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Gathering Your Linocut Essentials
Before you can start carving, you’ll need to assemble your toolkit. Don’t feel you need the most expensive gear right away; starter kits are available, or you can buy items individually. Here’s a rundown of the basics:- Linoleum Block: This is your printing plate. Traditional linoleum is battleship grey, hessian-backed, and can be a bit tough to carve, especially when cold (warming it slightly on a radiator can help). Many beginners prefer the modern soft-cut polymer blocks (often pink or beige) which are much easier on the hands and don’t crumble as easily. Choose a size that feels manageable for a first project – something around 4×6 inches is a good start.
- Lino Cutters: These are the tools you’ll use to carve your design. They typically consist of a handle and interchangeable cutting blades, called nibs. Nibs come in different shapes and sizes: V-shaped gouges are great for fine lines and details, while U-shaped gouges clear away larger areas. A basic set with a handle and 5-6 different nibs is usually sufficient to begin.
- Printing Ink: You’ll need relief printing ink. Water-based inks are popular for beginners because they are easy to clean up with soap and water, non-toxic, and dry relatively quickly. Oil-based inks offer richer colours and longer working times but require solvents for cleanup. Start with a tube of black water-based ink – it’s classic and shows off your lines well.
- Brayer: This is a small rubber roller used to apply ink evenly to your linoleum block. Look for one with a sturdy handle and a smooth, medium-hard rubber surface. A 3-4 inch wide brayer is a versatile size for starting out.
- Inking Plate: You need a smooth, flat, non-porous surface to roll out your ink. A small sheet of glass (with edges taped for safety!), a piece of acrylic or perspex, or even a large, smooth ceramic tile works perfectly.
- Paper: While you can print on almost any paper, some work better than others. Smoother, thinner papers often pick up detail well with hand pressure. Japanese papers like Hosho are lovely, but affordable options like standard cartridge paper (around 120-150gsm) or even smooth kraft paper work fine for initial experiments. Get more sheets than you think you’ll need – printing always involves some trial and error!
- Pencil and Paper: For sketching your design.
- Optional but helpful: A baren (a traditional Japanese tool for applying pressure) or a simple wooden spoon can help get an even print. A bench hook holds your lino block steady while carving, increasing safety and control. A safety glove for the hand holding the lino block is also a wise investment.
Designing for Linocut: Think in Reverse!
Now for the creative part – deciding what to print! Since you’re carving away material, linocut lends itself well to bold shapes, strong lines, and clear contrasts between black and white (or whatever colour ink and paper you use). Intricate, tiny details can be challenging initially, so perhaps start with something simpler. Consider graphic patterns, stylised botanicals, simple animal shapes, or even bold lettering. Sketch your ideas on paper first. A crucial point to remember is that your printed image will be a mirror image of the design carved on the block. This is especially important if you include text – you must carve it backwards on the block for it to read correctly in the print!Transferring Your Design
Once you’re happy with your sketch, you need to transfer it onto the linoleum block. There are several ways to do this:- Direct Drawing: You can draw directly onto the lino block with a soft pencil (like a 2B or 4B). Be aware that the pencil lines might smudge during carving.
- Carbon Paper: Place a sheet of carbon paper (graphite transfer paper is less messy) between your drawing and the lino block. Trace over your drawing firmly with a pencil or ballpoint pen to transfer the lines.
- Pencil Rubbing Transfer: Go over the back of your drawing thoroughly with a soft pencil, covering all the lines. Place the drawing face-up on the block and trace over the lines again. The pencil graphite on the back will transfer to the lino.
Safety First! Lino cutting tools are sharp. Always cut in a direction away from your body and hands. Keep your non-cutting hand behind the path of the blade. Using a bench hook to secure the block provides stability and keeps your holding hand further from the cutting zone. Treat the tools with respect.
The Carving Process: Bringing Your Design to Life
This is where the magic starts to happen. Secure your lino block (using a bench hook or just placing it on a non-slip mat against a table edge). Choose your first cutter nib – typically a small V-gouge (like a No. 1 or No. 2) is good for outlining. Hold the cutter handle comfortably in your dominant hand, almost like peeling a potato, with the blade angled slightly into the linoleum. Use your other hand to guide the tool or steady the block (keeping it safely behind the blade!). Apply gentle, steady pressure and push the cutter forward, away from you. You should see a ribbon of linoleum peeling away, leaving a groove. Remember: what you carve away will not print; it will remain the colour of the paper. The raised surface left behind is what catches the ink.- Start by outlining the main shapes of your design with a V-gouge.
- Once outlined, switch to a U-gouge to clear larger areas you want to be white in the final print. Experiment with different nib sizes to see the marks they make.
- Think about texture. You don’t have to clear areas completely smoothly. Leaving small raised “chatter” marks can add interesting texture to your print.
- Take your time. You can always carve more away, but you can’t put linoleum back! Stop periodically, brush away the carved debris, and assess your progress.
- Don’t aim for perfection on your first try. Linocut has a distinctive, slightly rustic quality that comes from the hand-carving process. Embrace it!
Inking Up: Getting Ready to Print
Once your carving is complete, brush off any loose bits of linoleum. Now it’s time to ink the block.- Squeeze a small amount of ink (about a pea or two’s worth for a small block) onto your inking plate. Less is often more to start with.
- Take your brayer and roll it through the ink, then lift and roll again in a different direction. Keep rolling, spreading the ink into a thin, even rectangle roughly the width of your brayer. You’re aiming for a smooth, velvety texture. Listen for the sound – a gentle “hiss” or tacky sound indicates the ink is evenly coated on the roller. If it sounds sticky or looks gloopy, you have too much ink. If it looks patchy, you need a little more.
- Once the brayer is evenly charged with ink, roll it firmly but gently across your carved linoleum block. Roll in multiple directions (up/down, side-to-side, diagonally) to ensure all the raised surfaces are covered evenly. You want a consistent layer, not thick blobs. The carved-away areas should remain clean.
Pulling Your First Print: The Reveal!
This is the moment of truth! Have your paper ready.- Carefully take a sheet of your chosen paper and gently lay it down onto the inked block. Try to place it correctly the first time without wiggling it, as this can smudge the print.
- Now you need to transfer the ink to the paper. You can do this by firmly rubbing the back of the paper with the palm of your hand, the back of a wooden spoon, or a baren if you have one. Work systematically across the entire area of the block, applying even pressure. Pay special attention to the edges and centre. You should start to see the image faintly through the paper as the ink transfers.
- Once you feel you’ve rubbed everywhere sufficiently, carefully peel the paper back from one corner. Lift it slowly away from the block to reveal your print!
Troubleshooting and Tidy Up
Printmaking involves a bit of learning through doing. If your prints aren’t coming out as expected, consider these points:- Patchy Print: Ensure you’re rolling out the ink thinly and evenly on the plate. Apply ink to the block thoroughly from all directions. Increase the pressure when burnishing the paper – make sure you rub every part of the design area.
- Speckled Print (unwanted dots): You might have tiny bits of carved lino left on the block, or your ink might be too thin. Brush the block carefully between prints.
- Filled-in Details: You’ve likely applied too much ink. Scrape excess ink off your plate, roll it out thinner, and apply less to the block.
- Smudged Print: The paper might have slipped during printing, or the ink application might be too thick and uneven.
Cleaning Up
Clean your tools promptly after printing, especially with water-based inks which can dry surprisingly fast on your brayer and block.- Water-based ink: Scrape excess ink off the plate. Wash the block, brayer, and inking plate with soap and warm water. An old toothbrush can help get ink out of carved areas on the block. Pat everything dry.
- Oil-based ink: You’ll need vegetable oil or a specific solvent recommended by the ink manufacturer to clean your tools. Wipe away as much ink as possible with rags or paper towels first, then use the oil/solvent on rags to clean the block, brayer, and plate. Finish with soap and water if desired. Dispose of oily rags safely as they can be a fire hazard.
Did you know? You can re-ink your block and pull multiple prints from a single carving. Each print made this way is considered an original piece of art, not a reproduction. Small variations between prints are part of the character of hand-pulled linocuts.
