Media & Techniques

Back to Basics: Master K-12 Art Relief Printmaking on a Budget

carved block

Do you feel like your materials and mediums are the same-old, same-old? Quickly bring a new accessible medium into your art room with relief printmaking! This hands-on process allows students to create multiple copies of their artwork. It also provides a real-life way to explore elements and principles like texture, pattern, and repetition. Plus, the process is satisfying for all ages—from the smooth carving of the block to the sound of the ink on the roller to the pulling of the final print. 

Discover the expansive learning opportunities relief printmaking will bring to your classroom through a brief history, overview of the process, intriguing printmakers, and FAQs!

relief prints

Relief printmaking is a very straightforward and inexpensive process, making it perfect for the K-12 art room. It is one of four main printmaking processes. Students carve or “push” into a surface, such as linoleum, styrofoam, eraser, or even thick cardboard, to create recessed areas. They roll ink onto the raised surface and press fabric or paper on top with a baren or spoon to create a print. It’s that easy! Incorporating relief printmaking also builds critical thinking, creativity, and curiosity as students reflect, problem-solve, and adjust throughout the process.

Brief History

The rich history can add depth to students’ experience and spark new connections. Prints are unique because they create multiples that share information, messages, and stories. This practice has been used for centuries with the earliest known print dating back to 3100 BCE. Woodcuts were used in religious texts, as well as political propaganda, like the posters from the Russian Revolution depicting communist ideals, and artistic expression. The well-known intricate prints of the Japanese Ukiyo-e period reflect the aesthetics and social life of the Edo period. There are so many examples that each give a glimpse of the cultural values and societal norms of different time periods and places.

Overview of the Process

Below are some simple steps to get started with relief printmaking. The best way to learn is to give it a try! For a more immersive printmaking experience, watch the Elementary Printmaking with Simple Materials Pack in PRO Learning or enroll in Studio: Printmaking.

brayer rolling plate

Materials

  • Block or Plate
    Choose from linoleum, wood, or metal.
  • Carving Tools
    Carve designs with linoleum cutters or woodcutting tools. Substitute pencils or skewers for simpler projects.
  • Printing Ink
    Use water-based relief ink for easy cleanup. Swap for acrylic paint or oil-based ink if that’s what you already have.
  • Palette
    Load the brayer with ink with a piece of acetate, glass, or plexiglass.
  • Brayers
    Apply ink evenly to the printing surface with roller tools.
  • Barens
    Rub the paper to transfer the ink with a flat, circular tool or spoon.
  • Paper
    Print on smooth, sturdy paper such as cardstock.

Carve the Block

  1. Review safety procedures for sharps.
  2. Sketch designs on the block with light pencil marks.
  3. Keep designs handy! It’s helpful to have students annotate positive and negative shapes to track what to carve.
  4. Carve away from yourself with your dominant hand. Hold the block with your non-dominant hand and keep it out of the way of the carving tool.
  5. Turn the block rather than the carving tool when creating a curved line.
  6. Remind students to carve slowly and carefully!

carved block

Roll the Block

  1. Designate a responsible student to squeeze a small amount of ink for each peer.
  2. Roll the ink or paint on a flat palette surface to load the brayer evenly with ink.
  3. Make sure the rolled-out ink is smooth like velvet and makes a slightly satisfying noise!
  4. Remove any imperfections in the rolled-out ink because they will show up in the print.
  5. Roll the block to create an even layer of transferred ink. 

rolling ink brayer

Pull a Print

  1. Create a jig to help center the print on the final paper by measuring the paper and printing block and marking those two rectangles on a large sheet of bulletin board paper or messy mat for each student.
  2. Place the carved block in the center rectangle.
  3. Use little scraps of paper folded in half as “tongs” to keep the paper fingerprint-free or encourage your students to have a “clean hand” and an “ink hand.”
  4. Align the paper with the larger rectangle on top of the block.
  5. Lay a piece of newsprint or scrap paper down to keep the back of the print ink-free!
  6. Press the center of the print and then press out towards the edges with your hands. 
  7. Keep the paper as still as possible for a clean print and pay extra attention to any flat or large inked areas.
  8. Repeat the pressing motions with a baren.
  9. Gently pull the corner of the paper back to see if it caught the ink and pull the first print!
  10. Let dry.
  11. Demonstrate how to sign, title, and number a print.

using a baren

Enhance Learning

  • Did you know you can print on more than just paper? Try printing on a fabric bag, t-shirt, or sticker paper.
  • Add depth and build layers with watercolor, markers, or pen. This is a great way to add color if you only want to print with black.
  • Cut up any extra prints or misprints for collage or visual journaling!

Intriguing Printmakers

Because relief printmaking has been around for centuries, there are so many neat historical examples and contemporary artists. Expose your students to a range of styles, time periods, and cultures to show them that the creative possibilities are endless!

Here are four printmakers to start with:

  1. Käthe Kollwitz (1867-1945)
    Kollwitz’s work reflects the theme of human suffering. Her prints are renowned for emotional depth, powerful expression, and social commentary. 
  2. Hokusai Katsushika (1760-1849)
    A Japanese artist who carved iconic woodblock prints, including the famous The Great Wave Off Kanagawa
  3. Hannah Höch (1889-1978)
    A German Dada artist known for her innovative use of collage and photomontage in printmaking. Höch’s work challenges traditional notions of art, encourages experimentation, and provides a fresh perspective.
  4. Karin Rytter
    Rytter is a Scandinavian printmaker and illustrator. She merges realism, storytelling, and “a dash of the absurd.”

pink prints

FAQs!

Troubleshooting your prints is an important part of the process. It provides students with lots of opportunities to problem-solve and think critically! Encourage your students to work through this troubleshooting process on their own or with their peers with these helpful tips and hints.

Challenge: What do I do if my ink is blotchy?
Ask: What are the possible causes of this problem?

  • There is not enough ink on the print! 
  • There is not enough pressure with the baren.
  • There may be a little chunk, hair, or imperfection in the ink causing the paper to bubble up.

Challenge: Why is my ink too light or too dark?
Ask: What are the possible causes of this problem?

  • Too light could mean that there is not enough ink or pressure when printed.
  • Too dark could mean there is too much ink on the plate. Remove the excess ink by printing with scrap paper before trying again.

Challenge: Where did my lines go?
Ask: What are the possible causes of this problem?

  • Too much ink can cause the carved lines to flood with ink. Remove the excess ink by printing with scrap paper before trying again.
  • Too much pressure can cause the ink to squish into the cracks.

Embrace the versatility of relief printmaking in your classroom this year! This timeless art form goes beyond traditional drawing and painting. With its rich history dating back centuries and transcending cultures, this process fosters storytelling and critical thinking. Whether carving into linoleum or cardboard, students will delight in the tactile and collaborative nature of this process. Take a peek in your supply closet, gather your tools, and get ready to make an imprint on your students with this captivating medium!

Share your must-have tools and materials for relief printmaking in the classroom. 

Which printmaker are you most excited to share with your students and why?

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Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.

ABOUT THE AUTHOR

Aubrey Didonato

Aubrey DiDonato, an art educator at a private art studio, is a current AOEU Writer. Her favorite medium is printmaking and she is passionate about creating space for others to find their creative joy.

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