--Explain the proper use of the bench hook, the gouges, and how to hold tools to get best cuts in the linoleum and not you

--Instruct students to carve away gray areas and to leave the black lines standing (remove everything but the drawing)

--It will take some convincing for many students to understand that what they cut away will print white and what they leave will print black

--If words or letters are used be sure to explain how to reverse the image so it will print correctly

--Explain how some tool marks will show, so carve in the same direction in any one area

--When demonstrating the inking and printing of a plate, stress to keep any carving well away from the printing area (small pieces get into the ink and ruin prints)

--Pull a test print to see if any changes are needed (you can always carve more away, you can't put back)

--Stress that good solid black prints are desired (without over inking)

--Put fresh prints on the drying rack immediately, then re-ink and continue printing

--Wash off the printing plate (and dry) as you finish printing daily

--When the prints are dry they can be stored in a separate folder for each student

SOME HELPFUL HINTS

Liz Medina Inking Plate

--When cutting linoleum, make a single straight shallow cut with a knife, then the material will break over a table edge

--Cheap poster board, black railroad or the centers of larger mats work well to make mats for prints

--Getting one matted print of "every" student on display is very important

--Displays in a showcase allows the display of plates and tools along with the finished work

--Putting the entire process on display provides a deeper understanding of the process

--Experiment by trying to print on colored stock

--Try printing with color inks

--Try reworking some of the poor prints with pastel or watercolors

--Color an area on the white paper first with chalk and then print over the chalk

Eduardo Martinez Carving

Cameo Foster Pulling a Print