As a linocut printmaker I am essentially self-taught. Relief printing can be a very low-tech process requiring only a few carving tools, ink and paper, a brayer, a spoon and a kitchen table.
My process hasn’t changed much since I began working this way 15 years ago. I’ve added a homemade registration jig to my tools and my prints dry on a 1×2-and-clothespin apparatus suspended by clothesline and plant hooks. Not fancy, but wholly functional.
Relief printimaking is a labor intensive process, alternating between design, carving, and printing throughout the creation of the piece. I am notorious for starting complex reduction prints with nothing more than a vague plan. I have an idea of what I will carve first, and what I will carve last, but in between? It’s pretty much up for grabs. There is a certain amount of risk and tension working this way, but for me it’s more interesting to have the process unfold as it will. I think best when my tools are moving.