Impressions is a water-based printing ink made for block printing (linoleum and wood) and screen printing, so it’s designed to roll or pull evenly from a plate instead of behaving like regular painting acrylics; for clean results, squeeze a small amount onto an inking plate, roll it out thin with a brayer, then do a quick proof on scrap paper before your real print (you can browse the full Impressions Acrylic Printing Ink colours to match your palette).

Yes, Tri-Art lists Impressions as suitable for block printing with linoleum and wood as well as screen printing; for blocks, roll an even layer in multiple directions to cover the relief cleanly and press firmly across the whole block, and for screens (general guidance), work in manageable sections and avoid long pauses so water-based ink doesn’t start to set in the mesh (start here: Impressions Acrylic Printing Ink collection).

Mix your colour with a palette knife, then let it rest 10–15 minutes so tack can build; if the ink is beading on the roller or plate, it’s too thick and will fill fine carving, so roll it out thinner and test on scrap until you hear a gentle “tacking” sound and the rolled film looks more like a suede surface (Tri-Art’s step-by-step is shown in Fun With Lino Block, and you can practise with any shade from the Impressions ink collection).

Tri-Art notes you can use Impressions straight from the tube or jar, or extend it with a Clear Gloss Modifier to increase transparency and sheen; in practice, add your extender in small increments, mix thoroughly with a palette knife, and proof print after each adjustment so you don’t overshoot the sweet spot for your block or screen (a handy starting point is Impressions Block Printing Ink in Clear alongside the Impressions Acrylic Printing Ink colours).

Start with the lightest ink and mix darker inks into it, since it’s easier to darken than lighten; if you need more than a couple of prints, premix a larger volume in a container, then let the mix rest 10–15 minutes for tack to stabilise before you start pulling your edition and keep a small proof sheet beside you to check colour and coverage as you go (Tri-Art demonstrates this approach in Fun With Lino Block).

This is almost always “too much ink” or “ink too thick”: roll the ink out thinner on the inking plate, then keep rolling onto scrap to unload your brayer until the proof print shows your carved lines opening up; if certain lines are consistently filling, Tri-Art recommends enlarging overly-fine cuts with a larger blade after a proof print, since ultra-thin carvings can’t hold definition once ink bridges the gap.

For blocks and plates, wipe or scrape excess ink first, then wash by immersing in water and allow the block to dry thoroughly (especially in carved lines) before re-inking; Tri-Art also notes that staining on the lino block can happen but won’t affect future printings, and if you’re screen printing, clean sooner rather than later so water-based ink doesn’t set in the mesh (see the printing notes and inks in the Impressions Acrylic Printing Ink collection).

Yes, Tri-Art’s lino-block demos show printing beyond paper, including cardboard, fabric, and wood using the same basic method (thin, even ink film, proof print, then press evenly); for fabric prints, they specifically recommend washing in cool water, and for mixed-media builds where you want to collaged layers over a print, pair your dried print with acrylic gel or polymer medium from Tri-Art Acrylic Mediums rather than relying on household glues.