Linoleum Reduction Print Lesson

They're finished! Watching these reduction prints develop has been fascinating. This is a project that just doesn't seem to "look right" for most of the process; but then, the last layer of ink is applied, and all of a sudden, the image comes together.

For those who may be unfamiliar with a reduction print, here is an outline of the process we used in this lesson.

Preparatory work:
1. Students chose an image using photographic resources. They were encouraged to seek high-contrast images with interesting textures, simple backgrounds, and unique compositions.
2. After creating a sketch in the exact scale of their final print, the drawing was flipped upside down and transferred to Easy-Cut linoleum (if you scribble on the back of the sketch, the graphite transfers easily to the block's surface). We re-traced the image in permanent marker.
3. Students chose 4-5 colors and colored in their original sketch on paper to map out their layers.

Reduction printing:
1. Ink the uncarved block with your lightest color. Pull five identical prints (actually... it is a very good idea to pull extra prints in case one of them doesn't turn out in a later step).
2. Wash your block. Referring to your sketch, use a gouge tool to carve away any area you wish to remain the original color that you printed.
3. Print your second color, making sure that you register (align) the block perfectly to your original print.
4. Repeat, carving away the areas that will remain as color #2 (and so on with each layer).
5. Your last color is (usually) your darkest color of ink. By this time, you will have carved most of the linoleum away. Anything that is left will be printed in this final color. The final step is important in adding clarity to the contour of your forms.

Students completed an edition of five prints each. Each person matted their most successful print of the edition... here are a few examples of the awesome prints from 1st hour!

Reduction Prints on Scratch Foam

High School-level Drawing & Printmaking class began a printing unit several weeks ago. Topic: reduction prints.

Have you ever tried to explain to someone how a reduction print is made?

If so, you might be familiar with the confused expression that usually meets you in response. It is a process that can be tricky to wrap your mind around. After researching different reduction print lessons & methods, I found an answer on a different Art Ed blog: Foam Reduction Prints by "Use Your Coloured Pencils." 

Why not use an elementary-level reduction print as practice? Students were invited to bring in a piece of fruit for breakfast in 1st hour class. If they forgot, I had the plastic fruit & veggies that we use for still life drawing. We printed from 6"x9" Scratch foam. These practice prints took up only two class periods, and now we have moved on to making their more advanced Linocut reduction prints. I can't wait to see how they turn out-- most students are on phase two of printing and the results so far are promising!

Surrealist Self-Portraits

High school students in Drawing & Printmaking class recently completed these self-portraits with Surrealist backgrounds. These were created using ultra-fine point Sharpie pens and Prismacolors on 14"x18" illustration board.

After viewing the work of Surrealist Rene Magritte, students brainstormed lists of objects to juxtapose, combine, and morph within their backgrounds. We used mirrors and anatomy guides to find accurate proportions of facial structure as we gestured in our rough compositions. Additional requirements included the presence of the artist's hand in the image, as well as a formal or implied border to create movement around and within the composition.

Contour Line Drawing

We are in our second week of the new semester! The syllabus has been read; the shelves have been labeled. 1st hour Drawing & Printmaking is up and running!
Our skill practice the first week consisted of various contour line drawing exercises. We viewed contour drawings by master artist Pablo Picasso (have you heard of him? He's pretty good), to identify and discuss line styles.
Key points:

• Contour line drawing forces us to recognize lines, shapes, angles, and proportion-- and translate them into two-dimensional form
• lines must be thoughtfully chosen and applied in order to communicate the form in the simplest, most clarifying manner
• Different weights can be placed upon lines to add or detract visual emphasis
• Repeating a line style adds BALANCE and UNITY to an artwork

For our culminating exercise of the week, we created large-scale contour drawings of plants. Of course, this involved several trips on my part: down the length of a very large school with a giant cart laden with plants from the obliging Science Department. Worth it.

Students worked on white paper from the roll usually kept for protecting tables during messy projects. Each sheet was roughly 40x40" to begin with. I chose to have students draw using acrylic paint watered down to a liquid consistency; we each began with a 1/2" flat brush and black paint. When the main plant body had been rendered, students used larger 1" brushes to add weight to selected contours. They were given the freedom to add green accents at their discretion, and choose what contours would best serve the composition in the background. When all the brushwork was complete, students went into the work with black permanent marker to add the finest lines. We are actually still working on this final step, but I had a camera and a few extra minutes... so here are some samples!