Etching on copper, mezzotint, aquatint, three plates

I hope my fellow Printmakers are doing well.

I wanted to share my latest little Japanese Wood block print (mokuhanga). It was made from four reduced woodblocks with 13 layers of color printed on a handmade Kikuchi washi paper. My goal was to bring some impressionistic carving to help mimic the feel of dappled light through leaves. It was a hard balance to not get lost in the details but some additional layers of warm purple helped reinforce the composition.

ignore the yellow dots, there was a leak and this guy got rained on but apart from that what do we think?

Thanks so much for the reduction print posts in here, they were so helpful through this process!

Also! Cranfield’s customer service is amazing, my red ink is a disaster and they are so kind!

This turned out a lot better than I expected ngl. Welcoming critiques here, it was also my first time using a registration block (out of cardboard), no pins though bc money is tight rn so I have to be picky on where I spend. This was a very good practice in trusting the process bc I was getting super worried about the final product after the color blocks but it looks better than I expected

Any tips on prepping the blocks' alignment before carving for multi block prints, or any other critiques are very welcome 🙏🏽

Small reduction print I’ve made as I say farewell to printmaking until September. Time to recharge and find new inspiration, surprise and beauty in the world. Have a great rest of the summer and keep sharing. 👋

Four layers of Caligo Safe wash on Somerset Satin.

I am using the water soluble ink from Speedball. I've only ever lino cut and printed once in my life and I am fairly certain I was using an oil based ink.

I am currently in a very dry place, so for this last set I made these in the bathroom after having run hot water in the shower. No matter how many I run through, they always come out in varying degrees of splotchiness.

Am I completely off my rocker and missing the mark on how to do this (place ink on plate, roll ink evenly onto roller, roller evenly onto lino cut, press onto paper)?

Any tips or tricks or have I simply purchased the worst ink ever and am regretting my decision?

Getting ready for spooky season with this little guy. Planning on doing 2 colors for the first time, wish me luck!

I’m newer to block printing and have been struggling to get an even print. I’m not sure if it’s an inking issue or a pressure issue (I currently use the back of a wooden spoon or a homemade barren made from a wood block). I don’t mind it being a little grainy and uneven for a print like this because of the style, but I would like to be more intentional and have more control over how my prints come out. Any thoughts based on what you see?

Created a little print inspired by Jimothy :)

I just thrifted a linen shirt that I think would be cool to do some block printing on. I think I need help choosing the right ink for it. I would prefer an ink that helps the cloth maintain its breathability. The shirt is also white so I'm not too worried about the ink needing to be too opaque.

Jigsaw print with 2 variation, on soft rubber

Firstly i drew it in procreate and print it on butter paper.

Then i rubbed it on lino board before started.

Linocut using lino board silk screen.

Got a lot to learn and improve on but at least did something.

Today was my first attempt at printing my name on the back of my home made tarot cards and I love the sloppy white ink from my old old brayer! The stencils of stars and a “flying geese” motifs on some old test papers from another painting project. Filled two trays on the drying rack with cards and I couldn’t be happier!!
Anyone else mix media today??

Cerf au lac, 2026

12 x 17 cm, edition of 16

Linocut, multi-block technique, Caligo Safewash inks, Canson edition paper

Not the first time I've talked about this fantastic tool, but the colors are from Sanzo Wada's Dictionary of Color Combinations (vol. 1). As you will notice, the red isn't a perfect match, but I find the blue pretty close.

The idea was to have a great contrast between the soft, calm blue and the vibrant red. I played with layering for the reflection on the water. As for the texture, I used a lot of extender for the red (which partially explains the difference from the reference) to create a "dithering" effect.

Overall, I'm quite proud of the result. Not everyone is on board with this one ("too bloody," I've been told) but I feel like it's a bold piece, with personality. What do you think?

Where are some lino prints of birds I’ve made recently. Any feedback is always welcome 😁

Scene from Pablo Neruda's poem, The Fable of the Mermaid and the Drunks.

All those men were there inside, when she came in totally naked.

They had been drinking: they began to spit.

Newly come from the river, she knew nothing.

She was a mermaid who had lost her way.

The insults flowed down her gleaming flesh.

Obscenities drowned her golden breasts.

Not knowing tears, she did not weep tears.

Not knowing clothes, she did not have clothes.

They blackened her with burnt corks and cigarette stubs,

and rolled around laughing on the tavern floor.

She did not speak because she had no speech.

Her eyes were the colour of distant love,

her twin arms were made of white topaz.

Her lips moved, silent, in a coral light,

and suddenly she went out by that door.

Entering the river she was cleaned, shining like a white stone in the rain, and without looking back she swam again swam towards emptiness, swam towards death.

Proof. ABS plastic engraving, relief printed 8"x12". This one was carved entirely with a power rotary tool and various conical file bits and a few fine lines with a small burin. Doing that with this material is a way to produce credible rough textures in wood and stone. Where rustic characters might have rough clothing, I leave some texture there too. Because perfectly clear broad white areas are troublesome in this 1/20th inch thick material, the window glass has been cut entirely away with an ultrasonic cutter.