Monoprint vs Linocut

After experimenting with Lino cut at the beginning of this assignment, I revisited it towards the end. Among all the printmaking techniques I explored, I found Linocut to be the most suitable method for my final chosen theme. It offered a great degree of control and predictability over the final outcome of the print. With sufficient time and the right tools, I discovered that carving an image into a lino block was straightforward. The printing process itself proved forgiving, with minimal room for errors apart from placement, which could be easily rectified by marking the intended position on the paper.

The only other aspect to be mindful of was the amount of ink applied during printing. Excessive ink often led to bleeding and undesirable blotchiness, while too little ink resulted in faint prints with missing patches. Ultimately, Lino cut was one of my preferred printing techniques due to its simplicity and predictability, as well as it’s aesthetic and technical similarities to West African block printing.

My other preferred printing method, Monoprinting held a special allure for me. It consistently delivered the most aesthetically pleasing results in my eyes. The delicate lines it produced and the inherent uniqueness of each print was very appealing to me. Yet, despite its charm, I encountered numerous challenges with ink transfer and ink consistency during printing sessions. Although I’ve since acquired some knowledge of potential solutions to address these issues, I regrettably, didn’t have enough time to explore them during this unit.

From my perspective, monoprinting holds a distinct advantage over linoprints in terms of control and precision. Providing you have the correct amount of ink, achieving desired lines and compositions feels notably easier with a pen than with a carving tool. Consequently, I felt a sense of diminished control when translating designs onto the lino blocks.