The minimum of equipment is required to make your own linocut. Here I will share my techniques, give some hints for beginners, as well as share some links to other printmakers' websites.
There are also many challenges involved in printing with the fine Japanese papers, and here I will show some of the results of my experiments.
There are also many challenges involved in printing with the fine Japanese papers, and here I will show some of the results of my experiments.
What do you need to get started?Linocutting is a very democratic style of printmaking. It can be done at home without a printing press, and with simple equipment that is not too expensive to buy.
Lino - I use Silk Cut Lino - they come in handy pre-cut pieces, or can be cut to size with a craft knife Wet and Dry Sandpaper - (optional) for smoothing lino block before carving Craft Knife - to cut lino to size (cut through the top few millimetres only, then 'fold back' to split the remaining depth of lino, before cutting the backing string with the knife) Carving Tools - Speedball handle with interchangeable blades, or other small inexpensive Japanese sets are available (I use the Speedball handle and 'V' cutter no.1 for most of my prints) Non-Slip Mat - to stop the block moving while carving Hot Water Bottle - (optional) for warming block before carving Ink Roller - small Speedball, soft rubber roller (picks up more subtleties of line than the hard variety) Ink - use water-soluble relief printing ink for easy clean-up Inking Glass - a small second hand mirror will suffice (frameless) Palette Knife or Paint Scraper - for mixing ink Spoon or Printing Baren - for hand burnishing Old Toothbrush or Paint Brush - for cleaning away offcuts Rags and Newspaper - for clean up |
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Making a linocut
A few hints before starting:
Sandpapering lino before carving is optional, but it does make the surface extra smooth for very fine lines. Use wet and dry sandpaper, start with a 220 and perhaps finish off with a 1000. Take a few minutes to work up a good sludge with the sandpaper and water, then clean off, and allow to dry before carving.
When carving for the first time it is best to experiment, rather than start with a grand theme, just doodle and see how it goes. Try the different cutters to see how much pressure and control is needed. Try straight lines and curves, try slowing down to join one line to another. The little pieces of cut lino can be swept away by hand. Finer pieces will get caught in the grooves, these can be swept away with an old toothbrush or paint brush.
When ready to try something more planned and challenging, prepare a drawing on tracing paper. Transfer the drawing onto the block; it will be in reverse on the block, and the right way around when printed (be especially aware of this if using text).
- the tools are sharp! Use a non-slip mat while carving, especially if using smaller blocks
- never cut towards your hand, face or body - always away from yourself and away from the hand that is holding the block steady
- a hot water bottle can be rested on the block for a few minutes before carving, especially in the cooler weather, as it will make the first cuts a little easier
- try not to get the string backing of the block wet during sandpapering or clean-up (it will make the block buckle and curl, and subsequently be more difficult to print)
Sandpapering lino before carving is optional, but it does make the surface extra smooth for very fine lines. Use wet and dry sandpaper, start with a 220 and perhaps finish off with a 1000. Take a few minutes to work up a good sludge with the sandpaper and water, then clean off, and allow to dry before carving.
When carving for the first time it is best to experiment, rather than start with a grand theme, just doodle and see how it goes. Try the different cutters to see how much pressure and control is needed. Try straight lines and curves, try slowing down to join one line to another. The little pieces of cut lino can be swept away by hand. Finer pieces will get caught in the grooves, these can be swept away with an old toothbrush or paint brush.
When ready to try something more planned and challenging, prepare a drawing on tracing paper. Transfer the drawing onto the block; it will be in reverse on the block, and the right way around when printed (be especially aware of this if using text).
Printing relief blocks can be done by hand, there is no need to purchase an expensive etching press or book press. A simple kitchen spoon will do, or bamboo covered barens are usually available in art supply shops.
First choose printing paper - hand burnishing is usually easier with more translucent Japanese papers, and there are many available (Awagami Factory in Japan produces some very strong, fine papers, and sample packs are inexpensive). First experiments can easily be done on regular photocopy paper or plain butchers paper.
After the paper is ready, the ink needs to be prepared. Put a small amount of ink to the edge of your clean glass surface using a pallet knife or narrow paint scraper, move it around for a few minutes to prepare it for rolling. In cooler weather, this step will take a little longer.
Once that is done, spread out some ink on the main part of the glass. As for the amount to spread out, this will become easier with experience, but it is best to start with a little and build up, rather than to start with too much. It should make a lovely sticky sound as you roll. Keep rolling until the ink on the glass is very even and smooth.
Place your carved lino on some newspaper then roll the inked roller over the block, back and forth, then replenish from the glass. Repeat this process about 6 or 8 times, changing the pattern of rolls to ensure the ink is evenly distributed on the block. The block will glisten with a smooth layer of ink when it is ready to print. The roller can be turned on its back when not in use, and the block should be moved to a clean surface for printing.
Placing the paper on the inked block is done gently, then carefully smooth it over with the palms of your hands. Sometimes a piece of tracing paper or a stiff plastic sheet needs to be placed over the paper, to stop any tearing that may occur during rubbing.
Burnishing needs to be delicate but with quite a lot of strong pressure. It is best to follow the direction of the lines, rather than to rub across them. Large areas of colour are hard to print by hand, but it also depends on the intensity of colour you like.
When all the image has been burnished, gently lift the paper from one corner, and slowly pull the paper back to reveal the image. Place the block back on its newspaper and roll up again for the next print.
Prints made with water-soluble ink usually take 1 to 2 days to dry, but this can depend on the weather conditions and type of paper. The prints can be left flat on a table or rack, or hung from a drying line.
Clean up is with warm water. Place the block on some fresh newspaper, and use a damp (not too wet) rag to wipe off most of the ink. Rinse the rag and wipe again until the colour is no longer evident. You can also use an old toothbrush smeared a little with soap if the ink is catching in the fine lines. Any leftover ink is removed from the glass, roller and knife in the same way. Be gentle with the roller, as impressions in the rubber will make it difficult to print in the future.
First choose printing paper - hand burnishing is usually easier with more translucent Japanese papers, and there are many available (Awagami Factory in Japan produces some very strong, fine papers, and sample packs are inexpensive). First experiments can easily be done on regular photocopy paper or plain butchers paper.
After the paper is ready, the ink needs to be prepared. Put a small amount of ink to the edge of your clean glass surface using a pallet knife or narrow paint scraper, move it around for a few minutes to prepare it for rolling. In cooler weather, this step will take a little longer.
Once that is done, spread out some ink on the main part of the glass. As for the amount to spread out, this will become easier with experience, but it is best to start with a little and build up, rather than to start with too much. It should make a lovely sticky sound as you roll. Keep rolling until the ink on the glass is very even and smooth.
Place your carved lino on some newspaper then roll the inked roller over the block, back and forth, then replenish from the glass. Repeat this process about 6 or 8 times, changing the pattern of rolls to ensure the ink is evenly distributed on the block. The block will glisten with a smooth layer of ink when it is ready to print. The roller can be turned on its back when not in use, and the block should be moved to a clean surface for printing.
Placing the paper on the inked block is done gently, then carefully smooth it over with the palms of your hands. Sometimes a piece of tracing paper or a stiff plastic sheet needs to be placed over the paper, to stop any tearing that may occur during rubbing.
Burnishing needs to be delicate but with quite a lot of strong pressure. It is best to follow the direction of the lines, rather than to rub across them. Large areas of colour are hard to print by hand, but it also depends on the intensity of colour you like.
When all the image has been burnished, gently lift the paper from one corner, and slowly pull the paper back to reveal the image. Place the block back on its newspaper and roll up again for the next print.
Prints made with water-soluble ink usually take 1 to 2 days to dry, but this can depend on the weather conditions and type of paper. The prints can be left flat on a table or rack, or hung from a drying line.
Clean up is with warm water. Place the block on some fresh newspaper, and use a damp (not too wet) rag to wipe off most of the ink. Rinse the rag and wipe again until the colour is no longer evident. You can also use an old toothbrush smeared a little with soap if the ink is catching in the fine lines. Any leftover ink is removed from the glass, roller and knife in the same way. Be gentle with the roller, as impressions in the rubber will make it difficult to print in the future.
Printing lino blocks on an etching pressIf you have access to an etching press, you can use it to print your linocuts. Open-access community printmaking workshops or studios are a great way to meet other printmakers, share ideas and techniques, as well as have access to equipment such as etching presses or proofing presses.
When printing linocuts on an etching press, there is one thing that needs to be considered - paper will slip or move on the block as it runs through the press, so it is best to use some 'rails' along each side of the press bed (pictured below). Rails can be made from lino offcuts, or cardboard, as long as it is the same thickness as the lino, and a little longer. They often need taping down, to avoid them sliding along the press bed. When the block is ready to go through the press, with backing sheets and press blanket on top, it is a good idea to hold your hand gently on the area where the block is, to avoid any slipping, until it has been 'grabbed' by the press roller. Types of paper to use for relief printing
For hand burnishing thinner papers are best, but for printing on an etching press or relief press, thicker papers can be used. Check out the websites of paper suppliers, or go to your nearest art supply store, there's nothing like feeling a paper before buying it to see if it is what you want. There are also many colours of ink and paper available, there is no need to restrict yourself to black and white. Favourite papers of mine: Tengucho kozo tissue 9gsm (the translucent paper at top, above) Gampi silk tissue 10gsm Mingeishi (coloured papers pictured above) Zerkall 120 to 145gsm And for books, or to stitch the tissue to: Arches BFK Rives 250 or 300gsm Somerset Textured 300gsm picture to right: Sampler (detail), 2013, page from artist book, Gampi Silk Tissue printed with translucent grey, placed over red and blue |
Lino printing using very fine papers
I print many of my works on very fine Japanese papers, some as thin as 9gsm. This presents some challenges, least of all getting the large pieces of paper onto the inked block without creasing. Printing with these fine papers also requires greater care when inking up the block, over inking could easily be a problem. It is best to roll up even more gradually, a little at a time. These papers do make hand-burnishing easier, as the paper quickly soaks up the ink, and very little pressure is needed. Some of my works are burnished using just the palms of my hands, lightly rubbed over the paper, to give a soft and stippled printed effect. Large sheets need to be applied to the inked block using an application shelf, see mine pictured below. One can easily be made from lightweight foamcore: triangular supports (5cm high, various lengths) with a foamcore sheet for placing the paper on (the size of this depends on the size of your paper). The shelf is placed on the supports, only a few centimetres back from the edge of the lino block, and the paper is gently and evenly pulled down with two hands so that it sticks to the ink. The foamcore shelf can be gradually moved along the supports with one hand, while the other gently moves from side to side along the paper on the block, keeping it smooth and without creases. This can take a little practice, but it does work. Tengucho is easier than the gampi silk tissue, the gampi tends to be a lot more fly-away and prone to buckle. It is best to use a 'backing sheet' to protect the print and the etching press blanket, as the ink will soak straight through the paper. Paper will also need to be protected on the drying rack, if using a horizontal one, by placing a sheet of stronger paper underneath the tissue. It is also fun to experiment with translucent ink, and perhaps adding more layers of tissue paper. Most ink makers produce an extender medium to make your ink more translucent. 
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Links to other websites or videos:
Michael Schlitz - hand printed woodcuts, using a baren
Gail Brodholt - multi coloured linocuts
David Frazer - cutting 'The Deal'
Nick Morley
Alick Tipoti - Zugub, the mask, the spirits and the stars
Alick Tipoti's Giralel video
Bill Fick - Anatomy of a Linocut
Sherrie York - reduction linocut process
Nana Shiomi - application shelf, the inspiration for mine
Building a simple relief printing press at home
Rona Green, and the video 'Rona Green, a portrait in ink'
Gwen Scott
Angela Cavalieri - her video of producing a large format, hand-burnished linocut
Bridget Farmer - making the kookaburra print
Betty Churcher on the linocuts of Black, Syme and Spowers, former Director of the National Gallery of Australia on early Australian linocuts
MoMA Flash Animation of Printmaking Methods (explains the difference between relief and intaglio printing)
The Linosaurus - a look at historical linocuts from around the world
Gail Brodholt - multi coloured linocuts
David Frazer - cutting 'The Deal'
Nick Morley
Alick Tipoti - Zugub, the mask, the spirits and the stars
Alick Tipoti's Giralel video
Bill Fick - Anatomy of a Linocut
Sherrie York - reduction linocut process
Nana Shiomi - application shelf, the inspiration for mine
Building a simple relief printing press at home
Rona Green, and the video 'Rona Green, a portrait in ink'
Gwen Scott
Angela Cavalieri - her video of producing a large format, hand-burnished linocut
Bridget Farmer - making the kookaburra print
Betty Churcher on the linocuts of Black, Syme and Spowers, former Director of the National Gallery of Australia on early Australian linocuts
MoMA Flash Animation of Printmaking Methods (explains the difference between relief and intaglio printing)
The Linosaurus - a look at historical linocuts from around the world
