This document provides guidance for teaching printmaking techniques including linoleum reduction printing and acrylic drypoint etching. It outlines the necessary materials, such as lino or acrylic printing plates, carving tools, ink, paper and a printing press. Step-by-step instructions are provided for the printmaking processes, which involve designing an image, transferring it to the plate, carving or scratching the non-printing areas, inking the plate, placing it on the press with paper, and printing. Tips are included on refining designs through multiple printings. Videos are also recommended to demonstrate the techniques.

1. Printmaking & Inquiry
Strategies to engage
visual arts students
PROCESS AND PRODUCT: THE BALANCE BETWEEN ARTS AND CRAFTS IN
THE CLASSROOM

2. Brainstorming-
Themes, Concepts or Topics
 Some examples of graphic organizers for getting students to think about the qualities and
parts that make up Unit Concepts.
Copyright©HoughtonMifflinCompany.AllRightsReserved.
Topic
Name _______________________________________________ Date ______________________
Cluster/Word Web 1
Write your topic in the center circle and details in the smaller circles. Add circles as needed.
Copyright©HoughtonMifflinCompany.AllRightsReserved.
Fact Opinion
Name _______________________________________________ Date ______________________
Fact and Opinion
Write your topic at the top. Add details to each column.
Subject: Subject:
Name _______________________________________________ Date ______________________
T-Chart
Add details to each column.
Copyright©HoughtonMifflinCompany.AllRightsReserved.
Subject:__________________________ Subject:__________________________
Name_______________________________________________Date______________________
VennDiagram
Writedetailsthattellhowthesubjectsaredifferentintheoutercircles.Writedetailsthattell
howthesubjectsarealikewherethecirclesoverlap.
Copyright © Houghton Mi fflin Compan y. All rights reserved.

3. Brainstorming-
Themes, Concepts or Topics
 Questioning a concept and discussing the multiple views and
experiences students have around it, is an essential process of inquiry.
 Guiding the discussions and focusing the questions to make the
students look at their own lives for relationships to the concepts should
help to hold the students’ interest in the topic.
 Some web resources for art teachers to use for Inquiry strategies:
 http://whitney.org/Education/ForTeachers/TeachingTips
 http://www.art21.org/teach/on-contemporary-art/starting-the-
conversation
 http://www.artbabble.org/educators

4. Linoleum Reduction Print Making
Materials-
Linoleum- Soft Lino works best. Look for two toned Lino for printing, as your students will find it easier
to visualize the contrast and color. This will be the “Plate” students print from.
Lino-cut Tools- These are many and various in size, shape and color. Generally, they have a bulbous
handle with a screw head that can interchange the blade type for the desired cut. These are usually sold as
kits (one handle and a set of blades), so a class set may be expensive. Eventually you will need to sharpen
or replace the blades.
- An alternative is to by Woodcut tools, that are generally cheaper in larger, class set orders and come
with the same variety of blades. These tools are particularly nice if you will also be teaching Woodcut
lessons.
Safety Board- This is a wood board with a wood rim attached at opposite ends to hold the plate
against a solid edge and prevent the cutting tool from slipping under unexpected pressure. This is
something you will feel and is difficult to explain in words.
- This is one of the essential items for beginners as it will prevent them from many amateur mistakes.
Most importantly, cutting themselves or others.

5. Linoleum Reduction Print Making Cont.
Black Permanent Marker- This is necessary for securing the image on the plate that the students
will later cut. The unforeseen handling of the plate by students will often rub off their design, so the
marker insures it will always be visible, particularly after several colors have been printed.
Ink- Water-based ink, particularly for printmaking will be the best option. This ink will provide the
students with an easy to manage and clean up color vehicle that is designed not to dry out before
students can actually pull a print. Acrylic paint is a disaster in the making, just don’t do it. It will dry too
fast and the print quality will be usually undesirable unless you are doing an experimental or mixed media
process.
Brayer- This is an essential tool. Students often call it a roller, because it has a long rubber cylinder
attached to a plastic or steel girder with a handle. This is used to mix and apply ink to the plate for
printing. Brayers come in many sizes. Smaller sizes work best for younger students who make smaller
projects, and larger brayers may be appropriate for students who take on more ambitious, large scale
projects.
Ink tray/surface- This is also an essential tool. It may be an form of plastic, metal, treated wood, etc.
that is a flat-non-porous surface that ink may be put upon, and ‘rolled out’ using a brayer. The size is only
significant to the size of your brayer and your work space.

6. Linoleum Reduction Print Making Cont.
Substrate- This is the surface you will print upon. This may be paper, wood, fabric, skin, concrete, glass,
plastic, etc. Experiment with your inks, and see what happens!
- A note about paper. Heavier Archival paper looks best. Too much ‘tooth’ will cause broken color in your
print. Cold pressed paper will work good, but it should be stronger than ‘sugar paper’ or ‘computer
paper’ for the best results.
Bakers Rolling Pin/Heavy cylinder- For printing the plate against the substrate, any object that
will allow pressure to be applied to the surface of the plate upon the paper will suffice. I have had success
with coffee cups, mugs, Dowels, and my bare palm. Some artists use metal or wood spoons, some their bare
hands.
Drying Rack/Clothes line w/pegs- When prints are made, they must be let to dry flat, without
contact to any other surface. Some schools have drying racks, this is ideal. Others use clothes line and pegs
to hang the prints over head in the art room. I like the later as it makes the room colorful and shows off the
work of the students for passers-by or visiting parents.
Process/Technique
Think-Draw-Refine-Value Map-Color Map-Transfer Drawing-Cut-Ink-Print
Review-Adjust-Cut-Ink-Print-Review-This continues until the desired print is pulled.
Secondary cut-Ink-Print-Review-Adjust-Cut-Ink-Print-Review

7. Lino Reduction Printmaking Demonstration by Frank
Curkovic. This is an excellent video to show students
quickly how easy this process is.
https://www.youtube.com/watch?v=8vveUEi7UKc

8. Acrylic Drypoint Printmaking Demonstration by
Belinda Del Pesco. This is an excellent video to
show students quickly how easy this process is.
 https://www.youtube.com/watch?v=kgBU4KAmWlY

9. Acrylic Drypoint Etching Materials-
Perspex/Acrylic- Transparent acrylic like you would find in a picture frame works best. It should not be
more than 3mm thick.
Rasp/File- This is a tool that is long and flat with grooves tightly cut along it. Use this to file down the
edges of the acrylic plate. This is so the plate does not cut the paper when pulled through the press.
Stylus- Any pen shaped tool with a sharp hard point will do. Purpose made tools are available at art stores.
Ink- Water-based ink, particularly for printmaking will be the best option. This ink will provide the students
with an easy to manage and clean up color vehicle that is designed not to dry out before students can
actually pull a print. Acrylic paint is a disaster in the making, just don’t do it. It will dry too fast and the print
quality will be usually undesirable unless you are doing an experimental or mixed media process.
Cardboard- A small piece of cardboard, or any flexible material with an edge can be used
to apply the ink to the surface of the plate.
Tarletan/Muslin- This is a textile that looks a bit like a net. It is usually a little stiff. Use this
rolled into a small manageable ball to wipe away the ink and create gradations on the
plate surface.

10. Paper- Use a good archival paper. Just about any paper will work, so long as it is not overly textured with
tooth.
Print Press- Using a press will give enough pressure to the plate for the paper to pull the ink out of the
marks created on the plate surface.
Drying Rack/Clothes line w/pegs- When prints are made, they must be let to dry flat, without
contact to any other surface. Some schools have drying racks, this is ideal. Others use clothes line and pegs
to hang the prints over head in the art room. I like the later as it makes the room colorful and shows off the
work of the students for passers-by or visiting parents.
Process/Technique
Make an original photo or drawing
Place the acrylic over top of the image
Scratch the image into the Acrylic plate using a Stylus
File the edges of the Acrylic plate using a rasp
Apply the Ink using a cardboard or flexible tool
Use the Tarletan/Muslin to remove the from the plate surface
Place the plate on the Print Press bed with a sheet of paper below it.
Put a paper on top of the plate
Print the image
Review the outcome, some adjustments to the ink or design may be needed.
- This continues until the desired print is pulled.