Lesson video

Hello, everyone.

How are you today? Hope you're feeling great.

My name is Ms. Afzal.

I'll be your art teacher for this lesson.

I'm very happy about that because I love teaching art and also because I'm interested in today's subject in particular.

It's all about printing, printing in relief.

I wonder if you know what that means.

I wonder if you've ever tried it.

And guess what? You're going to be having a go today.

Our lesson is called "Experiment with print: relief," and it comes from the unit of work Foundation workshops: an introduction to the areas of study.

So if you're ready with some openness, interest, and enthusiasm, I think we are ready to begin.

The outcome for today's lesson is: I can create a multi-layer relief print using both reduction lino and poly tile techniques.

We have some keywords in our lesson today.

Let's go through them.

Relief printing, reduction printing, and plate.

What do these words mean? Let's find out.

Relief printing: this is a printmaking technique where only the raised parts of a surface are inked.

Reduction printing: a method where the same block is carved and printed in layers, reducing it each time.

And plate: the surface, like lino or wood, from which a print is made.

These are our keywords: relief printing, reduction printing, and plate.

Let's look out for them and listen out for them.

They'll be coming up in our lesson today.

Today's lesson is called "Experiment with print: relief." It has three learning cycles: preparing to relief print, carving lino for initial layers, and creating depth and visual interest.

Sounds wonderful.

Let's begin by preparing to relief print.

And the outcome of this lesson might be something like this.

Wow.

Can see a lot of work has gone into these prints.

Relief printing is a technique where only the raised part of a plate are inked and then pressed onto paper.

So we have a carved plate, and there we have the printed image.

The print will always be a mirror image of the plate.

Let's have a check for understanding.

Which of the following best describes relief printing? Is it A, images are drawn directly onto paper using ink; B, the carved areas are inked and printed onto paper; or C, the raised areas are inked and pressed onto paper? Pause the video while you decide which of these best describes relief printing.

Well done if you chose answer C.

Indeed, relief printing is when the raised areas are inked and pressed onto paper.

When planning a relief print design, you should consider the following: which parts you'll carve away or remove; which parts will remain raised; that the print will appear as a mirror image, so you may need to reverse your design; the types of marks and textures you will use, as relief printing allows for a variety of effects; how you'll experiment with colour, layers, and techniques, including overprinting and printing on different surfaces.

Relief printing dates back to ancient times and has been used for many purposes.

Japanese ukiyo-e prints were made on handmade washi paper to preserve vibrant colours and produce affordable, accessible images.

Indian block printing, developed by the Chippa community in Rajasthan, used cotton fabric for its wide availability and ability to absorb natural dyes.

And Taller de Grafica Popular used relief prints for social justice campaigns and distributing posters and leaflets to spread political messages.

So we can see that relief printing has been used over a long period of time and for many purposes.

Let's have a check for understanding.

True or false? Relief printing was only used to reproduce imagery before modern printing methods.

Pause the video and decide if this is true or false.

Well done if you selected false, and now I'd like you to say a little more about your answer.

Pause the video while you do this.

Perhaps you said something like this.

While relief printing was essential in the creation and distribution of imagery, it was also used for creating written texts.

This allowed for literature and information to be shared more quickly and widely.

Artists using relief printing as part of their practise include: Rahemur Rahman uses traditional Bengali relief printing in his fashion clothing lines.

Vanessa Lubach creates illustrations using relief printmaking techniques to create detailed imagery.

Artists can experiment with flat surfaces and smooth backgrounds to print onto.

This can create depth and interest.

What could you print onto? Pause the video and share with someone.

Thanks for sharing your ideas.

Printing is something I really love doing and always used to enjoy finding different backgrounds to print on.

I've printed on napkins, pieces of wood, and once even onto a whole wall.

Aisha, Andeep, and Sofia have different ideas for experimental backgrounds.

Here's Aisha: "I could use a vibrant background wash and print one layer in white ink for highlights." And Andeep: "I could create patterns with poly tile printing under a lino reduction print." And Sofia: "Handmade paper or fabric could create a textured background for printing." Some wonderful ideas.

Let's have a check for understanding.

Which of the following shows a relief print plate? Is it A, B, or C? Pause the video while you decide.

Well done if you selected answer B.

Indeed, this is a relief print plate.

And now it's time for your first task.

I would like you to design your image for relief printing with lino.

You could use an image you've already made, create a new design.

You should consider if you need to mirror the image, where will you carve away, the types of marks you will create.

So pause here while you have a go at designing your image for relief printing with lino.

I'll see you when you're finished.

It's great to be back with you.

How did you get on designing your image? There are many possible outcomes, but you may have created something wonderful like this.

Here's Jun: "I've developed a drawing I've already made to create this design for my relief print.

I've used permanent marker to plan my print marks like the hatching." Great thinking there, Jun.

And now I'd like you to create patterns and textures using poly tile relief printing.

You should press softly with a pen to create the indents into your poly tile.

Use a stippling motion to initially make indents into the surface.

Avoid pressing too hard as this may pierce holes into your poly tile.

We don't want that.

You could create abstract patterns.

Create marks which will add to your lino print.

Press found objects into the poly tile to capture different marks.

So pause here while you have a go at creating patterns and textures using poly tile relief printing.

I'll see you when you're finished.

All right, how did you get on with that? You may have created something wonderful like this.

Here we can see the carved plate and the printed image.

Here's Izzy: "These patterns appear abstract, but they will complement your lino image, Jun.

I like how you've pressed things into the tile as well as drawing." And now we're on to our next learning cycle, carving lino for initial layers.

When creating a reductive print, the areas that you carve away will reveal the surface below, as they will not pick up the ink.

So we have our planning sketch, nose planned to carve away.

And there's the plate.

Nose has been carved away.

And there's the print.

Nose not printed.

Check for understanding.

True or false? The areas that are carved away in a relief print will remain blank and will not pick up ink.

Pause the video and decide if this is true or false.

Well done if you selected true.

Now I'd like you to say a little more about your answer.

Perhaps you said something like this.

In relief printing, the areas you carve away are lowered and do not pick up ink.

These carved sections stay the colour of the background or the layer beneath, while only the raised, uncarved, areas transfer ink to the surface.

The first layer of reduction printing will print the largest area of colour.

So there's our first layer.

The red colour is the second ink layer.

The first layer of peach ink is still visible.

What do you need to think about before carving the first layer? Thanks for sharing your ideas.

Notice that the first layer that has been carved will be the highlight or colour of the paper surface.

You can then layer your colours, building from the lightest to darkest tones.

A wide range of marks can be achieved when creating a relief print.

Smooth flat plains and residual carving textures.

Organic patterns and images.

And strong hatched marks.

Let's have a check for understanding.

Which of the following statements is true when planning a relief print? A, the carved areas will print as the main part of the image.

B, removed areas will show the background or layer beneath.

C, text does not need to be reversed before carving.

D, you can only use one colour in a relief print design.

Tick the statements which are true when planning a relief print.

Well done if you selected answer B.

Indeed, removed areas will show the background or layer beneath.

When carving a lino plate, you must use a bench hook.

Always carve away from your hands and body to avoid injury if the tool slips.

Keep blades sharp.

Dull blades are more dangerous.

Only use tools as intended.

Work at a clean, clear workspace.

Store tools safely.

And be mindful of others.

Lino cutting tools must be used carefully.

Lino should be on a flat surface.

Cutting away from our hands.

Blade is kept at a low angle to cut along the surface.

And tools in proper working order.

Never use a broken tool as this may slip or break further.

Let's have a check for understanding.

Which is the most accurate reason why you should never use a broken lino cutting tool? A, a broken tool can make your design look messy.

B, a damaged blade can slip or break further, causing injury.

C, it might slow down your progress on the artwork.

Or D, it's against school rules to use old tools.

Pause the video and decide which is the most accurate reason why you should never use a broken lino cutting tool.

Well done if you selected answer B.

Indeed, a damaged blade can slip or break further, causing injury.

Take a look at these tools.

What difference do you notice between these two lino cutting tools? Pause the video and share with someone.

Here's Lucas: "The size and shape of the cutting blades are different." I wonder if you noticed that.

The different shaped cutting tools have different benefits.

A wide shape carves large areas in less cuts, and it's useful for large flat plains.

The narrow shape carves thin areas with each cut, and so it's useful for fine details and lines.

Printing from a relief printing plate.

Apply ink to lino plate evenly with a roller.

Place paper over the inked surface of the plate.

Apply firm, even pressure across the plate.

And now it's time for your next task.

I would like you to carve the first layer of your lino plate.

Use a bench hook.

Always carve away from your hands and body to avoid injury if the tool slips.

Keep blades sharp.

Dull blades are more dangerous.

Only use tools as intended.

Work at a clean, clear space.

Store tools safely and be mindful of others.

So pause here while you carve the first layer of your lino plate.

Enjoy.

So how did you get on with carving the first layer of your lino plate? There are many possible outcomes, but you might have created something wonderful like this.

Here's Sam: "Jun has been able to achieve detailed carving in his bold design.

He used a range of tools to achieve different marks." I love that.

I wonder if you managed to create something similar.

And you can see some of those marks in detail there.

And now I'd like you to print the first layer of your lino plate.

You should apply ink to the plate evenly with a roller.

Place inked side of plate onto paper.

Mark the position of the plate and paper for future alignment.

Apply firm, even pressure across the plate.

And then print a series of images.

Print onto your Task A backgrounds.

You could test a range of ink colours to gain different effects.

So pause here while you now print the first layer of your lino print.

Great to be back with you.

How did you get on with your task? There are many possible outcomes.

You might have created something fantastic like this.

Here's Alex: "I love how crisp and neat your printed layers are, Jun.

Well done." And now on to our final learning cycle, creating depth and visual interest.

How could this print be developed further? Pause the video and share with someone.

Here's Laura: "We could paint or draw into it." And Jacob: "We could carve into the plate again and add more printed layers." Check for understanding.

True or false? After a single layer of relief printing, the printed image is complete.

Pause the video and decide if this is true or false.

Well done if you selected false, and now I'd like you to say a little more about your answer.

Pause the video while you do this.

Maybe you said something like this.

Some artists may choose to print a single layer relief print.

However, many develop their prints further, including carving more layers to create a reduction print or working into the print with mixed media.

Artists experimenting with their printmaking to create depth and visual interest include: Lin Onus creates detailed and rich prints with multiple layers and colours.

Sunnu Rebecca Choi combines a range of printmaking techniques as well as digital skills to create her illustrations.

Artists can create depth through reduction printing.

Can see the difference there between that initial layer of print and then the second layer of print that has been added.

A reduction print is made by carving the same lino plate in stages and printing each layer on top of the previous one.

This leaves parts of the earlier prints visible in the final image.

When printing, aligning the plate correctly is important.

We call this registration.

So this print is upside down.

And this one is misaligned.

It's off register.

Check for understanding.

The alignment of the printing plate when creating a reduction print is known as: A, reducing; B, revisitation; C, registration; or D, revision.

Pause the video while you decide.

Well done if you selected answer C.

Indeed, the aligning of the printing plate when creating a reduction print is known as registration.

Hmm, what has been done to this print to create depth or visual interest? Pause the video and share with someone.

Thanks for sharing your responses.

We can see an inky washed background and then some semi-transparent painted layers.

What else can be added? Any ideas? Pause here and share.

Thanks for sharing your ideas.

Check for understanding.

What is the impact if you do not align the plate correctly for new printed layers? A, the carved lines will become deeper and more defined.

B, the colours will blend evenly and create a smooth finish.

C, the ink will dry faster and appear more vibrant.

Or D, the layers may shift, causing a misaligned image.

Pause the video while you decide.

Well done if you selected answer D.

Indeed, the layers may shift, causing a misaligned image.

And now it's time for your final task.

I'd like you to develop your print with mixed media.

You should consider the colours and marks that will enhance your work.

You could add paint, paint pen, or other mixed media over your first layer.

You can add details or patterns to enhance the shapes in your first print layer.

You could create abstract additions.

So pause here while you develop your print with mixed media.

So how did you get on? There are many possible outcomes, but you might have created something like these.

Now I'd like you to carve and print additional darker layers as a reduction print.

When carving, you must remember the following.

Use a bench hook.

Always carve away from your hands and body to avoid injury if the tool slips.

Keep blades sharp.

Dull blades are more dangerous.

Only use tools as intended.

Work at a clean, clear workspace.

Store tools safely and be mindful of others.

So pause here while you carve and print additional darker layers as a reduction print.

So how did you get on with creating those additional layers as a reduction print? Many possible outcomes.

Look at these.

Here's Jun: "I've developed a range of experimental reduction prints.

I'm pleased with the colour palette used in this print and the balance between the different effects." I can see why you'd be pleased with that, Jun.

In our lesson "Experiment with print: relief," we've covered the following.

Relief printing is a technique where only the raised parts of a plate are inked and then pressed onto paper.

Artists can experiment with flat surfaces and smooth backgrounds when creating a print.

Relief printing dates back to ancient times and has been used for many purposes.

A reduction print is made by carving the same lino plate in stages and printing each layer on top of the previous one.

When printing, aligning the plate correctly is important to avoid off-register prints.

Well done, everyone, for joining in with this lesson.

I love printing, so I was so excited for us to have a go at this, exploring relief printing techniques, making a reduction print, and ensuring accurate alignment.

I hope you enjoyed this lesson, I certainly did, and I'm looking forward to seeing you at another art lesson soon.

Until then, stay creative.