Posts Tagged: block printing
Which Material Should I Use For my Linocut Blocks?
Linocut is a printmaking technique similar to woodcut that uses a carved linoleum block to create an image. The block is inked and then pressed onto paper to create the print. You can use a variety of different materials for linocut blocks but like any material, each has advantages and disadvantages.
Linocut printing block materials: Speedy Carve, battleship grey lino, golden lino, Speedy-Cut
Traditional Linoleum: Traditional lino is made from a burlap-backed grey linoleum. This is the most common type of linocut block material and the one you’re most likely familiar with if you’ve done any linocut printmaking in school. It’s relatively inexpensive and easy to carve and produces sharp, detailed prints. However, traditional linoleum can become brittle with age and can crack if it is not handled carefully.
There’s also a version of traditional linoleum that is tan or golden in color rather than grey. This material is generally a bit softer and easier to carve than the grey version and doesn’t become as brittle over time but still produces sharp details.
You can get traditional linoleum that is mounted on wooden blocks or unmounted. Mounted lino is sturdier and less likely to curl or warp, because it is supported by the wooden block, but thicker, which can make positioning the paper a little more difficult.
I typically use unmounted lino because when I print, I place the block on the table first, then lay the paper down over it and apply pressure with a baren on the paper. You can place also the paper on the table, then place the inked block face-down on the paper and apply pressure to the back of the block. This method typically works better for the thicker mounted blocks and printing using a press rather than hand printing.
Vinyl Linoleum: Vinyl lino is a newer type of linocut block material that is made from a synthetic material. It is more expensive than traditional lino but is more durable and less likely to crack. The most common vinyl lino is Japanese vinyl, which has a blue side and a green side along with a black center. Either or both sides of the block can be carved. It’s a little softer than traditional lino but still produces sharp, detailed prints though it can be a little difficult to transfer the design to the block.
Softcut Lino: Softcut lino is made from a softer, more flexible rubber-like material. It’s easier to carve than traditional lino, especially for intricate designs, and is also less likely to crack. However, Softcut lino is more expensive than traditional lino and it can be difficult to produce really sharp prints.
Rubber: Rubber is another popular material for linocut blocks. It is more flexible, less likely to crack, and easier to carve than linoleum, making it a good choice for beginners. Its flexibility also means it can be used to print on curved surfaces. However, rubber can be more expensive than linoleum and can distort under pressure, making the prints less clear. Speed Ball Speedy-Carve is a common brand.
Foam: Foam is another material that is becoming increasingly popular for linocut blocks. It is inexpensive, very easy to carve, and produces soft lines. However, foam is not as durable as linoleum or rubber and can easily be damaged.
The best material for you will depend on your individual needs and preferences. If you are looking for a traditional material that is easy to carve and produces sharp lines, then traditional linoleum—either the battleship grey or the golden version—is a good choice. If you are looking for a material that is more flexible and less likely to crack, then rubber or vinyl are good options. If you are looking for a material that is easy to carve and inexpensive, then foam may be a good choice.
Carved linocut blocks
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Product Review: Flexcut Micro Palm Carving Tools
In a previous post, I talked about my experience with Flexcut Lino and Relief printing carving tools here. Now, I didn’t like those tools At All. But I decided to give Flexcut another try. My main problem with the Lino carving set was the length and shape of the handle, and Flexcut has a much larger line of “Palm” tools, which looked to have a much shorter handle that fits easily into your palm.
I do a lot of fine detail work in my linoleum prints, so I decided to try the Micro Palm Carving tool set. You can also get a “Beginner’s” set to start out with. The Micro set comes with four different, very tiny U- and V-shaped tools. They’re not cheap though. I was pretty nervous about the investment, especially considering how much I disliked the (cheaper) lino carving set. What if I also hated these and wasted so much more money?
So, I tried them out and I love, love, LOVE these tools! It was a totally different experience than with the lino carving set. The right shape and size of tool makes all the difference! I’m going to have to get a few more of the sets, I think. What I really need now is a wide gouge to carve out large areas of the block—I had to switch back to my Speedball cutter for that and it made me sad.
The Palm carving tools cut through linoleum like butter. I’ve always been a bit skeptical of that particular phrase, but it absolutely fits here! They seem much sharper than the Speedball cutters and seem to hold an edge much better than the lino carving set does too. They carve smoothly and easily, with minimal pressure and essentially no slippage. They’re a delight to use. I did need to hone them occasionally so keep them razor sharp, but that’s to be expected. I used the wooden strop and polishing compound that came with my lino carving set, but that (or something similar) can be purchased separately. The smallest micro tools can be difficult to sharpen due to their very tiny size, so I may need to invest in a different sharpening tool for those.
So if you prefer a palm-style carving tool, I absolutely recommend the Flexcut Palm tool line. They’re a bit pricey, but absolutely worth it. Quality-wise I do expect these tools to last for a long time.
Have you tried out and of Flexcut’s carving tools? What style and brand of cutters do you like? Tell me in the comments.
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Product Review: Caligo Safe Wash Relief Inks
I haven’t been really happy with the water-based printing inks I’ve been using. They’re way better than traditional oil-based inks. They’re non-toxic, much easier to clean up and you don’t need to use solvents, which makes them much safer, particularly in a home-based studio.
Water-based inks can be difficult to work with, however, since they dry very quickly. This can be a benefit—oil-based inks can take a long time to dry! But it’s also a drawback, particularly in less-humid seasons. Working time can be Very short and it can be difficult to get an even print because the ink sometimes dries before I can get the whole piece printed. They do make mediums and additives to help extend the working time a bit, but it’s still quite short.
Since I don’t want to use hazardous solvents in my home (or at all, really!), I decided to look into some of the newer water-soluble oil-based printmaking inks. I’ve gotten great results with the water-mixable oil paints and Really like them a lot, so why give the inks a try?
I got a tube of the black Caligo Safe Wash Relief Ink by Cranfield Colors and I’m a complete convert. I Love this stuff! It works much like traditional oil-based ink, since it Is an oil-based ink. It rolls smoothly and gives a nice, rich black print. No worries about it drying out halfway through a print. It does bleed through thin paper a bit more than the water-based ink does, but I just put a piece of tracing paper over the printmaking paper when I’m printing by hand and it’s all good.
But what I love the most is the cleanup. It’s not quite as easy as a water-based ink and you do have to follow the instructions. You apply soap—I use a natural dish soap, and work it into the ink-covered areas Before adding water. I use a cheap bristle paintbrush to work the soap in. Then you wash it with water and the ink comes right off! I sometimes need to repeat the process a couple times, depending on how much ink was built up in the crevices, but it’s still super easy, if a bit messy.
One thing to keep in mind is that if you use unmounted linoleum, like I do, you want to limit how much water comes in contact with the reverse of the linoleum since it can cause warping. I just try to keep the back as dry as possible when I’m washing it, then I dry the block off well and let it dry between paper towels under pressure.
I’ve also seen some cautions about using oil-based inks on the newer, rubbery linoleum alternative materials, like the pink ‘Speedy Carve’ by Speedball. I’ve used Caligo Safe Wash ink on a Speedy Carve block a couple times though and so far, the block seems fine. I don’t know if the oil in the ink will cause damage to the Speedy Carve block over the long term, or if cleaning it really well after use is enough. We’ll have to wait and see, I suppose. To be cautious, you might want to stick to water-based inks if you’re using the rubbery materials. Or not—be daring and live a little, right?
Anyway, I highly recommend Caligo Safe Wash Relief inks. They’re a fantastic alternative to traditional oil-based inks as far as safety and clean up goes, and superior to water-based inks in their working properties. The only thing I Really wish for is for Cranfield to add some metallics to their Caligo Safe Wash line. They have a gorgeous oil-based gold ink in their traditional oil-based line and I’d love to be able to get it in a water clean-up version.
What are your thoughts on the water-soluble inks and oil-paints? Have you tried any of them? Tell me below in the comments!
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Playtime in the Studio: Hand Colored Prints
There are always a few prints that just don’t come out well. Maybe the ink is uneven, or the paper slips slightly. For whatever reason, not every print is ‘good enough.’ So, what do you do with the bad prints? You don’t really want to just throw them out, but on the other hand, they’re just taking up space and cluttering up the studio.
I decided to use my ‘junk’ prints to test out a few methods of hand-coloring my prints. Who knows, if it turns out well, it might be a nice alternative to offer, instead of just a single color print.
For a first trial, I tested watercolors and Derwent Inktense pencils to color in some of my passion flower prints. Derwent Inktense pencils are a water-soluble pencil that gives an ink-like intense color once wetted. They’re similar to watercolor pencils, but the colors are more intense.
So, here I have a few examples. I’m not entirely happy with either method, though I think I like the Inktense pencils better—the colors are more vibrant and it’s much easier to control where the color goes compared to using watercolors. Watercolor pencils would probably work similarly as far as control, but the colors would be less intense. I might give that a try at some point.
What do you think? Do you like the watercolors or the Inktense pencils better? Or do you prefer the uncolored version? Let me know your thoughts!
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* Please note that this post contains affiliate links and any sales made through such links will reward me a small commission – at no extra cost for you.
Product Review: Flexcut Lino and Relief printing carving tools
In my quest for a more enjoyable printmaking experience, I decided to look into upgrading my carving tools. Like with the wooden spoon I talked about here, I’ve been using the same student-grade carving tools I learned on. In particular, I’ve been using the Speedball linoleum cutters.
The Speedball cutter has a plastic handle with interchangeable blades in various shapes and sizes. The cutters do get dull eventually and you can either try and sharpen them a few times with a sharpening stone or just toss the blade and replace it with a new one. The replacement blades are fairly inexpensive and both the handle and the blades are relatively easy to find.
I don’t have any major issues with the Speedball cutters. They work well enough and the handle has a little storage compartment for the blades, which makes it compact and easy to store. But, I thought, why not try something new?
For my first excursion into the realm of new carving tools, I got the Flexcut Lino and Relief printmaking set. It’s not hugely expensive, but still a bit of a shock compared to the Speedball cutter. The set comes with four interchangeable blades of various sizes and shapes, one handle, a tool roll to hold the pieces, and a wooden strop and polishing compound for sharpening the blades.
Well, I tried them out and… I hate them. Absolutely detest them. I was so disappointed; the reviews were decent and they looked like they’d work well. Now, you might have a very different opinion—they’re a popular choice so it’s clear that many people Do like them. But I’ll tell you why I dislike them so much.
First, while they start off nice and sharp and carve through the linoleum well, they don’t seem to hold an edge well at all. I found myself having to hone them every few strokes in order to keep them cutting easily. The Speedball cutters definitely seem to hold an edge better. But that may just be a difference in the sharpness of the tools. Perhaps a slight dulling of the Flexcut tools is more apparent than with the Speedball cutter, since the Flexcut ones are sharper to start with.
Second, the handle shape and size doesn’t work for me. At all. I had to hold my hand and wrist at an awkward angle that I quickly became excruciating (I injured my wrist way back when I was a teenager, and it still give me quite a bit of trouble, so the ergonomics of my tools is very important). The handle doesn’t look all that different in size compared to the Speedball cutter handle, but clearly, it’s different enough to be an issue for me. I found the least painful way of holding the tool was to put the blade in so that the handle was upside down—there’s a curve to it so that if fits in your palm better. I got a better angle with the ‘underside’ against my palm. It was still painful, but less so.
Another thing to take into consideration is that, while the blades are interchangeable, they fit Very tightly into the handle. While this means they’re not going to accidentally come loose, it does make it quite tricky to change the blade. Patience and a fair bit of hand strength is required. On a side note, it appears that you can purchase different styles of handle that fit the blades, so that’s an option I might look into in the future. The handles are fairly expensive though.
I don’t think I’ll be using these tools again since they simply don’t work for me. For now, it’s back to my trusty old Speedball cutters. But, I’ll definitely keep searching. There are so many different styles of carving tools; something has to work!
Now, don’t let my review scare you away from trying the Flexcut Lino and Relief printmaking set if you’re so inclined. Like I said, there are plenty of good reviews, so it works for a lot of people. And if you do try it, let me know what you think!
Want to keep updated and see more of what I’m working on? Sign up for my mailing list here and get a totally FREE digital download of a tiger linocut print. (I promise not to be spammy with my emails—I hate that too!)
* Please note that this post contains affiliate links and any sales made through such links will reward me a small commission – at no extra cost for you.
Must-Have Printmaking Tools: Baren
For years, I’ve gone the cheap route for hand-printing my linocuts. I was first shown how to print them using the back of a wooden spoon to rub the back of the paper and transfer the ink from the block. Wooden spoons are cheap and easy to come by, unlike a printing press!
We Did use a press when I took printmaking in college though, and I admit that I like that a lot more. I’m considering investing in a small printing press at some point, but we’ll see. Add it to the wish list!
So, I’ve been printing all my linocuts by hand with a wooden spoon all these years and it works fine. But I kept finding that I’d put off making the actual prints once I was done carving the block. I hated printing by hand! It’s awkward and you have to use a lot of pressure and weird angles. My hand and wrist were always sore afterward.
Then one day, I decided to splurge and try out a baren for printing. Now, if you’re not familiar with a baren, it’s a flat, smooth disk with a handle that is used to apply even pressure over the surface. You ink your block, place the paper over the top, and rub with the baren. Unlike a wooden spoon, the surface of a baren is flat and you apply pressure downward directly from above, so you don’t need to use as much force and you’re not applying it at strange angles.
There are several different types of barens available. The only one I’ve seen in stores is the Speedball Baren, which is a large, bulky-looking plastic item with a Teflon coating. I’ve never tried it so I’d be curious to know what other people think of it.
I’ve also seen glass barens and some (really expensive!) Japanese ones that have hundreds of ball bearings along the surface. I’d actually love to try one of those, but they run about $250+ so that’s probably not going to happen anytime soon. There are also less expensive versions made of plastic with little bumps over the surface.
What I eventually decided on was the Yasutomo baren, which is an inexpensive Japanese-style baren made of lacquered cardboard (I think some are actually plastic) covered with bamboo bark, with a bamboo bark handle. The bamboo covering does wear out eventually, but it can be replaced. If you have one of the less expensive bamboo barens, you could just replace the entire thing. If you have one of the more expensive versions, it’s probably worth it to replace just the covering.
They come in several sizes and I’d recommend getting the larger one. Most of my print blocks are on the smaller size, but the larger baren is perfect. I haven’t tried printing a really large block with a baren yet, so I can’t really comment on its performance for that.
I like that the bamboo baren is thinner than the Speedball baren, which makes it easier to store. I do notice that the little ties around the handle sometimes shift when I’m using it. I suspect if I splurged for one of the more expensive bamboo barens, that wouldn’t be an issue. It’s a minor annoyance.
I sometimes find that I get ink bleeding through the paper and onto the baren’s surface when I’m using very thin paper, so that’s something to be aware of. Typically, I’ll put a piece of tracing paper over the printmaking paper and rub the baren over that. It also helps reduce friction and wear on the paper, since the bamboo bark has slight ridges. In a pinch, I’ve used plain printer paper. For thicker paper, there shouldn’t be any problem with ink transfer so you can just use the baren directly on the printmaking paper. Overall, my bamboo baren is a thousand times better than using a wooden spoon, and I find that I don’t really mind printing my hand anymore. Success!
Have you ever tried a baren for printing? How do you (or would you) make your prints? Tell me in the comments below!
Want to keep updated and see more of what I’m working on? Sign up for my mailing list here and get a totally FREE digital download of a tiger linocut print. (I promise not to be spammy with my emails—I hate that too!)
* Please note that this post contains affiliate links and any sales made through such links will reward me a small commission – at no extra cost for you.