How I create my Lino Prints

In recent months, as a break from intense writing, I’ve been working on some linoprints. Here’s what I did, and what I learned along the way.

A tentacle emerging from the left on a page titled 'Celephais'.

Starting Out With Printing

The first prints I made were for the Innsmouth Literary Festival 2023. Keep your eyes peeled for news of the 2024 event. I already had a few Lovecraft collections and liked the idea of using them to attract people to my stall. I wasn’t quite sure what exactly I was going to go at first, but eventually settled on lino or block printing. This is the smallest size I’ve made (other than messing around with fingerprints) when I realised I could do something more subtle. I’d like to create more like next year – if only because they’re easier to fit on a stall.

The Process

The process I use has many stages. In terms of creating the print, I first start with an image that I want to use – a still from a movie or a poster. Then, I recreate this using the Graphic Image Manipulation Program, using the original image and redraw it using only black. Deciding where the white space will be is an important part of the process. In some, it’s obvious, but not with more complex images. I message the image to fit the size of the book and print it onto white paper. Then I transfer the image to the lino or block using the incredibly sophisticated method of laying it ink-side down on the block, then drawing on the back of it.

Iconic The Shining linoprint - Jack Nicholson doing the 'Here's Johnny' bit.
Church, the cat from Pet Sematary in red

Carving the Lino

The next part is the most time consuming, but also most relating. I started using things in the house. Bits of lino. Knives we had. I soon learned it was a better to get the right tools and bought a beginner’s kit. You slowly cut away at the lino with a U or V shaped blade (depending on the effect you wish to create. It’s a delicate and time-consuming process particularly when you’re trying to recreate small details. When you think you’re finished, you can roll ink onto the block and press it onto the page. It’s never right first time, but here you can see when you have to cut a little more out, or go a little deeper. You can’t really put back in, so it’s better to be cautious and go back and cut more away than realising you’ve taken something away you can’t replace.

Raw Materials

Another fun part of the process is sourcing the books to make into prints. I tend to visit charity shops and keep my eyes peeled. There were some I knew I wanted to find, such as The Shining, and I’m still looking for a suitable copy of It. I came across American Psycho at random. Then I have to stop and think about whether there are any iconic images that go with it, and of course there are. There are some things I look out for. Is the paper a nice colour? Is the title of the book on top of each page? If not, I know it won’t work, and that can be disappointing. I’m keeping my eyes peeled for suitable copies of Jaws and The Exorcist and was thrilled to find a decent copy of The Day of the Triffids recently.

A blood-stained Patrick Bateman
Kermit the Frog gazing at a shooting star on Christmas Eve.

Finishing Touches

To give them a nicer finish, I’ve been using mount board. Learning how to cut those has been another steep learning curve. Having a proper 45 degree cutting blade helped, but there was still a lot of trial and error before they were nearly clean enough. I think I still have a long way to go.

I’ve been so pleased with the reception these have had. When you create something, whether it be a book or a piece of visual art, to see it well received, and for people to be willing to part with money for it is always so special. I’m so grateful for everyone who has taken the time to comment.

If you want to know more about what I do, please reach out and we’ll have a chat.