Lino Printing Process

Lino cutting on vinyl mats

Linocuts are very similar to woodcuts. It is a printing method using a sheet of linoleum or vinyl mat, in which a subtractive cutting method is used to take away the parts of mat where you want to leave the white of the page, and keep the parts/surface you want to be inked. As a result of this technique you have a linocut that can reproduce the same image over and over again. Several linocuts can be used together to make a print including colour, and in some cases (depending on the ink and paper you use) a linocut print can be coloured afterwards with another medium, such as watercolour paint, collage or pencils.

In reduction printing, you continue to remove areas of the mat, coordinating with the different colours you would like for different parts of your design. Each time your remove areas of the mat, you print with a different colour on the previous prints, layering the ink until you have created your final artwork. It is important to print numerous copies of the first cut as once you have cut for the second colour/layer, you cannot go back to the beginning.

Alternatively, more than one lino mat can be used. In the example below the final black ink layer is printed over the top of the reduction print.

A Short History: While linoleum was first invented in the 1860s, it wasn’t used as a medium for printing until the early 1900s in Germany, where it was first used for making patterns on wallpaper. Artists ranging from Pablo Picasso to Henri Matisse have made linocuts, and today it is considered a respected art form.

Why the move to lino from the traditional use of wood?

Linoleum does not have a grain like wood does, meaning there is no need to cut in one direction. It is much, MUCH easier to cut than wood, especially when heated which softens the surface. Although linoleum is not quite as durable as wood, you can still make hundreds if not thousands of copies of the same image with a single linocut before it is too degraded to use.

Step 1: Materials

You will need . . .
1. One piece of linoleum or vinyl mat, the size of your proposed artwork.
2. Linocutting tool with an assortment of blades. V shapes are good for carving lines and U shapes are better for removing larger areas of the mat.
3. A piece of acrylic, glass or a plastic tray to roll your printing ink on (At least A4) in preparation to rolling it into the carved mat.
4. Block printing ink – this is a special type of ink used where a design is carved into a block, typically made of wood, linoleum or vinyl. These inks come in two main varieties: water-based and oil-based, each with unique characteristics to consider. They are stickier than regular paint, helping them to adhere to the block then the paper better.
5. Paper – 200+gsm cartridge paper. Others can also be experimented on.
6. A pencil, permanent marker and carbon paper to transfer your design onto the mat before carving.
7. BANDAIDS – you are using sharp carving tools after all.

Step 2: Transfer the design

Using carbon paper and a pencil, transfer your composition design to the lino mat. The final print will be a mirror image unless you flip the design before you transfer it.

Step 3: Carving

What is carved first?
As a reduction print requires carving several times to print different colours, the first task is to remove all of the areas that are to be left white in the design.
Safety is a priority when using sharp carving tools.

Use the provided safety tools and boards.
Practice carving on a spare bit of lino before you carve into your good one.
Always carve away from yourself. Tuck your other hand behind your carving hand like in the photograph below.
Make small shallow cuts until you get used to cutting.
Never use tools for play or mucking around with other students. Cuts hurt!
Keep your eyes on your work while carving.
If you cut yourself, put pressure on the wound and seek help straight away.

Carving Techniques
Carefully start cutting away your negative space, or the part of your linocut print that you want to show the white of the page. Use the V-blade to cut the line work and the U-blade to remove whole areas. Be especially careful on tight curves, sharp edges, and narrow cuts. As you remove more of the surface, the carving should become easier.

Step 4: Ink Up Your Linocut!

Using a spoon or a palette knife, place a scoop of printing ink at the top of the glass or tray.
Use a clean rubber roller to spread a little of the ink smoothly down the tray. It needs to cover an area the width of the roller. Push the excess ink to the top of the glass.
The aim is to get the correct consistency, not smear it everywhere. You will know if the consistency is right as you will hear a crackle as the roller lifts of the ink while rolling.
Place the precarved linomat on a piece of paper, protecting the surface below.
Gently roll the inked roller over the mat, applying the ink consistently to all areas.
Pressing too hard, whether preparing or applying the ink, will prevent ink bonding well with the roller and mat. Too little ink will create a blotchy print; too much ink will fill the carved areas causing the details of the image to blur.

Step 5: Print

Printing the lino mat can be done by hand, with a bayer or on a printing press.

Documenting and Reflecting on Creative Practice

Guiding Questions

Discuss the approaches to reduction printing used in both your and Picasso’s prints.
Identify all the equipment involved and explain the order of the technical processes you worked through.
Can you detect a difference between the effects created in a wood carved print and a lino print?
Discuss the similarities and differences you can see between your work and the work of Picasso and Preston. Subject matter? Colours, shapes, textures and other elements of art? Control over materials and techniques? Refinement of the final artworks? Expression of ideas or meaning?
Select your favorite reduction print and analyse the outcome of the process and refined quality of the artwork through both the personal and structural lens.