Reduction. Liz Egan, Art Teacher. Liz Egan, 2009 Westbrook Middle School, Westbrook, CT

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1 Reduction Block Pi Printing Liz Egan, Art Teacher Westbrook Middle School

2 Liz Egan BFA, Purchase College MS, Buffalo State College Painter and Artist Teaching 8 years at WMS CAEA Distinguished Mentor/Cooperating Teacher of the Year

3 Getting Ready In addition, a large surface covered in newspaper is recommended. You will want to wear a smock when printing and have access to a sink and water. Supplies you will need: Bench Tray Brayer Linoleum Block Linoleum Cutter Assorted Blades Assorted Inks Printing paper Popsicle sticks Pencil Drawing paper Tracing paper A place to dry prints

4 Getting Ideas Your Sketchbook Drawings Gift W Wrap Jasmine L., Grade 8 Artist s Work Pablo Picasso, Still Life Garden Photos Vacation Photos

5 Make Thumbnail Sketches Trace the block you will be using onto a piece of drawing paper Make a variety of thumbnail sketches. Think about the relationships of shapes as well as negative and positive spaces. Liz Egan, 2009 Westbrook Middle School, Westbrook, CT

6 Plan Colors Color in your sketch. Choose colors that are compatible. Plan colors keeping in mind that Plan colors keeping in mind that you will be printing ON TOP OF previous colors

7 Trace Outlines Draw outlines of each shape onto tracing paper. Color code each shape. This is your master.

8 Transfer to Block area. Liz Egan, 2009 Westbrook Middle School, Westbrook, CT Turn your tracing paper over on top of your block and secure it with your opposite hand. Mark the outside edges first in case it shifts. Burnish (rub) the back of the tracing paper with pencil or a blunt object, like the round handle of your lino cutter. Make sure to press firmly over every

9 Cut out White Example of transferred image before carving Using your linocutter, carve away all of the areas of your block that you want to remain the white of the page. Change blades for smaller or larger spaces and edges.

10 Rinse Your Block Once you have finished carving, take a moment to wash and dry your block thoroughly to remove unwanted graphite residue and block shavings. Make sure your block is thoroughly dry before inking. TIP: Keep your image handy while you are printing, but keep it away from printing inks. Avoid having to move it with ink-y hands.

11 Set Up Print Area While you are waiting for your blocks to be thoroughly dry, set up your print area, cover table with newspaper, get your papers ready, mix your ink colors. Have everything in reach.

12 Roll Out Ink Pub a small dab of ink on your bench tray. Roll it out until it is tacky and ink is even on the brayer. Too much ink on the bench tray will result in over-inking and the smearing of color. A little dab will do ya! Store the brayer upside down or hook it on the edge of the bench tray when not in use to prevent damage to roller and ink.

13 Print First Color Gently place the inked block on the paper. DO NOT reposition once set. Some people feel more comfortable placing paper On top of the block, then burnishing the paper. Gently flip over block and sheet taking care not to reposition block. Rotate the flat part of your fist, the back of a wooden spoon, or a baren across the surface of each area of the paper.

14 Repeat. Leave to Dry. Repeat this process, re-inking brayer as needed, until you have completed the number of prints you want in your edition. The first print you make is called an Artist s Proof. This mostly applies to artist s prints tested before a run. The number of prints you make is called an Edition. Liz Egan, 2009 Westbrook Middle School, Westbrook, CT

15 Print Color Two Start the process again with a clean and dry plate. Before you begin printing you must carve away all of the parts of the block which you wish to keep the first color. When you print your Artist s Proof, you may want to carve away additional pieces of the block that you do not wish to come out in the printing. Print all of the prints with your second color.

16 Print Color Three Now, repeat the procedure again with Color Three. In this example of an Artist s Proof, there are several areas that needed to be carved and I decided that the color green I was using was not quite right.

17 Making Changes Liz Egan, 2009 Westbrook Middle School, Westbrook, CT In the next print, I removed the unwanted areas by carving away the plate and used a bluer ink. After printing I still felt their was more that could be removed from the block and I was not satisfied with the color. You can make changes within the printing process as you react to the color and print relationships. Don t feel locked in analyze and revise!

18 Exploring Options In this print, I created a very dark red. I liked it best out of the series and printed several. Even though h it was my favorite, I still kept a few without the third color so I could explore further options, o like creating an edition of note cards with various patterns and colors. Liz Egan, 2009 Westbrook Middle School, Westbrook, CT

19 Surpises! When I first started printing this edition, I used the wrong block. Instead of throwing them away, I overprinted them with the same block upside down with a second color. I liked it better than my original design! When you think you have a mistake, adapt!

20 A Quicker Way Here s a short cut to getting started that is more intuitive and very effective. I started with a drawing from my sketchbook. I turned it upside down onto my plate and burnished it as in the earlier procedure. Once I was sure I had rubbed it hard enough, I removed the drawing. I carved away all the white areas and was ready to go in a few minutes. Liz Egan, 2009 Westbrook Middle School, Westbrook, CT

21 Color One Because I was starting from a black and white drawing, I could work more quickly and intuitively. There was no right way, only what looks good to you as an artist.

22 Color Two Ialsousedtwotypesof types of papers how using a textured paper would affect the final outcome. Even though h I was working more quickly, I needed to be careful to still make good choices and changes after the proof print.

23 Color Three This print is on cream colored This print is on a bright white rag paper. Its texture brings a bond note card paper. The different feel and quality to the choice of paper is just as print. important as design or color.

24 Color Four? In one final experiment, I printed one more time using black. Because I did not make enough first color prints I ran out of papers, and was unable to make the changes I wanted after the artist ss proof. I was also unable to get the detail that I wanted so I decided not to print the remaining print.

25 Sign the Print Traditionally, block prints are signed and numbered in pencil. The lower number indicates the number of prints made. The top number indicates where in the sequence the print falls in the edition. An Artist s Proof is indicated with letters A/P. A Title, if there is one, goes to the left. The number in the center, and an artist ss signature to the right.

26 Have Fun! You can also draw directly on the block. Remember, the print will always be backwards! When you make your first print use large shapes and some of the different techniques I have described. Experiment and find out what works best. Remember to make lemonade out of lemons! Printing is fun! Questions?: Liz Egan, Art Teacher Westbrook Middle School Text me at: legan@westbrookctschools.orgorg If you are in my NAEA 2012 workshop and have read this in advance please bring your drawn ideas you ll be able to start carving and printing quicker and have even more fun!

27 Student Self-Assessment Student Name: Class Period: Assignment: Reduction Block Printmaking Date Completed: Write the number in pencil that best shows how well you feel that you completed that criterion for the assignment. Excellent Good Average Needs Improvement Rate Yourself Teacher s Rating Criteria 1 Four thumbnail sketches show understanding of planning image is drawn with clear shapes using both trace and original method. Color layout shows understanding of print process or less Criteria 2 Carving is done carefully with attention to edges and detail. A test is made before printing or less Criteria 3 Ink is rolled tacky, then applied evenly using brayer. Registration is precise. Prints free of smudges and fingerprints. Choice of color ink enhances image or less Criteria 4 Effort: Good use of class time? Asked for help; student tried their best. Print log is complete. Criteria 5 Craftsmanship Prints are matted and signed properly. Daily clean-up procedure is followed or less orless Total: 50 x 2 = 100 (possible points) Grade: Your Total Teacher Total Student Comments: Teacher Comments:

28 Lesson Plan Liz Egan, Westbrook Middle School Reduction Block Printing Middle School Lesson Plan (adaptable) GOAL: To gain an understanding of relief printmaking methods and techniques, specifically block printing OBJECTIVES: 1. Students will understand vocabulary and techniques of printmaking. 2. Students will create a limited edition of 3-color notecards/prints using the reduction method. 3. Students will evaluate their own and others work as a tool in furthering their understanding.

29 Daily Print Log Date Activity SIGNATURE COMPLETION BRAINSTORM IDEAS: Trace the block onto drawing paper four times; Make four thumbnail sketches; Design touches all four sides and is varied; Substitute one of the four thumbnails by doing the tracing process: Trace the bock in center of tracing paper; trace large simple shapes; TRANSFER TO BLOCK: Darken outlines of with Ebony pencil; turn paper over onto block and rub the back of paper or trace over lines if visible. It will be backwards. CARVE WHITE: Carve away all areas that will be white in the final print. Use a bench tray for safety and linocut tools. REGISTRATION MARKS: Get 6 good sheets of print paper. Using a pencil, trace the block in the center of one side on each sheet. Write your name on the back of each sheet. CLEAN-UP Wash, dry & put away block, brayer, and bench tray. Throw away newspaper and sticks. Wipe edge of ink and put top on. Put away. PRINT FIRST COLOR: Newpapers cover table, smock on; bench tray, brayer, inks, print papers at the ready. If mixing a color, pre-mix in a cup. Put ink on bench tray, then roll out until tacky. Roll out ink onto the block. Turn block upside down print paper. Press firmly straight down on all areas. Remove block and set aside. Carefully put print onto drying rack. Repeat for all four prints using same color. CARVE FIRST COLOR: Carve away all the areas you want to stay. Be a print helper if you are done and there is time left to class and not enough time to print. OR work on draw now quietly. Liz Egan, 2009 Westbrook Middle School, Westbrook, CT