Iona Howard

She has a studio in Cottenham in the Cambridgeshire Fens.

My prints explore the notion of time and landscape through a contemplative exploration of surface. The sources of my prints can come from working in the open air or expressing landscape filtered through memory…I am captivated by the ancient semi-natural landscapes typical of my native west Cornwall where a blurred line exists between nature and human activity. Recent works of the Fens focus on the meeting point of land, horizon and sky, their flatness altering the perception of distance. ‘

From interview with Iona in Cambridge 4th Feb 2017:

Her landscapes have a strong geometric structure of contrasting colours and textures. She mainly uses a combination of carborundum, drypoint and monoprint techniques. A mix of a binder (polyurethane varnish) and carborundum grit is applied onto the surface of a plate and sealed with the same varnish. The binder has to withstand a lot of working but should not be so thick as to hide the grit texture of the carborundum. To contrast the carborundum, drypoint is added to produce an incised line. The plate is then inked up using etching ink and copperplate oil with a brush or roller.

Originally she worked in black and white. Now she also works in colour from memory and notes. Colour is built up by layering carborundum plates or more often overlaid though monoprint. Dry ink can be added as a third pass. Ink can be laid on thickly for more embossing. She can use the same base plate but with different seasons. Editions of 40. Or 10-15. She gets commissions where people ask for specific colours.

The technique allows working directly in the landscape to paint on the carborundum and the drypoint plates, and large images can be produced. She prints  on thick Somerset paper, printing to the edge of the paper to “leave the composition as unconstrained as the landscapes from which I seek inspiration”. She mounts with  nonreflective glass.


Collagraph inspiration

Origins of collagraph printing

There is no exact date for the beginnings of collagraph printing. It evolved alongside other intaglio and relief printing, particularly with the move towards abstraction, introduction of ‘found’ materials and use of collage and mixed media in 1950s and 1960s. It was also helped by the widespread availability of new, cheap materials like acrylics and very strong adhesives.

First experiments

Pierre Roche – sculptor developed gypsographic printing using bas-relief plaster engraving – inked in relief and printed by hand onto dampened paper, leaving a slightly raised blind embossing. Later he added layers of an adhesive called gypsum onto metal plate for an embossed effect.

Google images for Pierre Roche collagraph

Bauhaus: Klee, Picasso, Braque, Schwitters and Moholy-Nagy used collage materials and this was adopted by printmakers.

Rolf Nesch: one of the first artists to have consciously used collage to create collagraph printing plates. He gave depth and texture to prints by soldering out metal shapes and wire to metal printing plates. He then took this further by drilling holes in plates and sewing to the base plate. The prints were so deep he hneeded 8 blankets to get the right pressure and very heavy strong paper.

For more details on the work of Rolf Nesch, click here.

William Hayter developed viscosity printing – a technique that allowed a single printing plate to be printed in many colours. The basic principle is that the viscosity or stickiness of an ink can be reduced by adding linseed oil. A stiff viscous ink will absorb and mix with an oily ink laid over the top. But if an ink full of oil is placed on the plate first, it will reject a dry viscous ink and will not mix with it.

Google images for William Hayter collagraph

Richard Hamilton mixed painting with forms of printmaking, such as collotype, lithograph and silkscreen.

Google images for Richard Hamilton collagraph

Joan Miro created numerous collagraphs combining carborundum, aquatint and etching.

Google images for Miro collagraph

Henry Moore used collograph and resist techniques in versions of his drawings

Google images for Henry Moore collograph

Contemporary Collagraph

Brenda Hartill has been very influential in UK, building on Hayter’s techniques of viscosity printing.

Click here for more details of Hartill’s work

See Logbook 4 pp 6-7 for discussion of some of her collagraph prints.

Hughie O-Donoghue produces large abstract figures using acrylic and carborundum

Click here for more details of O’Donoghue’s work

See Logbook 4 pp10-11 for discussion of some of his prints and paintings.

Other collagraph artists:

Katie Jones  Logbook 4 Collagraph p8

Helga Thomson Logbook 4 Collagraph p8

Mari French Logbook 4 Collagraph p9

Tessa Horrocks Logbook 4 Collagraph p9

Kim Major George Logbook 4 Collagraph p12

Jet James Logbook 4 Collagraph p12

Laurie Rudlin Logbook 4 Collagraph p12

Marlene Groinic Logbook 4 Collagraph p14-15

Diane Bamford Logbook 4 Collagraph p15



Monoprint inspiration

 History and development

Hercules Seghers (1589-1638), a Dutch painter and printmaker, was one of the early artists who experimented with printing in color, on unusual papers (and linen), and with unusual horizontal formats to emphasize the horizon,  called. He experimented by using different inks and papers, but reworked his prints by adding accents by hand. Most of his images differ widely from impression to impression, and most are preserved in only a few sheets.

Rembrandt in the 1650s often retouched his plates with drypoint, burin or by burnishing areas to delete some unwanted parts. He also inked and wiped the plate each time differently, reworking some areas by moving around the ink with rags, fingers or paintbrushes. This enabled him to render flames, smoke and rich areas of shadow,  creating dramatic darkness and light contrasts. Each impression was virtually different from the previous one.

Benedetto Castiglione (1609-1664) devised a new printmaking process by drawing images directly onto an unetched plate and then pulling a unique impression; he drew white lines with a stick, created tonal areas with his fingers, rugs and brushes, then printed the plate using a press, just like we do today.

William Blake (1757–1827) started experimenting with monotypes. He painted with oil and egg tempera onto a copperplate or piece of millboard from which he pulled prints by pressing the dampened paper against the paint. He then retouched his works by hand with ink and watercolor. Some of the monotypes were used as a guide for overpainting in another media.

But the medium failed to become popular because of its limitation to one print and also because it depended too much on accidental effects and uncontrollable properties of ink when subjected to the heavy pressure of a press.

In the late 1860s when the young impressionists became interested in the creative use of inking. These printing experiments seem to have been influenced by early developments of photography with its black and white contrasts and interplay of positive and negative imagery.

Edgar Degas (1834-1917) found monoprints gave him a great deal of artistic freedom. He used the ‘dark field’ method and created very dramatic chiaroscuro effects. 

Camille Pissarro (1830-1903) was one of the artists who became interested in monoprinting after Degas exhibited his prints in the third Impressionist exhibition of 1877.  Through experimentation and accidents he created a series of unique impressions, turning his imperfections to his advantage to create effects of light and texture.

Camille Pissarro Vacherie le soir, c. 1890 Monotype in warm black on wove paper sheet
From Wikipedia

Paul Gauguin (1848-1903) worked independently developing his own unique technique called trace monotype. His method consisted of inking a sheet of paper, laying another sheet over it, and drawing on the back of fresh paper thus transferring the ink creating an image in a linear manner. Paul Klee (1879-1940) experimented and mastered this method a few years later in his inventive drawings.

Maurice Prendergast (1859-1924) used this method extensively. He was  influenced by Japanese prints. He described his way of making monotypes : “Paint on copper in oils, wiping parts to be white. When the picture suits you, place Japanese paper on it and either press in a printing press or rub with a spoon till it pleases you. Sometimes the second or third plate is the best.”

Pierre Bonnard (1867-1947) produced hundreds of richly colored monotypes pressing the paper by hand or with a roller on a previously inked and painted metal plate.

Pablo Picasso (1881-1973), Chagall, Miro’, Dubuffet, Matisse and many other contemporary artists produced hundreds of exceptional monotypes, too.

Contemporary Monoprints

Georg Baselitz

Tracey Emin.


Linocut Inspiration

Linoleum was invented in the early 1860s and first used for printing in 1890 in Germany for the manufacture of wallpaper. By the early 20th century it had been popularized for artists’ prints. Linocut gained particular favour in poorer cultures that were less inhibited by a tradition of fine printing. In revolutionary Russia important linocuts were produced from about 1918. In Canada in the 1920s and 1930s the linocut was more common than the woodcut.

Linocut artists have been influenced by earlier woodcut traditions, including Japanese woodcut traditions and and also geometric forms and abstraction from African and Oceanic art. Linocut artists like the Grosvenor School and Lyubov Popova (see below) have also been influence by major art movements of the twentieth century, particularly cubism, futurism and constructivism. The possibility for dynamic mark-making and bold shapes with simplified colour make lino very well suited for this type of design.

Linocut artists used many of the techniques earlier developed for woodcut – both markmaking and use of tone and structure. But they also developed new directions with Picasso’s use of the reduction linocut (that can also be done with any other surface like wood). Linocut artists became particularly interested in dynamic shapes and use of colour influenced by Futurism.

Later prejudice grew up against linoleum block printing, as suitable only for children, amateurs and the uncultured. The linocut’s popularity also fell with the rise of commercial collaboration between printmaker and publisher, which encouraged more technically complex media.

But recently there has been a resurgence of interest in linocut as an art form. It is a key part of the many printmaking courses as an easier introduction to relief printing than woodcut. It has therefore become widely used for things like greetings cards. But there are also contemporary linocut artists doing innovative work – including very large pieces that exploit its potential for being cut into smaller blocks and because of its relatively light weight. There has been development of a wide range surface etching and texturing techniques using different tools.

Nineteenth and twentieth centuries

Franz Ciceck

An Austrian artist and teacher popularised the material for artists’ prints. He recognised the medium’s potential to instruct children in colour and design: it was cheap, easily worked with simple tools, adaptable to water-based inks, and versatile. Cižek toured Europe and North America with examples by his pupils and influenced art education worldwide.

German Expressionists  1905-1920s

The first major artist to adopt linocut as a medium was Erich Heckel, and his earliest linocut is dated 1903. In his Frog Queen (1905) linoleum’s lack of grain bias is evident in the perpendicular clusters of gouge strokes.

Artists from Die Brucke regularly used linocut instead of woodcut from 1905 to 1920s. These focused on bold shapes and expressive distortion in monochrome prints. The use of lino was ideal for this, although the fine lines and use of woodgrain etxture in some of the woodcuts was not possible.

Click here for overview of German Expressionist woodcuts

Google images for Expressionist linocuts

Google images for Erich Heckel linocuts

This German Expressionist tradition has been continued by modern artists like Georg Baselitz who produces very large linocuts and combination prints often on subjects of political protest.

Click here for overview of the work of Georg Baselitz


Matisse executed 70 linocuts between 1938 and 1952. These are similar in both style and subject matter to his black and white monoprints of figures. They are executed on lino in a fluent white-line technique, taking evident advantage of the smooth passage of the knife through the soft material and the variation in expressive line that can be achieved.

Click here for overview of Matisse’s work as printmaker and artist

Click here for Google images of Matisse linocuts


Picasso used linoleum for popular posters in the early 1950s. In 1959 he began a series of innovative colour linocuts, developing the reduction print technique. He developed a method of printing in different colours progressive states cut on a single block, so that the finished print comprises layered impressions of all the states.

Click here for overview of Picasso’s work as printmaker and artist

Click here for Google images of Picasso linocuts

Lyubov’ Popova

Lyubov Popova was a Russian avant-garde and ‘new woman’ artist (Cubist, Suprematist and Constructivist) painter and designer. She produced a number of linocuts in constructivist style.

Click here of overview of Popova’s work

Click here for Google images of Popova’s linocuts

Grosvenor School

Gaudier Brzewska

Edward Wadsworth

Claude Flight (1881–1955)

The most important British advocate of the linocut. He taught linocut from 1925 at the Grosvenor School of Modern Art in London and emphasized its accessibility to the proletariat. His images are very dynamic with strong curvature distortion.

Click here for overview of Flight’s work

Click here for Google images of Flight’s linocuts

Sybil Andrews

Click here for overview of Andrews’ work

Click here for Google images of Andrews’ linocuts

Lil Tschudi

Click here for overview of Tschudi’s work

Click here for Google images of Tschudi’s linocuts

Cyril Power

Click here for overview of Power’s work

Click here for Google images of Power’s linocuts

The work of the Grosvenor School has also influenced some contemporary linocut artists like the Canadian Gary Ratushniak who was trained by Sybil Andrews draws also on native America traditions.

Click here for overview of work of Gary Ratushniak

Click here for Google images of Ratushniak’s linocuts

Edward Bawden

Edward Bawden is another English artist and illustrator who often worked in watercolour, but also produced many linocuts. His work is more figurative and many of his paintings are from his experience as war artist in the Second World War.

Click here for overview of Bawden’s work

Click here for Google images of Bawden’s linocuts

US Civil Rights Movement

Linocuts were very popular as effective and cheap media for mass communication by African American artists involved in the American Civil Rights movement. Influenced by both African and Mexican art they depicted images of racial and sexual issues. Key proponents were:

Margaret Borroughs

Elizabeth Catlett

Contemporary linocut

Some of the sources I have looked at (in alphabetical order). For images and more detailed discussion see Logbook 2: Linocut at page references given below.

Richard Bosman

Emma Bradford

Helen Brown

Lynda Burke

Borge Carlson

Angela Cavaglieri

Katarzyna Cyganic

Otto Feil

Jess Freeman

Christine Koch

Rudolf Koch

Hans Larsen

Albert Masri

Ladislav Rusek

Monoprint Techniques

Monoprints and monotypes

A monoprint is a single impression of an image made from a reprintable block. It  involves the transfer of ink from a plate to the paper, canvas, or other surface that will ultimately hold the work of art. Monoprints are known as the most painterly method among the printmaking techniques; it is essentially a printed painting. The beauty of this medium is in its spontaneity and its combination of printmaking, painting and drawing media. Monoprints may also involve elements that change, where the artist reworks the image in between impressions or after printing so that no two prints are absolutely identical. Monoprints may include collage, hand-painted additions, and a form of tracing by which thick ink is laid down on a table, paper is placed on top and is then drawn on, transferring the ink onto the paper. Monoprints can also be made by altering the type, color, and pressure of the ink used to create different prints.

  • monotyping: plates have no permanent marks that will impart any definition to successive prints. Imagery is dependent on one unique inking, resulting in one unique print. At most two impressions (copies) can be obtained
  • monoprinting:  plates have permanent features on them that can be reused, but not to produce an identical result. Monoprints can be thought of as variations on a theme, with the theme resulting from some permanent features being found on the plate – lines, textures – that persist from print to print. Variations are confined to those resulting from how the plate is inked prior to each print. The variations are endless, but certain permanent features on the plate will tend to persist from one print to the next.

 History and development



Contemporary monoprint inspiration


Plates can be of any type, as long as they are non porous: plexiglass or thin sheets of metal such as copper or zinc, heavyweight vinyl, mylar or acetate, masonite, discarded thin litho zinc or aluminium plates, cardboard sealed with gesso or acrylic spray or glue, glass (only used when handprinting), styrofoam, polystyrene

Ink  can use water-based or oil-based inks, or paints. Other media can also be combined at different stages of the image.

Paper  can use thin or thick papers, watercolour paper, and cheaper papers like newsprint etc

Applicators  brushes, rollers, sticks, rags etc


Painterly approaches

Rolling the ink onto a plate and then removing it with different types of markmaking, or applying the ink like paint. Monoprints can be created also by using water-soluble materials such as watercolors, crayons, watercolor pencils, watercolor felt tip pens or commercially produced monoprint inks (Akua-Kolor, Createx or Green Drop Inks).

Prior to drawing, the plate to be used (usually plexiglass) needs to be finely sanded and the edges bevelled. This will allow color to fix better on the plate and make drawing much easier. Using a sponge or small brayer apply a thin even coat of hand soap to the entire printing surface and allow it to dry. The soap will perform as a releasing agent and allow the colors to lift during printing.
Draw directly onto the surface of the plate with the water-soluble materials, letting the color dry for a few hours prior to printing. The paper to print on should be damp, but not excessively wet unless you want the colors to “run”. When printing, the moisture in the paper will reactivate the drawing materials, allowing for the transfer of the color to the paper. Run the plate through the press with moderate to heavy pressure. This will give you the best impression. Prior to removing the printed image. Check the impression quality by lifting the corner of the print and checking the image. If the impression is not satisfactory, lightly spray/sponge the back of the paper with water and run it through the press again. Repeat this until the image is of acceptable quality.


First Monoprints

Markmaking: 1.1 First Monoprints

Human Form: 1.1 First Monoprints

Inspiration:  Castiglione   Degas


Using thin plastic or paper shapes to produce positive and negative space images in one or more colours.


Coloured silhouettes: 1.2 Masked Monoprint

The Miner’s Wife: 1.2 Masked Monoprint

Inspiration: Matisse cut-outs

Trace drawing

Also known as back-drawing or back-tracing. Inking up a plate and then drawing on the back of the paper with different instruments to produce a line and shading- pencils for sharp lines, flat or soft objects for tone. This gives a very angular and nervous line. There is no limit to the number of times you can back-drawn a print and different colours and textures can be built up.


The Human Figure and Portraits: 1.3 Back Drawing

Inspiration: Gauguin, Klee, Tracey Emin

Textured prints

Using textured materials to make marks in the ink and/or act as a mask between the ink and the paper.

Collage monoprint: materials are not glued on the surface but are used on the paper either inked or not inked (only used to produce embossments on paper). Materials often used are cut or torn shapes from textured papers, lace, cloth, thin vinyl sheets, leaves, and even metal grating.

Special effects can also be achieved dabbing solvents such as mineral spirits or turpentine to your inked plate, allowing the solvent to dissolve the ink so as to create beautiful reticulate marks.



Rockpools1: 1.4 Textured Monoprints

Combination monoprints

All these techniques can be combined in different ways to produce


Images of St Ives: 1.4 Combination Monoprints


Linocut techniques

Type of relief print in which the artist cuts the design into linoleum as the printing surface, using gouges and knives.

Linocuts resemble woodcuts, although the softness and lack of grain of linoleum, which permit the artist to cut fluently in every direction, deprive cuts of the vigour and bias often seen in woodcuts. As fine networks of printing lines tend to crumble in linoleum, broader effects are usually sought. As the surface of linoleum is smooth, unless specially treated, it will not print with a texture that is visible in some woodcuts. The slickness of linoleum can produce a distinctive curdled effect in broadly inked areas, as seen in the Frog Queen (1905) by Erich Heckel; in this print linoleum’s lack of grain bias is evident.

Types of lino

Linoleum is a man-made sheet flooring composed primarily of oxidized linseed oil and ground cork. Battleship linoleum, a variety c. 6 mm thick, is frequently recommended, as is Desk-top, a thinner sheet. With the advent of synthetic floorings, linoleum became less easily available. In the late 20th century it was no longer produced in the USA but was manufactured in Scotland and commonly sold only in artists’ shops. For printmaking, linoleum may be mounted on to plywood, to produce a block that can be printed mechanically.

Type-high linoleum blocks can easily be printed with type and have been used in book illustration. Because sheet linoleum weighs relatively little and can be printed by hand, it has been used for exceptionally large printed images. Because linocuts are so easily printed by hand, they have been favoured by many artists who personally produce very small editions, although mechanically printed editions of as many as 25,000 are reported (Yeaton, p. 21). Since linoleum lends itself to broad effects, it is particularly adapted to multicolour printing, usually with a separate block for each colour.

The image

Choosing an image

The important thing here is to pay attention to design – strong tones, simple shapes, patterns and textures.

See Design elements and principles

Masks can be used over portions of the image, parts of the image can be hand-coloured. Blocks can also be rotated in different colours or tones to make abstract images.

Planning the image

It is likely that any sketch will need to be adjusted or simplified to make a good linocut image. To simplify the shapes, adjust the edges and clarify the movement of the eye though the image. It is very useful to do Notan structure drawings to check the underlying tonal structure and dominant shapes.

Images can be constructed through positive and/or negative shapes. Linocuts can be mostly cut away to leave lines on paper background, or mostly the colour of the ink. Or a combination of the two. It is worth experimenting with reversing the tonal values to explore different interpretations of an image.

Lino is a direct printing process so the image will be reversed when printed. It is useful to check the design through using a mirror.

This can be done using white chalk on black paper, experimenting with different marks to simulate linocut marks. Black and white collage can also be useful.

It is particularly useful to do this digitally using a programme on the iPad like Procreate. This enables you to design specific brushes that mimic linocut tools and freely and quickly experiment with different versions, interpretations and colours of a design.

Transferring the image onto the lino

Tracing paper or a lightbox can be used to help reverse the image.

This can be done using tracing paper and a soft pencil, or carbon paper. Or simply drawing on.

It is useful also to go over the black areas with pencil or inl and brush so that the cuts will be clearly seen.

Cutting the lino

Cut marks are part of the identity of a linocut. These can give a sense of movement and life. They can also give a wide variety of textural contrast. Sometimes a clean area with no cut marks is required.

Cut along the surface of the lino – you don’t need top cut deep. Even pressure can create a smooth line.

Varying the pressure and angle of the tool and/or speed of cutting gives a more varied and expressive line.

If using a large lino block, or cutting away large areas, it is best to mount the lino on a solid surface like hardboard with glue. This will keep the plate rigid through repeated use. This is particularly important in reduction or combination prints.


Veining tool: to cut an outline around the largest shapes so that they are easier to cut out. And for the finest lines and smallest areas.

Gouge: has a rounded blade that cuts into the lino first and leaves a round end to each cut.  The gouge can be pushed into the lino and make a long smooth stroke. Short stabbed cuts can also be made as textural marks. Rough-edged marks by rocking from side to side. They come in a range of different widths and vary from shallow C-shapes to deep U-shapes.

V-tools: have a triangular blade that will leave a neat v-shaped cut. Longer cuts can be made and then tapered by reducing the pressure on the blade as it reaches the end of the groove. Short stabbed cuts will be triangular in appearance. A square end to the cut can be made by suddenly stopping the movement and levering the lino shard away from the block. They come in a range of different widths.

Blades: Angled and flat-end blades are designed for cutting a line around a shape before using a gouge to make the edge sharp, particularly if you want this to make a corner or a point. They can also be used to remove the top edge of the scoop marks or the ridges of cut marks if a clean area is required.

Scoops: ?? not quite worked out what to do with these.


  • Use a bench hook and steady the image, cut away from you. Turn the lino if you need to change direction.
  • Warm the lino to make cutting easier and prevent strain. This is easily done with a hairdryer or on a radiator.
  • Keep plasters handy in case of slips.


It is useful to check the image as you go along by lying a thin piece of paper over the lino and using pencil or a graphite stick. This helps avoid over-cutting and better judgement of shapes. At a later stage it is useful to do proof prints.

Printing the image

Inking the plate

Use relief inks – water-based or oil-based. Relief inks are stiffer than etching inks.

Mix the ink into the colour you want with a palette knife. Use thinner ink if you have a lot of fine cuts.

Use a hard roller to get sharp outlines. A softer roller will go slightly inside the cuts and give a softer image. Ideally the width of the roller should be bigger than the block. Use a small roller to go over finer areas if necessary – check the corners and edges in particular.

You need an even coating of ink that is not thick or lumpy. The ink on the roller should look like fine suede and make a very gentle swish when rolling out. There should be no spots or marks in the ink because these will be transferred to the block, and probably to the paper. It is much better to apply several layers of thin ink than one thick layer – ink that is too thick may ooze down into the cut marks and loss of detail will occur.

You can re-ink the lino several times for the same colour, or to mix colours.


Relief prints are usually printed onto smooth dry paper, but can be printed on dampened paper.

Thinner more sensitive papers can be used, particularly if printing by hand.


Registration enables you to print an edition with every print being positioned in the same place on each sheet of paper. It also enables you to over print a new layer of colour over a previous print.

Registration methods include:

  • drawing frames of two sizes on a large sheet of paper – a smaller one for the block and a larger one to position the paper
  • putting tape supports or marks at one or more corners on the bed of the printing press for the block and paper eg marks for the block and tape supports for the paper (my preferred method)
  • mounting the block on a hard board that is the size of the paper.
  • using a thick cardboard jig the same height as the surface of the lino and the same size as the paper, with a hole for the lino plate cut out in the appropriate position. Or a simple L-shape can be used.

In all these cases the top left hand corner of the back of the paper should be marked to ensure it is placed the right way up.


The linocut can  be printed in a simple screw or lever press or by hand, by rubbing the paper against the inked block with a spoon, rolling pin or baren (a slightly concave disc sheathed in bamboo), or by laying the inked linoleum on to the paper and hammering the back of the block. These hand-printing methods can also be used to print on to textiles, or the inked block can be turned on to fabric stretched on the floor and trodden on by the printer. Hand printing can give a more sensitive image.

If using a printing press, the paper can be put on top of the block if you want some embossing. Also if you want to selectively dampen the paper to give texture to the inking. If you want easy registration by eye then put the paper down first and place the block on top.

If corners have been cut back, or to avoid ridge marks at the edges of the lino block on the paper, use lino runners along the edge to stop the rollers sinking onto the paper.

Editioning (single colour or multi-block)

Number the prints in the order you take them. Marked Print No/Total prints.

The edition is only true if the block or blocks remain true without any additional cutting during the print run. It is usual to print all pages of the first colour together, then the next etc. (But not if you are changing the colours of ink on the blocks). The first print is labelled the artist’s proof.

Multiblock Linocuts


A multi-block linoprint is where each colour is printed from a separate lino block, cut to match the original design.

To begin you need to create a design that can be printed in two or more colours (often 3 colours is good). Again simplicity of shapes is key. In some cases a black registration block is used containing the finished design to help cut the different layers and also unify the image at the end.

When you have drawn your design outlines and solid dark areas you can colour in areas of your design with pens.

Printing is generally done light to dark, using light colours for the largest areas on the least-cut block. This enables layering of colours to produce a range of different tones and hues as the inks mix and overlay each other.

Block 1: lightest with only the areas that will remain white cut out. This image then needs to be transferred from the paper to Block 2 while the ink is still wet.

Block 2: darker colours with colour of block 1 cut out. This image then needs to be transferred from the paper to Block 3 etc if more colour blocks are used while the ink is still wet.

Blocks 3+ and so on.

Registration block goes last.


Reduction Linocut (alson known as ‘suicide print’)

A technique that creates a multiple colour print from one block.

First prepare a coloured design and transfer it to the block as in other methods. It is useful to have a master tracing to work from as successive layers will disappear. Colouring areas to be retained helps prevent mistakes.

The first cuts are the colour of the paper to be printed on. The surface is then reduced for each successive colour, usually working from the lightest to the darkest. Remember ‘CUT TO SAVE’ previous colour. Some cuts can also be masked if you make a mistake.

As you cannot go back, a batch of prints large enough for the print run should be done at each stage.

Reduction prints are usually printed in opaque inks as you want each successive colour to sit on top of the previous layer (is this true?? Or do you want mixing???)