After developing the idea or concept of the print, the next step is to carve a linoleum block.

  Taking an idea to the block progresses in many ways.  Sometimes I work  directly from photographs, as I did with this airplane image.  Here I was looking for the most accurate representation of the deHavilland Beaver parked in Denali National Park, Alaska. combination of sketches and photographs to develop a design directly on the lino or is  transferred onto the block, either visually or with the aid of old-fashioned carbon paper.

After carving the block and selecting the clothing (usually a shirt) to print, I set up a glass pallet to roll the ink on. This part of the process greatly influences how the final piece looks. Basically at this stage you roll out a thin layer of ink on the glass with your roller, adjusting the viscosity as you wish.

Then you apply the ink to the block.  I generally ink the lino with a thicker layer of ink than you would for a paper print varying the application of ink depending on what look I am going for.

I print on a drop cloth and flat board on the floor so I can use my body weight as the printing press.  Many artists work on a sturdy table and use a mallet to apply pressure to the lino.  Either way you need to place a piece of non- corrugated cardboard between the front and back of the shirt to avoid mashing ink through the shirt onto the other side.  I lay the shirt out neatly so I can see center and plumb of the print placement.  After carefully placing the inked lino on the garment, I then literally dance on the block, making sure to put good pressure on all parts of it.  I keep a damp rag handy for hand cleaning constantly.

The next steps are carefully peeling the block off of the shirt and hanging it up to dry. Then I fire up the flash dryer and give them all that little extra cure.

And that is how the Bowman do.