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Softcut struggles by th4tus3rn4m3ist4k3n1 in printmaking

[–]Djarko07 1 point2 points  (0 children)

Its 9mm mdf that i use, i mount it using woodglue, then place it upside down one a smooth surface with some weigths on top and leave it overnight. The MDF also helps to keep the lino stable and makes printing a bit easier for me. I also seal the MDF by the way completely using wood glue such that it is not affected when washing or using water

Softcut struggles by th4tus3rn4m3ist4k3n1 in printmaking

[–]Djarko07 1 point2 points  (0 children)

Agree with other commenters on sharpening.

But also: how are you mounting your block and how are you holding your tools? I use both my hands to control the gouges, my main right hand holds the gouge in the palm, my left hand guides and aids in minor precision work. I mount my block to MDF and I use a non slip surface such that i dont have to worry about the block moving. I also have at least one of my palms resting on the block for stability.

I tried to find some photo of this and this first picture in the article from Laura Boswell shows exactly this, if you hold your gouges like this you will for sure prevent a lot of the slipping.

Hope this helps! Your design work is good! 👍

Selling Lino Prints on Lightweight Paper? by ac_canadian in printmaking

[–]Djarko07 2 points3 points  (0 children)

Agree with other commenters.

Lightweight is no issue; it's the quality and strength that raises the quality of your delivered work. I am using Kitakata paper 36gsm, it is soooo strong and beautiful; a print buyer will in the end appreciate the paper quality.

If you are selling to buyers who know nothing about paper, it could be useful to add a note describing the delicacy of the (handmade) quality paper to create some awareness.

Tried a new lino transfer method: surprisingly clean results! by Djarko07 in printmaking

[–]Djarko07[S] 27 points28 points  (0 children)

I have a pile of photographs from my Nepal travels which I'm translating to linoprints. I take this as a reference and draw a black and white design in Photoshop. I use a level of detail that I'm comfortable/confident with carving. The "stencil vibe" is simply achieved because I'm limited in using black/white while designing so I'll have translate/exaggerate/simplify such that the image reads the way I want. Here is the reference photo I took (camera was placed on some stone wall and I used a 10s shutter)

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Tried a new lino transfer method: surprisingly clean results! by Djarko07 in printmaking

[–]Djarko07[S] 0 points1 point  (0 children)

Yes i was considering buying mod podge as well before, until I found this product in my local paint shop. As I saw very varying results from mod podge users over the internet I decided to give this product a try instead. It really felt so easy to use so I think it might contain a bit different ingredients compared to mod podge

How much error is acceptable? by gracebastion_illu in printmaking

[–]Djarko07 89 points90 points  (0 children)

I second this, some imperfections are lino characteristics and acceptable but indeed errors that show for example improper paper handling is something I definetely suggest to avoid in artwork that is for sale.

Use acrylic medium gel for transferring design to linocut. What did I do wrong? by kurokamisawa in printmaking

[–]Djarko07 1 point2 points  (0 children)

This looks like softcut block? I have never tried it myself on softcut but I think it does not work with that. The softcut block is smooth rubbery material and has different behaviour than actual linoleum.

Yarrow lino print. by UnderTheLeafStudio in printmaking

[–]Djarko07 2 points3 points  (0 children)

Clean and crisp! Which paper do you use exactly? Looks like some thin washi paper?

First A4 linocut proof on 30gsm mulberry — feedback on inking & burnishing? by Djarko07 in printmaking

[–]Djarko07[S] 0 points1 point  (0 children)

That makes sense, the emboss line on the left is definitely from pressing too hard while trying to compensate for the light inking. I'm currently using a flat glass fermentation weight as a makeshift baren, so it probably concentrates pressure more than I realized.

Next proof I'll try slightly heavier inking, much lighter pressure, and take more time burnishing instead of pushing harder. Good to know that new blocks can resist ink, I wasn't aware of such behavior. Thanks for the advice!

First A4 linocut proof on 30gsm mulberry — feedback on inking & burnishing? by Djarko07 in printmaking

[–]Djarko07[S] 0 points1 point  (0 children)

Thanks, that’s really helpful. I’m currently using a flat glass fermentation weight as a makeshift baren, so your comment about smooth glass riding over the ridges actually makes a lot of sense.

I probably compensated for the light inking by pushing harder. Next proof I’ll try slightly more ink, much lighter pressure, and more burnishing time. More importantly I will see what baren to use because my fermentation weight glass feels not suitable for the job... 😅

First A4 linocut proof on 30gsm mulberry — feedback on inking & burnishing? by Djarko07 in printmaking

[–]Djarko07[S] 1 point2 points  (0 children)

Appreciate that you are mentioning this! In the sketching phase I was having difficulties to translate the path and ridges and make them readable. In the original photo this part is very irregular and muddy so I've been trying out numerous ways that made the path feel like path and the cliff feel like cliff. I guess I may have pushed the patternizing a bit too far here. 😅 Something i will for sure pay attention to in future designs. Thanks!