Tile Printmaking pattern

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4. RESOURCES & MATERIALS
• Link to this presentation on GOOGLE SLIDES
• Safety-Kut® NASCO or Soft cut printing blocks
BLICK
• Speedball linoleum cutters
• Speedball or BLICK block printing ink
• Plexi-glass sheets 8”X10” or larger
• Construction paper various sizes BLICK

5. WHAT IS BLOCK PRINTING?
Block printing is a process where an artist carves into wood,
linoleum, rubber or foam to create a design that can be printed
so that the areas carved away appear white and the areas left
behind are inked and print onto the paper (as a rubberstamp
would be printed).

6. OTHER FORMS OF PRINTMAKING
Lithography- a limestone is treated so that it
repels ink except where the artist has drawn a
design for printing.
Intaglio- a piece of metal (usually copper
or zinc) is etched using an acid to create
grooves for ink to collect in, then it is
printed on a press.
Silkscreen- a stencil is used on a screen of mesh
to block all the areas except the design area so
that ink can pass through the mesh and print.
The stencil can be painted onto the mesh or put
on through using UV sensitive emulsion and
exposing the screen with the stenciled image to
a light source.

7. LINOLEUM CARVING TOOLS
A carving tool has a handle with
interchangeable gouges of different
shapes and sizes so you can get detail
areas and large areas carved out.

8. Brayers
Inks
Linoleum Cutters
BLOCK PRINTING
TOOLS
Plexi-glass
Barens- Can also use a
wooden spoon

9. PRACTICE CARVING: NAME STAMP
• Write your name (or initials)a creative way
• Trace your design
• Flip the design so it appears backwards on
your block (we will use a soft cut linoleum)
• Carve out negative space
• Print design- it will print facing the right way

10. Sketch out
your name
using different
fonts until you
have a design
you want to
use for your
print.
Trace the
outline of your
lino block onto
your paper so
you know the
size you are
working with.
Use tracing
paper to trace
your name in
the font style
you like best.
Place the
tracing paper
on your block
graphite side
down- the
letters should
appear
backwards.
Name Stamp Process: Sketching and Tracing

11. Make sure you
rub over the
entire design
so that it
transfers
completely
Use the cap of
a marker to
rub the back of
the tracing
paper over
your drawn
lines, the
graphite will
transfer .
Use lino
cutters to
carve out
around your
design (the
negative
space).
You may need
to use a few
different
gouges to get
all the details
in your design.
Name Stamp Process: Transferring and Carving

12. Name Stamp Process: Rolling out ink
This is perhaps the trickiest part of block printing
1. Squeeze out a small “snake” of ink from the tube just wider than the brayer.
2. Dip the brayer into the ink then lift it up and start rolling out the ink from the bottom of the
plexiglass. Make sure you lift the brayer as you roll so that the ink is distributed evenly. This is
called a slab. Do not roll out all the ink in your “snake” you do not need that much.
3. As you roll you should hear a nice sticky sound and the surface of the slab should look textured
like the surface of an egg or leather.
4. If the surface of your ink looks shiny and wet like mud and makes no sound, you have too much
ink, you can use a piece of cardboard or a palette knife to scrape some ink off of the slab and start
rolling again.
Slab

13. Name Stamp Process: Printing
Put a piece of scrap paper
under your stamp and then
roll over your design with the
inky brayer. Lift as you roll
and look to see that the
surface of the design is all
covered in ink.
Place your paper over your
design and then use a baren
or wooden spoon to rub over
top your design with even
pressure.
Lift your paper to reveal your
print. It should print so that
the letters are pointing the
right way.

14. TILE PATTERN PRINTMAKING
1. For this project you will carve an
print a 4” X 4” linoleum block
2. Your design will be printed to
create a repeat pattern.
3. Your design will be informed and
inspired by Islamic tile patterns,
Indian block printing patterns,
azujelos, Mexican talavera tiles
or any other global tradition we
discuss in class.
You will be graded and given credit for each
step of the process:
• Sketching
• Carving
• Printing
• Clean up & Proper use of tools

15. CREATING YOUR DESIGN
To create a successful design we have to discuss:
• HOW TO STYLIZE AN IMAGE
• CULTURAL INSPIRATION
• BASICS OF PATTERN DESIGN

16. Stylized
Realistic Abstract Non-Objective
STYLES OF REPRESENTATION
The Tomb of the Wrestlers,
1960 by Rene Magritte

17. Examples of how
artists stylize a rose
To stylize is to simplify, to
break a form down to
basic shapes and lines. It
is also to show your
unique style as an artist.

18. DRAWING ACTIVITY: STYLIZE A NATURAL FORM
1. Choose a natural form to
work with.
2. Warm up with a
continuous line contour
drawing (draw without
lifting up your pencil)
3. Create 3 drawings of your
natural form stylizing the
image

19. STUDENT WORK: STYLIZING A NATURAL FORM

20. UNIT- the
image that
repeats
REPEAT PATTERN- Several
units repeated to create a
pattern
ELEMENTS OF PATTERN DESIGN

21. PPP
PPP
P
P
P
P
Examples of Rotational Patterns
In a tile pattern
we often find
rotational
repeat the unit
is rotated
around a
central point
and repeated.
Unit

22. This unit design has both
bilateral symmetry and radial
symmetry creates a repeat
with both bilateral symmetry
and radial symmetry.

23. This unit has diagonal axis bilateral
symmetry, when printed it creates a
repeat with radial symmetry.

24. INSPIRATION
• For this project we are looking to several cultures that have pattern
art traditions for inspiration.
• We will explore traditions from India, Mexico, Hawaii, Middle East,
and Portugal
• There are many more examples of pattern art in world cultures, I
encourage you to continue your own research into pattern design.
Indian block printing stamps Azulejo tiles in Portugal

25. INDIAN BLOCK PRINTING
In India there is a tradition of block
printing. The artists create
continuous repeating patterns
using a carved wooden block. The
patterns are inspired by nature and
often have radial symmetry.
Video

26. HAWAIIAN QUILTS
Hawaii
Hawaiian quilts have a distinct style of radially
symmetrical patterns featuring tropical plants
and geometric forms. This art form grew out of
the indigenous textile tradition of kapa moe
where the soft inner bark of local trees were
beaten until soft and then painted with dye in
geometric patterns. When missionaries came
to Hawaii they brought western fabrics like
cotton and quilting techniques. Out of this
blending of textile arts came the tradition of
these unique quilts.

27. TALAVERA CERAMICS
Mexico
In the 16th century the ceramic
techniques and styles of the Spanish
colonists (monks) blended with the
expertise in clay working of the local
indigenous communities in Mexico.
The Spanish monks taught the wheel
and tin glazing and introduced some
patterns and styles, and the
indigenous people who made the
pottery had centuries of knowledge
about working with local clay and
their own techniques and styles. The
result is a hybrid style, called Talavera
(from the Spanish)

28. The tiling seen in
Islamic architecture
display elaborate
geometric repeating
patterns that reveal a
complex
understanding of
mathematics, stylized
images of nature and
Arabic calligraphy.
ISLAMIC TILING

30. AZULEJOS
Portuguese glazed tiles
Photos from Lisbon, Portugal.

32. SKETCHING OUT YOUR DESIGN
Use the boxes on the handout to sketch out your design, they are the exact size of the
linoleum blocks. Draw from the cultures we explored to inspire your design and remember
you can stylize any image you are inspired by. Use the guidelines on the handout to help
you align the elements of your design to be symmetrical (bilateral or radial).

33. SIMPLIFYING A COMPLEX DESIGN FOR CARVING
This part of the handout shows you a strategy for simplifying a complex radial design so that it is
possible to carve out of the linoleum. If your design has radial symmetry you can take one fourth of
the design and sketch it larger as shown and when you print it four times it will make up your
original design.

34. TRANSFERRING YOUR DESIGN TO THE LINOLEUM BLOCK
To transfer your design to the linoleum block use tracing paper and pencil to trace the
outlines of your drawing. Then take the tracing paper and place it graphite side down
onto the linoleum block and rub the back with something hard like the cap of a marker.
Make sure you hold the tracing paper in place as you do this so the design does not shift.

35. ROLLING OUT A BLENDED COLOR INK SLAB
Begin with squeezing
out a snake of ink that is
half one color, half
another color. The snake
should be just slightly
longer than the brayer.
Dip the brayer in the ink
making sure both colors
get on the brayer. Then
begin to roll out the
colors. As you roll make
sure you lift the brayer
so that the ink rolls out.
If you need more ink dip
the brayer again but
make sure you place the
brayer back down so
that it lines up with the
color of ink on the slab
otherwise the colors will
not stay distinctive.

36. PRINTING: DROP-FLIP REGISTRATION
To line up your prints to create a repeating pattern use
the drop-flip registration (lining up for printing)
technique. Carefully lay your block ink side down on to
the paper in the right spot then pick up the paper and
block (sandwiching it between your hands) and flip it
over so that you can rub the paper with the
baren/wooden spoon to print. Then peel up the paper
to see your design.

37. Drop-flip registration is tricky at first but
will become easy with practice. Practice
first on newsprint or scrap paper until you
have the technique down, then move on
to the final paper. Be careful of the wet
ink on the areas you already printed as
you flip the paper. This takes considerable
concentration but the results are
stunning!

38. What is needed for printing?

39. PRINTING- EDITION VARIAE
In many printmaking traditions
artists strive to make each
print alike. For this project you
will do the opposite-
experiment with colors of ink
and paper, print your block
four times, eight times or even
twelve times.
Because each print in your
collection (edition) will be
different you are creating what
is called an “edition variae” or
varied edition.
Have fun and experiment!

40. STUDENT WORK

51. Suggested Reference Materials
I have found that having printed out font
alphabets, reference image books and
drafting tools are very helpful for this
lesson.

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