Reduction Prints

Minimum Requirements

• Minimum 4 Color Run
• Minimum of 4 Prints
• At least one instance of two values of one color
• Reduction carving (uses one block to carve each color layer)

Things to ask yourself:

• Did I use dynamic & expressive line movement?
• Have I created volumetric features?
• Did I do something beyond the minimum requirements?
• Do I have at least one print that is accurately registered?

Turning in Work

• Turn all prints into Google Classroom
• In the comments, include answers to the following:
  • What did you learn about reduction printing?
  • What was successful about your composition?
  • What did not go as well as you hoped?
  • What will you differently next time?

Step-by-step Instructions

Design the Image

Trace the outline of the block on a piece of paper. Design the image you want to carve into the block. 
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Consider an image that will work well with different values (at minimum light, medium, and dark).

Materials: Linoleum block, Paper, Pencil

Trace block onto paper

Draw image in pencil

DEMO VIDEO

Transfer the Image onto the Linoleum block

OPTION 1: 
You can rub on the back of the paper to transfer the pencil to the linoleum.

Or, you can ink the linoleum. Let it dry. Then rub the back of the paper to transfer the pencil. The ink will stick to the pencil lines and make the first layer of carving easier to see (because of the contrast between cut and not cut areas).

Either way, its a good idea to go over everything with a sharpie.

OPTION 2:
Use transfer paper between the linoleum and the drawing.

The transfer paper should face down on the linoleum. Draw over the original drawing. The process of drawing over the lines in pencil will transfer a dark line onto the linoleum.

This dark line will be easy to see on the grey surface of the linoleum.

Ink the linoleum block

Let the ink dry

Rub the drawing to transfer

Also, consider adding a border. This example does not use one, but it can be useful to have a border if you end up with minimal linework at the end.

Carve the Whites

For the first layer, carve everything you want the color of the paper. 

This is your lightest value.

In the example, the sail has some shadow lines left in for the next layer.

If you haven't outlined in sharpie, now is the time.

Remember to always cut away from your free hand

Print the first Color

Choose a color for the lightest areas that are not white.

After this, you will carve the areas you want this color, so choose the lightest color you will print first.

Be careful to leave any shadows for those areas you want to print next.

Start with a small amount of ink, and then add more slowly.

Start by placing the block down onto the paper, then flip both together.

If your plate still looks light or uneven, keep inking in thin layers.

Burnishing from the paper side gives you a more even print.

Remember to print at least four prints from this block before moving on.

Carve Color 1

Carve the area you want to remain the color you just printed. These are the areas of your lightest printed values.

Remember to carve away from your hands in case the tool slips.

In this example, the llama fur is the lightest value, but some was left uncarved. The lower fur parts will become shadows in the next color print. The second print color in this example is a medium value of the first color. Using a two-tone approach gives you a more sophisticated print in the end. Highlights in the boat and the complete sail are also carved in this step.

Print Color 2

Print the second color. This color is likely to be the shadows for the first color. It is likely a medium value of the fist color.

If you would rather, it could be a completely new color, but they you will have to carve more between prints.

Remember that you can get nice color variations by mixing block printing ink. If you have a limited color palette to begin with, experiment with mixing a second or third color into your primary color to produce a duller version of the first.

Mixing small amounts of secondary colors into the main color produces duller values of that color

Registration is really important. Align to the bottom right corner, then to the bottom left. If you mess up, don't try to fix it.

Burnishing with the side of your hand is good for large areas of color. Your thumb pad is good for detail edges.

Carve Color 2

Carve the areas you want to remain color 2.

In this example, these areas are the shadows for color 1. The remainder of the llama fur is carved, the face, and most of the legs. A small area between the fur and the legs and between the face and the head fur is left for a darker shadow color during print color 3.

​Be thinking about what area of color you will print next.

Print Color 3

Print the third color.

This is often a new color being introduced to the composition.

In this example, it is the first background color. The swishy plant matter lines in front of and behind the llama will be this color.

The color used here was florescent green, which is too translucent to be effective.

Mixture of turquoise and yellow was a bit dark, but created more contrast

Florescent green on top added at this point made a perfect dull shadow color for the orange

Carve Color 3

Carve the area you want to remain color 3. 

In this example, these are the plants in front and behind the llama's path. The lines create a visual movement that makes the llama feel like it is moving faster. Adding the dashed lines help to create texture in the plants and provide an opportunity to use the two-tone approach to each color used.

Print Color 4

Print the color you want for your fourth color. 

This color can be a medium value of the third color, or new color introduced.

In this example, the lighter green was used to give the plants highlights and keep the lower parts of the plants in shadow.

At this point, this print could be finished, because it has four colors and a cohesive use of color and rhythm. You could save out one of your prints at this stage if you wish and then continue on with the other three.

Carve Color 4

Carve the area you want to remain color 4.

In this example, the next color will be the background color. There will be more contrast between the ground and the plants and the sky with the addition of a fourth color.

All of the plants were carved as well as the boat. Some boat details were left to create a line between the plants and the boat.

Print Color 5

Print the fifth color.

In this example, the blue sky is printed at the same time as the llama's path. This results in the path seeming more like water than land.

A split fountain was used to make the path lighter in value than the sky with a white/turquoise split.

Other Options

If you need additional color, you can keep repeating this process or you can create a mask for just a few areas.

In this example, a mask was used to add outlines to the boat, sail supports, and eye.

Mask cut from a ghost print. Use the thinnest paper you have access to

Lay the mask on the paper, then align the print to the mask for registration

This print has an unfortunate double registration problem with the black outline

End Result

At the end you will have a multi-color print from a reduction linoleum plate.

You won't ever be able to reproduce new prints from that plate, so make sure you print enough copies at the outset to have a few good ones by the time you get to the end.

Start printing at least four pieces of paper.

If you want to leave one or two without the last one or two layers, you will have enough compositions to try out different combinations of layers.

Turing in Work

Turn in your work in Google Classroom as well as your folder in Google Drive.

In Classroom, use the comments to write about your work.

• What did you learn about reduction printing?
• What was successful about your composition?
• What didn't go as you hoped?
• What is your plan for your next reduction print?

Original Idea

Oops! Double Registration

Boat (No Wheels)

Skip Black Layer