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Having completed linocut prints in the past I was relatively familiar with the processes involved, however revisiting it has allowed for a more professional approach to be established within my previous knowledge. I have come to learn that heating the lino prior to cutting makes it much easier due to the oil-based nature of the lino. In my previous practice of the process I had cut the lino in its state at room temperature and began cutting this way to begin with, finding fluid cutting to be difficult to achieve. To remedy this I found that heating the surface of the lino allowed for more accurate and intricate elements to be cut more effectively and easily. I found cutting my highly detailed image out of the lino to be most time-consuming and as a result better understand the meticulous artistic skill required to create truly impressive works of print. The most valuable part of the workshop was learning about the importance of registration in creating success overprints. This is the main issue I think I encountered in my own work. Whether it be my complacency with the printing process or an inaccurate preparation of the registration guide, in several of the reduction prints the two printed images do not sit precisely over one another, with only one successfully achieving this. While this is not traditionally accepted as a ‘good print’ I believe the ‘fractionally-off’ value of the prints creates an effective aesthetic in itself, almost creating a holographic 3D-like illusion. During the process of cutting my lino I have come to realise the importance of mark making within print-making in ensuring accurate designs and tonal values are created. I found that outlining shapes should generally be completed with a fluid cut without ‘breaking’ the line whereas the tonal qualities should be achieved through smaller more expressive cuts. It was interesting to realise that even the smallest indentation in the surface of lino would not print and this allowed me to also utilize the depth of cut in establishing the visual qualities in my print. In creating the reduction lino prints I have also gained knowledge of surface qualities. Through printing on a range of paper and card grade and types I was able to see which responded most effectively to the printing ink and have found that the high-quality card was the best to work on. While the blotter paper created an interested embossed characteristic I believe the lines within the print are not as crisp where it has bled across the surface of the paper. The printing workshop has also allowed me to know workings of an Albion printing press and understand its advantages in achieving a solid print which can be duplicated many times over. Although my final reduction prints have not been completely successful I still am happy with the outcome of them and believe they are interesting, compositionally. The aesthetic qualities combined with the skill behind cutting the lino printing plate has transformed my unrefined ‘selfie’ photography into an effective and viable piece of artwork and thereby achieving the goal for this project. If I ere to revisit print-making I would perhaps plan my composition more carefully beforehand and think of methods in order to create a set of prints with a common theme, increasing their commercial prospects. I would also take heed of the problems encountered within this printing workshop in created my own registration board and ensure I adhere to it strictly.