Aw, thanks so much for saying so, Tricia! The world needs more printmakers, so I am happy to share and inspire others to try, too. Happy printmaking!!

Thanks for watching, Katrina!

I would love to study Book Arts (I've made a few and it's an amazing way to create)! Printmaking can be used in so many ways with handmade books. So happy to help with my videos!

Thank you for watching, Susan, and for your nice comment! I'm happy to share my experiences and encourage others to try printmaking!

You're welcome - thanks for watching! I love watercolor as well!

You are so welcome, Sandra! Glad you enjoyed it!

Thanks, Alicia - so happy you find the videos helpful!

+Drake Rice Thanks so much! I appreciate your nice comments!

Hi Lynne, thanks for watching. So happy to help others discover (or rediscover) linocuts! Quite a bit of newer material out there to make it easier to do with fewer tools and pieces of equipment!

+LindaCoteStudio lol, I've been quietly stalking your videos. I really like the was you register your multicolour prints.

Haha, that's awesome! Yes, the registration system is a simple thing to create, and works really well!

Thanks for watching- so happy it's useful!

You're so welcome, Joseph!

+Wayne sykes So happy to help! I was a painter, too, before lino printing. Watch out ... it's addictive! Haha. Enjoy!

So glad you found it so helpful!

+Simon Douville I, too, use traditional hard lino sometimes, and enjoy working with it. I did find the "greyed out" zones you speak of sometimes, as well. With the soft linoleum, I absolutely agree that it takes finding the right kind. Some of the soft ones will definitely crumble over time, while others are quite sturdy! Thanks for your comment!

Yet I see how crisp your lines are with this Lino it's definetely a huge appeal towar using it.

That makes total sense coming from the wood carving side of tings! Any time you switch materials, it definitely takes some getting used to. When I tried the softer lino after the harder traditional linoleum, I made so many over-cuts. It was so frustrating at first! I would say, though, that there are many kinds of soft lino on the market, and I really dislike some -- finding them too soft and crumbly, and hard to get a nice solid line. As I mention, my favorite is the 'softoleum' which is quite dense (Canadian link in the notes), and I get good results with it. Whatever base material you use, I find it's good to experiment, and find what works best for your preferences. Everyone's style is different, and the nice thing is, there are lots of choices. Thanks for weighing in on this!

Hi Faith, thanks for watching! Although I use a lot of different papers, I have a few favorites. I'm not sure where you are, but I will provide some links with a USA reference. One of my favorites is BFK Rives, a paper that's a little thicker (www.dickblick.com/products/bfk-rives-printmaking-papers/). For a more lightweight but still strong paper -- I use and LOVE the Speedball acid-free PrintMaster paper. It is bright white and mimics more of an oriental paper but holds the ink well without wrinkling or tearing (www.dickblick.com/products/speedball-printmaster-paper-pads-for-block-printing/). It sometimes comes packaged like this: www.amazon.ca/Speedball-Block-Printing-Printmaster-sheets/dp/B003IFWXHC/ref=sr_1_2?s=kitchen&ie=UTF8&qid=1531604643&sr=1-2&keywords=speedball-printmaster-paper. Think really high-end bond for the PrintMaster paper, but it's really lovely. Really, any brand of mullberry paper is great -- if it says "for block printing" that's usually helpful. www.amazon.com/Black-Ink-Bleached-Mulberry-Printing/dp/B001DNH8I0/ref=sr_1_8?s=home-garden&ie=UTF8&qid=1532131492&sr=1-8&keywords=mulberry+paper+art. Also, the Japanese papers are beautiful, more delicate but definitely worth a try -- there are so many that the best thing to do is to pick some up and experiment to find your own favorite. Just a note, that I do all my linocut printing by hand (no press, as you probably saw on my videos), so I am using the paper dry (not dampened). Hope this helps!

Thank you! +SavvyLikeThat I'm so happy they are informative! I will definitely be creating more videos, and thanks for subscribing! It's been a busy fall, but I hope to get some new vids done soon!

Hi Jan. When I print a limited edition linocut, once the edition is run, I don't reprint them, so I don't really work that hard to clean them up so there is no ink on them. For those, I take as much of the ink off as possible with a paper towel because I am just keeping them to show people when I'm at shows. Sometimes, the ink does take a long time to dry on the block so I do a couple things: 1) I wrap the block in plastic wrap to keep them from sticking together and to keep the ink off the hands. If you plan to re-use the block, don't do this for the long-term, though, as the plastic wrap can 'wrinkle' and create a bit of a mark on the surface parts of your block art; 2) If you wipe most of the ink off with a paper towel, then wash the block up with water (I use a soft vegetable brush to get in the cracks) they do dry with almost no ink. If some is left, you can wipe any remaining ink off with vegetable or canola oil and a paper towel which gets the block pretty clean. However, sometimes the block is stained, even with no ink on it. The ink's pigment can be so strong that it stains the block, and even though there is hardly any real residue, the block will be stained (like the bird in the trees one you see in this video).To store those blocks I will re-use (like for cards), I don't wrap those in plastic, but let them dry on a paper towel, then store the block in drawers or bins with a piece of foam core or mat board in between the blocks, cut to the size of the block. This has worked really well for me -- in some cases I've stored card blocks this way for 10 years. Hope this helps!

calipsous Thanks, I am glad you find these videos helpful! Nice to have a viewer from so far away!

+John Andrew Hi John, thanks so much for your comment! I use a lot of different papers (love to experiment) but my favorites are BFK Rives, a paper that's a little thicker (www.dickblick.com/products/bfk-rives-printmaking-papers/) and love the Speedball acid-free PrintMaster paper that is bright white and mimics more of an oriental paper but hold the ink well without wrinkling (www.dickblick.com/products/bfk-rives-printmaking-papers/). I've given you links to Dick Blick art store in the US to show you the product. So far, with hand printmaking, I am using them dry (not dampened). Hope that helps!

Thanks! BFK Rives is an awesome paper.

Thanks so much for your comments and clarification about the traditional lino. Good tip! I have not tried the esdee brand soft lino, buthave seen it, and from what I can tell it's quite different from the soft lino I use. There are quite a few soft lino manufacturers out there, and many I do not prefer. It's best to test what works best for each individual, as many underperform in my opinion. Thanks for adding your observations!

You're welcome, Mike! Thanks for watching!

I hear you. :-( It's hard to find here in Canada, and it took some digging to find it, for sure! There are lots of printmakers in the UK. Perhaps reach out to them in the off chance that they know where something like this exists? Good luck!

www.polymetaal.nl/contents/en-uk/d1473_Soft-plastic-plates-relief-forme.html

Hi Reuben, price is always a consideration! I'm lucky, that where I live, the price is not very different between the two. I pay about $10 CDN for a 9x12" piece of soft linoleum, which is within a dollar or so of the traditional lino, but I am glad that you have options!