Relief Prints

 Printing Press


Printmaking has always been a democratic medium. Letterpress printing was one of the first forms of mass communication, and poster design continues to be an important means of conveying messages, with-or-without text.

Part of what first attracted me to printmaking was the immediacy (and the physicality) of the relief process. There is something almost sculptural about the hard edges and bold lines of traditional black-and-white woodcuts.

“Pecking Order,” Linocut by Erik Farseth, 2017

PRINTMAKING TUTORIAL: Printmaking Process: Relief Printing 101

An illustrated “how-to” guide to block printing.

  • See how a linocut is made, from start-to-finish.


I do not do “editions,” and I am not in the habit of numbering my prints.

As a printmaker, the ability to generate multiple copies of an image is at the root of my artistic practice.

While a numbered edition might make sense for certain types of printmaking (such as monotypes), woodcuts and linoleum blocks are far less likely to degrade over time. The decision to limit the number of woodcuts to an edition of 10 (or 100) is entirely arbitrary.

I am less interested in the concept of “limited editions” than the idea of printmaking as an affordable form of art.

To my way of thinking, signed limited editions only serve to reinforce the collector mentality, and the economics of scarcity.

This has nothing to do with art appreciation. Either you like the artwork, or you don’t. It shouldn’t matter how many copies are floating around.