Relief Printmaking

Relief Printmaking

Most likely my favourite workshop I attended during semester 1 of the PME. This workshop solely focused on Relief printmaking; Lino printing to be exact. As I myself as a printmaker, who works solely using lino printing, I was intrigued to see how the format would be simplified and changed to correspond with a secondary school format. As a printmaker, I use various toxic chemicals and inks, in the process, before I completed this workshop, I was unsure how I could adapt this for the classroom.

Step 1

We were instructed to pick an image that was bold, and that contained good contrast, making it suitable for lino print. As this is a graphic medium, it sometimes can be more difficult to pick up subtle details. I choose an image of a landscape I had taken myself previously. I felt it had the key criteria required. It was a bold image, that had an equal amount of positive and negative space. This is my chosen image.

Step 2

A photocopy in black and white of the image, was next used to simply highlight areas of contrast. Wherever was black on the photocopy would print, and wherever was white would not print. The idea is very simple! We were encouraged to draw over the photocopies with white chalk or black markers, depending on what areas of the image we felt we needed to change. This was a good exercise as it simply showed the ability of lino print.

Step 3

Designs were next drawn directly onto the surface of the lino. Areas that were to be not carved, I coloured in completed using a black marker, areas to be carved, I left a blank. Planning is crucial with lino print, as once you start carving, you cannot afford to make a mistake as the whole block will be ruined. Therefore, this planning stage in the classroom really has to be closely observed and explained by the teacher in class.

Step 4

The different lino carving gouges were shown to us. This was really helpful, as many pupils tend not to vary their use of gouges, therefore a print can look boring. Lecturers gave us a demonstration about the carving process. They showed us the V and U gouges in the various sizes. Telling us V size was more useful for thin lines and detail, whereas U was more useful, for carving away large areas and for creating interesting textures on the block. The correct manner to hold a lino cutter was shown to us, and we were told to 'always carve away from ourselves'. Bench's were supplied, and it was stressed that safety in the classroom is paramount, especially when using lino print. 

Step 5

The carving stage commenced. Lecturers did not interfere too much in our actual carving. But they were especially watchful of safety. Constantly reminding us, about the danger of the sharpness of the lino cutters. I really took this into consideration, as in a classroom environment, an accident could escalate quite quickly. They kept emphasising the dangers, and to always be mindful of a pupil injuring themselves with the lino cutter. A bench hook must always be used when carving, to eliminate as much risk as possible.

Step 6

Next stage in the lino process, is the printing stage. As most schools, are not fortunate enough to have a printmaking workshop, an alternative means must be used. Also, toxic chemicals associated with printmaking cannot be used, therefore everything used is water based and non-toxic. We were given a demonstration in classroom printing, which to me, was especially interesting, as I was unsure how to approach this aspect of the applying the discipline. They explained to us that planning is everything when it comes to this. To be prepared and have the room, clearly set up in designated zones, for example; inking up; hand printing; drying racks. Having these zones eliminates some of the mess and chaos that can quickly overcome a classroom. It also aids the teacher, keep the momentum of the lesson going, as pupils get involved in the process, as it is clearly shown to them.

Step 7

Lecturers reminded us to always evaluate a lesson at the end, especially at the end of a discipline, to cement pupils learning. It is also used to highlight successful and unsuccessful work, and can be used to start a class discussion about what they have leaned in the printmaking process.