Thank you! I am using oil-based inks. When I print on the press I use Rives BFK 240# paper, but if printing by hand-rubbing I use lighter weight papers like hosho and kozo.

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.)

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!

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! 😆

You're welcome! I'm glad you enjoyed it.

You're so welcome, I am glad you found it helpful.

I'm glad you enjoyed it! Thanks for watching.

You're welcome! I'm glad you enjoyed it.

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.

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!

Thank you!

You're welcome!

Thank you!

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!

Aw, thank you!

Thank you! I'm hoping to get some more made in the next few months.... stay tuned!

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.

I'm glad you found it helpful! Thanks for watching.

The registration pins and tabs are made by Ternes-Burton.

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

I use (mostly) the Cranfield "Traditional" oil-based relief inks. On the press I use 240# Rives BFK paper, but if I'm hand rubbing I use one of the Awagami papers... usually the Kozo. The number of layers of ink depends on how thickly you apply each layer, what type of paper you are using, what the atmosphere is like in your work space (dry? humid?) I have made prints with as many as 22 colors, but with a lot of "spot inking"- applying color in only a small area of the block rather than the entire surface.

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! :)

You are welcome! I am so glad you found this video useful. Good luck with your next print project(s)!

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! 🙂

It could be a number of things: too much or too little pressure, too much or too little ink, uneven roller or press bed. If the block isn't surrounded by some sort of support, the act of the roller hitting the leading edge can knock everything out of whack. Difficult to diagnose the problem without seeing it.... sorry I can't be more helpful.

Thank you! I'm glad you enjoyed it.

Lucky you to have the space to store blocks! That's part of why I started doing reduction prints, but also... I tend to lose interest in the image once I've done 15 or 20 of them... so I'd probably never go back to the blocks, anyway! 🙂

Thanks! 🙂

You are welcome! I'm glad you enjoyed it.

Thank you!

Thank you so much for your generous words. I'm glad you enjoyed it.

Thank you! I hope to be making some more videos this autumn.

Thank you! I do like to let my linocuts be influenced by painting...

I don't typically make editions larger than 20, but once in a while I might work on two different images at the same time.

You're welcome! Thank you for watching!

Thank you! I'm glad you enjoyed it.