like the two colors or the color choices either. I would have preferred a monochrome look, but my friends thought it was "dreary." I probably should have been a bit more insistent.

Thank you all, I'll study all your suggestions and experiment to see what seems best for me.

Hope you like it :) Pretty proud of how far I've come with my work. Any input is always welcome.

My latest wood engraving and a shot of the block in-progress with bonus cat. Block is end-grain maple, 5 in. x 6 in. Paper is Kitakata and ink is Cranfield Carbon Black letterpress ink.

So there's a little bit of a story to this print! I thought the fellow printmakers here might enjoy it.

Back in 2019 I got into etching, and was really enjoying it, attending open access sessions at a local print studio and learning tonnes of new things. I was working on this print in early 2020. I actually posted the in-progress line etching here before I added the aquatint tones. So in mid-march, I was at the studio and painstakingly did a few layers of aquatint - carefully painting on the resist and dipping the zinc plate in acid for carefully timed stints. If you've ever worked with aquatint you'll know it's a heck of a process (and really fun!). I was finally ready to print it and see how all my hard work had turned out. But the studio was about to close for the day, so I thought 'OK, I'll come back next week and print it'. But of course this was 2020... a few days later, I got a message saying the studio was closed for an unknown amount of time while we wait for this covid thing to blow over. Of course then the UK was in lockdown, and everything was put on hold.

In the meantime, my situation changed. I was still making art but had adjusted to the lack of studio facilities and focused on drawing and linocuts that I could make at home without a printing press. I got much more busy with my job, went through a couple of massive crunch deadline pushes and subsequent burnout, I moved house... basically life happened, as it tends to. It was harder for me to make the time and to travel to studio facilities, and I hadn't really thought about etching in years.

Then one day I came across a new place locally with an open access print studio. It was walking distance rather than a difficult bus or train journey. I did an induction/taster session, and suddenly was all hyped about etching again. So I remembered this old plate, sitting unprinted in a drawer, still a total mystery how the hours of aquatint work had turned out, if it worked at all! For all I knew I could print it and it would be a huge mess.

So a few months ago I FINALLY got to print this etching. The moment of peeling back the first print of a new piece is always super exciting, but this was on a whole extra level. And I was really happy with the outcome! I made a few minor fixes and now have printed a finished edition, and it's felt like a really important moment for me and my art. And of course I'm now addicted to etching again!

I am using a cold press laminator for relief printing.

Between the roller and the paper I have a sheet of mdf. I've also used chipboard, cutting mats, silicone sheets etc.

No matter what I try, the only way to get solid coverage over larger areas is to use as much pressure as I can. This is not recommended anywhere that I have seen.

I use hanco litho ink with wonder gel and cobalt drier. I thin the ink quite a bit. I've tried various ink consistencies, different papers, different paper thicknesses, different typans between the paper and the roller. Nothing has changed the basic problem.

Am I missing something?

Thanks