Linocut printing is one of the easiest types of relief printing. Picasso
preferred using linoleum instead of wood, because he could achieve reliable
results, with none of the unexpected texture and grain that wood could impart
in his prints. From 1954 to 1968 he created more than 100 colorful works of art.
His mastery of the technique of reduction printing popularized linocut
printmaking, elevating it in the eyes of the fine art establishment. While
linocut printing is a comparatively simple artistic technique, there are some
tricks of the trade that I cover in this article, which can help you attain
respectable results.
Video about the Picasso Linocut: still life under the lamp
preferred using linoleum instead of wood, because he could achieve reliable
results, with none of the unexpected texture and grain that wood could impart
in his prints. From 1954 to 1968 he created more than 100 colorful works of art.
His mastery of the technique of reduction printing popularized linocut
printmaking, elevating it in the eyes of the fine art establishment. While
linocut printing is a comparatively simple artistic technique, there are some
tricks of the trade that I cover in this article, which can help you attain
respectable results.
Video about the Picasso Linocut: still life under the lamp
 |
|
Cross
Object by Polish artist, Jerzy Hulewicz;
linocut printed in 1918. (Public
domain, via Wikimedia Commons, PD-1923.) |
Carving Tools.
In sourcing tools for
carving, the best practice is to buy the best tools that you can afford. Cheap
tools, especially the ones with plastic handles, don’t last. Professional grade
tools will last your lifetime, and you can pass them down to one of your children.
carving, the best practice is to buy the best tools that you can afford. Cheap
tools, especially the ones with plastic handles, don’t last. Professional grade
tools will last your lifetime, and you can pass them down to one of your children.
 |
Power Grip Carving Tools |
● Inexpensive set of carving tools
for linocuts.
for linocuts.
● Great choice for the novice
printmaker.
printmaker.
● Sharp, sturdy and good quality.
● Good variety of tool sizes and
shapes.
shapes.
● Ergonomic design allows for
comfortable handling.
comfortable handling.
There are many different
styles of carving tools. For linocuts, Pfeil, a Swiss company, manufactures a
nice set of tools designed specifically for cutting linoleum. Many artists
prefer their mushroom shaped handle, believing that it gives them better
control in carving. Gouges with these types of handles are often referred to as
palm tools. Flexcut is another brand of good quality tools that you may
consider for linocuts
styles of carving tools. For linocuts, Pfeil, a Swiss company, manufactures a
nice set of tools designed specifically for cutting linoleum. Many artists
prefer their mushroom shaped handle, believing that it gives them better
control in carving. Gouges with these types of handles are often referred to as
palm tools. Flexcut is another brand of good quality tools that you may
consider for linocuts
Often carving tools are
sold as a set. Chances are that you will not need all of these tools. My
recommendation is to just buy what you need. In all likelihood, you may only
need only half of the gouges in the set.
sold as a set. Chances are that you will not need all of these tools. My
recommendation is to just buy what you need. In all likelihood, you may only
need only half of the gouges in the set.
 |
| Many artists prefer the Pfeil linocut palm tools with the mushroom shaped handles. |
 |
Pfeil set of 6 tools for linocuts and block cutting |
● Professional grade linocut tools
● Pear shaped wood handles made from
Ash are comfortable to use.
Ash are comfortable to use.
● Razor sharp edges produces clean
cuts.
cuts.
● Excellent choice for the serious
artist.
artist.
If you buy the tools
individually, some of the cutters that you might consider are the 1mm V-parting
tool, either a 1mm or 3mm venier, and a 6mm or 10mm #7 gouge. If you are
already a woodcarver, you probably have an assortment of gouges, which can be
used to clear away larger areas.
individually, some of the cutters that you might consider are the 1mm V-parting
tool, either a 1mm or 3mm venier, and a 6mm or 10mm #7 gouge. If you are
already a woodcarver, you probably have an assortment of gouges, which can be
used to clear away larger areas.
The
numbering systems that gouge manufacturers use can vary from one company to
another. In the European numbering system the first number generally describes
the sweep or shape of the blade. The second number indicates the width of the
blade from one side to another in millimeters.
numbering systems that gouge manufacturers use can vary from one company to
another. In the European numbering system the first number generally describes
the sweep or shape of the blade. The second number indicates the width of the
blade from one side to another in millimeters.
V-parting
gouges, which are shaped like a “V”, come in a variety of sweeps or shapes. The
difference among the various V-parting tools is the angle of the blade. The
chart below indicates the various sweeps of V-parting tools that Pfeil Tools
makes.
gouges, which are shaped like a “V”, come in a variety of sweeps or shapes. The
difference among the various V-parting tools is the angle of the blade. The
chart below indicates the various sweeps of V-parting tools that Pfeil Tools
makes.
|
Sweep
|
Angle
|
|
#12
|
60°
|
|
#13
|
90°
|
|
#14
|
55°
|
|
#15
|
45°
|
|
#16
|
35°
|
While
many of the numbers used for the sweep of European gouges are the same for the
different manufacturers, V-parting tools are often an exception.
many of the numbers used for the sweep of European gouges are the same for the
different manufacturers, V-parting tools are often an exception.
For
cutting linoleum and woodblocks for relief printing, Pfeil makes several Lino
& Block Cutters. For this application, Pfeil makes three popular V-parting
tools. These are that 12/1 (which I own), 12/4 and 15/2.
cutting linoleum and woodblocks for relief printing, Pfeil makes several Lino
& Block Cutters. For this application, Pfeil makes three popular V-parting
tools. These are that 12/1 (which I own), 12/4 and 15/2.
The calcium carbonate in
the linoleum can dull the edge of your carving tools very quickly. For this reason,
you should periodically strop your gouges to maintain a sharp edge.
the linoleum can dull the edge of your carving tools very quickly. For this reason,
you should periodically strop your gouges to maintain a sharp edge.
Mounted Linoleum
Blocks.
Linoleum is available
in loose sheets or rolls or mounted to medium density fiberboard (MDF). Unmounted material may not lay flat for you,
which can be a problem. Mounted linoleum, on the other hand, provides you with
an even, stable surface upon which to carve and print. In buying the mounted
blocks, read the product description to ensure that the block is compatible
with your ink system. Not all products are suitable for both water based and
oil based inks.
in loose sheets or rolls or mounted to medium density fiberboard (MDF). Unmounted material may not lay flat for you,
which can be a problem. Mounted linoleum, on the other hand, provides you with
an even, stable surface upon which to carve and print. In buying the mounted
blocks, read the product description to ensure that the block is compatible
with your ink system. Not all products are suitable for both water based and
oil based inks.
 |
| Speedball Linoleum Carving Blocks |
● A variety of sizes available.
● Linoleum material is formulated
for ease of carving.
for ease of carving.
● Designed so artists can produce
fine detail linocuts.
fine detail linocuts.
● Flexible and durable surface will
not crack, crumble or break.
not crack, crumble or break.
● Ideal for novice and expert
printers alike.
printers alike.
● For use with water-soluble and
oil-based inks
oil-based inks
Preparing the Linoleum
Block.
Linoleum is comprised of
linseed oil, cork, sawdust and usually some calcium carbonate or limestone. Over
time, the linoleum will harden, which will make it more difficult to cut. You
can soften linoleum in two ways. First, you can rub linseed oil over the
surface of the block. After you do this, you can also heat the surface with a
hair drier (not a heat gun) using the low to medium heat setting – nothing
hotter than that. There’s a reason that you need to be careful in applying
heat. Excessive heat can warp the material.
linseed oil, cork, sawdust and usually some calcium carbonate or limestone. Over
time, the linoleum will harden, which will make it more difficult to cut. You
can soften linoleum in two ways. First, you can rub linseed oil over the
surface of the block. After you do this, you can also heat the surface with a
hair drier (not a heat gun) using the low to medium heat setting – nothing
hotter than that. There’s a reason that you need to be careful in applying
heat. Excessive heat can warp the material.
Heating serves two
functions. It makes the linoleum more pliable. Second, if you decide to oil the
block, the heat will help the linseed oil to penetrate the linoleum.
functions. It makes the linoleum more pliable. Second, if you decide to oil the
block, the heat will help the linseed oil to penetrate the linoleum.
By following these tips
you will find that not only is the linoleum is easier to cut, but that your cuts
will be cleaner, without any ragged edges.
you will find that not only is the linoleum is easier to cut, but that your cuts
will be cleaner, without any ragged edges.
Transferring the Design.
 |
| Your project begins with a layout. This was my first sketch, which I later modified, eliminating some parts of the design as well as making changes in other areas. |
When you are cutting the linoleum block, you must
reverse your image. To do this, you can trace the image on tracing paper. Flip
the paper over and transfer your design using Saral paper. It is similar to
carbon paper, just less messy and it is available in graphite and a few other
colors. In retracing the image, a ballpoint pen will give you sufficient
pressure to transfer a good impression onto the linoleum.
reverse your image. To do this, you can trace the image on tracing paper. Flip
the paper over and transfer your design using Saral paper. It is similar to
carbon paper, just less messy and it is available in graphite and a few other
colors. In retracing the image, a ballpoint pen will give you sufficient
pressure to transfer a good impression onto the linoleum.
 |
| Be sure to trace the reverse of you image onto the linoleum. Use Saral paper to transfer the design. |
After you transfer the
design to the block, the maze of lines can sometimes be confusing. It is very
easy to lose your concentration and remove what should remain. Once you make a
mistake, there is not much that you can do to correct it. To prevent removing
the wrong area, it is a good practice to fill in those areas that should remain
with India ink or with a Sharpie.
design to the block, the maze of lines can sometimes be confusing. It is very
easy to lose your concentration and remove what should remain. Once you make a
mistake, there is not much that you can do to correct it. To prevent removing
the wrong area, it is a good practice to fill in those areas that should remain
with India ink or with a Sharpie.
 |
| To prevent any confusion when cutting, fill in those areas, which will be inked, with India ink or a Sharpie. |
Cutting the Linoleum Block.
How deeply you need to cut depends on several factors. These include whether
you are printing by hand or with a press, the hand of the paper used and the
width of the white spaces. The minimum depth for carving a linocut can be as
little a millimeter. This is often all that is needed when the distance between
two raised areas is as narrow as a millimeter. Or printing can require a much deeper cut. Hand printing generally requires more depth.
But each project can have its own unique challenges. Experience with the materials
used will give you some indication of how deep you need to carve. Even then,
the only true test is to print a proof and make necessary corrections.
 |
| After cutting around the design, remove the excess material. When there is a large area of white space, you need to carve deeper than a millimeter. How deep depends on the paper that you are printing. |
Printing.
In printing,
cleanliness is next to godliness. Dirt, hair and small particles of linoleum
remaining from carving, can create imperfections in your print. Before you
start printing, wipe the block down with a rag moistened with denatured
alcohol. This will not only remove contaminants but also if there is any oil on
the linoleum, it will clean the surface. You should also make sure that your
shop area had been cleaned before you print.
cleanliness is next to godliness. Dirt, hair and small particles of linoleum
remaining from carving, can create imperfections in your print. Before you
start printing, wipe the block down with a rag moistened with denatured
alcohol. This will not only remove contaminants but also if there is any oil on
the linoleum, it will clean the surface. You should also make sure that your
shop area had been cleaned before you print.
When you are printing, make sure that you keep your
hands clean so you don’t leave your fingerprints in your work. Some artists
will dust their fingers with baby powder to prevent smudges on their prints.
hands clean so you don’t leave your fingerprints in your work. Some artists
will dust their fingers with baby powder to prevent smudges on their prints.
Oil based inks, such
as Gamblin Relief Ink, are often preferred when printing linocuts. They are
more opaque, and the colors are richer and more vibrant.
as Gamblin Relief Ink, are often preferred when printing linocuts. They are
more opaque, and the colors are richer and more vibrant.
The cost of a high quality paper for printmaking can be a significant expense. Some of the best paper is hand made, which contributes to its high cost. In selecting a paper look for one specifically designed for printmaking. The better papers have a smooth finish and are acid free and unsized. Sizing is a glue that is added to the paper to strengthen it. The problem is that sizing prevents good absorption of the ink. There are many fine papers for printmaking from the Orient, Europe and the United States. These papers include the Japanese Mulberry paper and Somerset paper from England.
Shop temperature can
affect rolling the ink to the right consistency as well as how well the ink
transfers to the linocut block. Working in a temperature and humidity controlled
environment helps ensure an even deposit of ink on the block.
affect rolling the ink to the right consistency as well as how well the ink
transfers to the linocut block. Working in a temperature and humidity controlled
environment helps ensure an even deposit of ink on the block.
In printing
linocuts a hard brayer is preferred, because a mounted linoleum block is a smooth and
uniform surface (compared to woodcuts), which promotes complete coverage in the
inking process. In inking the block, a hard brayer should
be sufficient. Make sure that there are no imperfections in the brayer, which
could show up in the print.
linocuts a hard brayer is preferred, because a mounted linoleum block is a smooth and
uniform surface (compared to woodcuts), which promotes complete coverage in the
inking process. In inking the block, a hard brayer should
be sufficient. Make sure that there are no imperfections in the brayer, which
could show up in the print.
In burnishing the
print, use good even pressure to ensure a uniform deposit of ink onto the
paper.
print, use good even pressure to ensure a uniform deposit of ink onto the
paper.
Printing a multicolor print takes planning,
especially if you are using the reduction printing process. It is best to print
the colors in the order of lightest to darkest. The darker colors are more
opaque and will provide better coverage over the previous colors. In the layout of your design, you should also simplify the key elements to abstracted forms. Linocut is not a medium which will allow you the latitude to produce intricate detail.
especially if you are using the reduction printing process. It is best to print
the colors in the order of lightest to darkest. The darker colors are more
opaque and will provide better coverage over the previous colors. In the layout of your design, you should also simplify the key elements to abstracted forms. Linocut is not a medium which will allow you the latitude to produce intricate detail.
Storage of the
Linocut Plate.
A carved linocut
plate can last hundreds of impressions and a number of years, if you care for
it properly. After printing, wipe any excess ink off of the plate with paper
toweling. Then continue to clean it with a rag dampened with mineral spirits. Ideally
you should store the dried linocut plates flat in a controlled environment away
from sunlight, heat and humidity. Remember that if you store a panel flat, it
generally will stay flat.
plate can last hundreds of impressions and a number of years, if you care for
it properly. After printing, wipe any excess ink off of the plate with paper
toweling. Then continue to clean it with a rag dampened with mineral spirits. Ideally
you should store the dried linocut plates flat in a controlled environment away
from sunlight, heat and humidity. Remember that if you store a panel flat, it
generally will stay flat.
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Japanese Carving Knives for Woodblock Printing
Safely Carving Woodblocks, Woodcuts and Linocuts
Selecting a Brayer for Relief Printing
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Clean Up After Relief Printing
Selecting a Brayer for Relief Printing
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About Jim Hingst: After fourteen years as Business Development Manager at RTape, Jim Hingst retired. He was involved in many facets of the company’s business, including marketing, sales, product development and technical service.
Hingst began his career 42 years ago in the graphic arts field creating and producing advertising and promotional materials for a large test equipment manufacturer. Working for offset printers, large format screen printers, vinyl film manufacturers, and application tape companies, his experience included estimating, production planning, purchasing and production art, as well as sales and marketing. In his capacity as a salesman, Hingst was recognized with numerous sales achievement awards.
Drawing on his experience in production and as graphics installation subcontractor, Hingst provided the industry with practical advice, publishing more than 150 articles for publications, such as Signs Canada, SignCraft, Signs of the Times, Screen Printing, Sign and Digital Graphics and Sign Builder Illustrated. He also posted more than 400 stories on his blog (hingstssignpost.blogspot.com). In 2007 Hingst’s book, Vinyl Sign Techniques, was published. Vinyl Sign Techniques is available at sign supply distributors and at Amazon.