The basics of lino printing is that before you start, you need an idea in your head or sketched on paper of what you want to create. Lino printing is a method of relief printmaking which means the areas of the lino block you are removing, will not print on the paper. Only the relief (the areas you are leaving on the lino) is the bit that the ink will sit on and then print on to the paper. Any area you cut away will be white space on your finished piece.

So, once you have a design, you can either draw it directly on to the lino block in pencil (easiest if you're using traditional battleship grey lino) or you can transfer it on to the block using various other methods. Once I have finished drawing it out, I like to stain my lino with watered down ink so I can easily see what bits I have cut and what I have yet to do.

Once you're happy with your design, you can use your lino tools to cut the print. One really big thing you need to remember before you start cutting is that what ever you draw on the lino will actually print as the mirrored version, so don't forget to mirror any text you may be adding so it doesn't print backwards! A mistake I have made... more than once.

Once you have finished cutting the block, you will now be ready to take a test print. First you need to roll out some ink on an inking plate so it is lovely and sticky but not a wet consistency. This for me was the hardest part of learning how to print, I would often roll too much ink and lose detail in the print. It takes a fair bit of practice. I would suggest rolling the ink on to the lino block in fine layers so you build up thin layers rather than a thick lot of ink. You can tell if you have over inked a block because the print will lose detail where the ink has squelched in to the cut areas and pooled. You can also tell by the look of the inked up plate. If it has the consistency of dimpled orange peel, it may be over inked.

Once you have rolled the ink on to the block, you are ready to place the paper on top of the lino.

If you are using a barren to print, hold the paper steady and gently apply pressure on the barren in a circular motion, eventually slowly moving it across the whole block. If you are using thin paper, you can often see the image come through the paper now and it helps to see the areas you have applied pressure to and the bits you are yet to do.

If you are using a press, it's time to put it through / press it down.

Once you feel the whole image has transferred across, you can slowly lift and remove the paper. If you're unsure if it has transferred, you can really gently lift one edge of the paper and take a peek. Looking at each edge, being very careful not to move the paper and blur the print.

Done! You have a print. Now, if you want to make lots of the same print, keep printing. If you are done, it's time to clean up your tools and put your prints somewhere safe so they can dry for a few days. If you are using water based inks, they will dry quicker than oil based.

You don't need any fancy kit or expensive press to begin your journey in to lino printing. That's why it is a such a wonderful method of printmaking.

There are some essential things you need in order to create a print but really, it is up to you what type you get. This can depend on budget, space and personal preference. The essential tools and items you need in order to get started are...

• Paper
• Ink
• Lino
• Pencil and or pen
• Lino cutting tools
• Barren or press
• Roller / Brayer
• Surface to roll ink out
• Solvent, oil or water (depending on the ink you are using) to clean the ink off everything
• Rag and newspaper for clean up

Absolutely, yes! Depending on the paper you use, you can use something as simple as the back of a spoon and a bit of oomph to print the image. That's what I used when I first started. A lot of art supply shops sell barrens you can use to handprint blocks too.

Yes. I only use the traditional battleship grey lino which is composed mainly of wood pulp and linseed oil. It is rigid, holds fine lines very well and has a hessian back to it. It is wonderful stuff but it is essential that you have sharp tools when working with it.

Then there are a few other materials you can use. One is 'soft cut lino', which isn't technically linoleum but it is regularly used in printmaking, especially when making stamps or simpler designs. It is much easier to physically cut. There are a variety of different brands and types of this soft lino you can buy but it is not a product I have used so I can't suggest a particular one.

Before buying lino tools, I would think about what you want out of them. Are you thinking you want to make a handful of prints for making cards and presents? Are you hoping to make work to sell? Or, are you just giving it a go to see whether you like it? Your answer to these questions will dictate whether you want to jump straight in and buy the more expensive tools or if you want to get a starter kit and take it slow.

Personally, I only use tools made by Pfeil and Flexcut. These two brands produce wonderfully well made tools that will last a lifetime if they are looked after. I also love them because they produce tools that go down to 0.5mm which is perfect if you will be creating work with a lot of detail, something I always incorporate in my work.

When buying the more expensive tools, it is absolutely essential you also buy a method to keep the blades sharp. Lino tools dull off and lose their edge quickly so while you are cutting your blocks, it is important to hone the blades regularly to keep that perfect edge. I use something called a Slipstrop, by Flexcut. Not only does this lengthen the life of the tool, but it makes your life so much easier to cut with sharp tools, creating defined lines in the lino and reducing the risk of the edges 'tearing'.

If you are just dipping your toe or if you don't think lino printing will be something you do regularly, there are lots of kits available that often come as a handle and 5 or so changeable / replaceable blades.

But, if you are serious about making a lot of prints or are regularly cutting designs, I would strongly advise on spending the money and buying the right tools.

Yes. If you are using tools made by brands like Pfeil or Flexcut, you will have likely spent proper money on investing in a few. These tools are quick to blunt so to stop you having to re-sharpen or re-buy a tool, you can just hone the edge of the blade as you cut by using a tool such as a Slipstop from Flexcut. It is an easy way to keep the edges sharp and very easy to use.

This is a very personal choice. It entirely depends on factors such as how you aesthetically want the print to look, what budget you have and how you are printing the block.

If you're using a barren of some sort (I started by using the back of a spoon!) to print your images you may want to choose a paper that is light weight and less textured. This is because the pressure needed to transfer the ink from the plate to the paper will be done by you pushing down on the barren and using a circular movement. You want to reduce the amount of pressure you push down to help stop the risk of the paper moving and smudging the image, so the thicker the paper, the more pressure needed to transfer the ink and it becomes more difficult to get a good print.

If you are using a press, you can use much heavier paper. I use 280gsm cotton paper made in Somerset by St Cuthbert's Mill. Because the pressure a press exerts on the paper is so much greater than what can be achieved by hand, you can use heavy paper with ease. Choosing what colour, texture, size and weight of paper is very personal and I would recommend trying many different types to see what suits you.

The majority of printmakers will either use water or oil based inks. The difference between the two is what the base of the ink is made up of.

Water based inks are easier to clean up, are typically thinner in consistency and give good ink distribution on the paper.

Oil based inks often require more of a clean up, are thicker than water based inks and produce excellently crisp prints.

I only use oil based inks because I find them easiest to work with and I prefer the results compared to water based. Oil based inks hold fine details beautifully, are easy to work on the ink plate and hold an incredibly rich colour profile. I use Hawthorn's Stay Open Inks as the pigment is deep, the inks last for years and you can mix and store what ever colours you want from their range, making it easy to create the exact colour you are trying to achieve. I use a non-toxic cleaner by Zest-it called 'Printmakers Cleaner'. It makes light work of cleaning the roller, block and plate.