You can get started in woodcut
and linocut relief printing with a reasonable investment in equipment and
materials. You will notice that I used the adjective “reasonable”. I did not write “minimal” or
“inexpensive”. While you do not need to
visit your local bank for a loan, an initial investment in good quality basic
tools will likely amount to several hundreds of dollars. What’s more, it is
like any other endeavor. The more you become involved in it, the more you will
spend.
and linocut relief printing with a reasonable investment in equipment and
materials. You will notice that I used the adjective “reasonable”. I did not write “minimal” or
“inexpensive”. While you do not need to
visit your local bank for a loan, an initial investment in good quality basic
tools will likely amount to several hundreds of dollars. What’s more, it is
like any other endeavor. The more you become involved in it, the more you will
spend.
Before you begin cutting a
block or printing, it is important that you assemble everything you need. It can
be very frustrating, when you discover that you need something vital, in the
middle of a job. To avoid this type of
mishap, I have compiled a list of equipment and materials, that you would need
if you were hand printing with oil based inks.
block or printing, it is important that you assemble everything you need. It can
be very frustrating, when you discover that you need something vital, in the
middle of a job. To avoid this type of
mishap, I have compiled a list of equipment and materials, that you would need
if you were hand printing with oil based inks.
The tools and materials that
you would need for traditional Japanese woodblock printing with water based
inks will be different. Depending upon the type of printing that you are doing
and the nature of your projects, this list may or may not include everything
that you need. It is, none the less, a good starting point and you should use
it for a guide that you should modify for your own purposes.
you would need for traditional Japanese woodblock printing with water based
inks will be different. Depending upon the type of printing that you are doing
and the nature of your projects, this list may or may not include everything
that you need. It is, none the less, a good starting point and you should use
it for a guide that you should modify for your own purposes.
The equipment and materials
that you will need for printing with oil based inks (arranged alphabetically):
that you will need for printing with oil based inks (arranged alphabetically):
Air
Respirator with a Particulate Filter. Chances are, if you are
working with oil based inks, you will not be working with pigment powders. If
for any reason, you are working with these powders, you will need an air
respirator with a particulate filter.
Respirator with a Particulate Filter. Chances are, if you are
working with oil based inks, you will not be working with pigment powders. If
for any reason, you are working with these powders, you will need an air
respirator with a particulate filter.
Breathing pigment powders can be hazardous to your health. When working with these powders, always wear an air respirator with a particulate filter. |
Baby
powder. When you are handling ink, it is easy to inadvertently get
it on your hands, and accidently on your print. Once that happens, your print
is ruined. If you happened to get some
on your fingers, wipe it off with a rag, then dust your fingers with baby
powder.
powder. When you are handling ink, it is easy to inadvertently get
it on your hands, and accidently on your print. Once that happens, your print
is ruined. If you happened to get some
on your fingers, wipe it off with a rag, then dust your fingers with baby
powder.
Baren. After the printing block is inked, the
printmaking paper in positioned on top of it. Using a tool called a baren, the
back of the paper is burnished so the pressure transfers the image. A
traditional baren used in Japanese woodblock printing is comprised of a coil of
braided cord on a 5” disk covered with a sheath.
printmaking paper in positioned on top of it. Using a tool called a baren, the
back of the paper is burnished so the pressure transfers the image. A
traditional baren used in Japanese woodblock printing is comprised of a coil of
braided cord on a 5” disk covered with a sheath.
Traditional Japanese Baren |
Bench
Hook. A bench hook serves as a stop to hold a woodblock
or linoleum panel in place while they are working. You can easily construct
your own bench hook with as few as three pieces of wood. One piece is attached
to the bottom of a baseplate, which secures the bench hook from slipping on the
wood surface. Another piece of wood is attached to the top of the baseplate. As
you are cutting the printing block, pushing away from you, this piece
holds the block in place.
Hook. A bench hook serves as a stop to hold a woodblock
or linoleum panel in place while they are working. You can easily construct
your own bench hook with as few as three pieces of wood. One piece is attached
to the bottom of a baseplate, which secures the bench hook from slipping on the
wood surface. Another piece of wood is attached to the top of the baseplate. As
you are cutting the printing block, pushing away from you, this piece
holds the block in place.
Brayer. A
brayer is a roller used to spread
ink out onto an inking slab and then to apply the ink onto the woodblock. Brayers
vary in composition and density of the roller cylinder.
brayer is a roller used to spread
ink out onto an inking slab and then to apply the ink onto the woodblock. Brayers
vary in composition and density of the roller cylinder.
Brayer |
Click here for a video showing the inking and printing process
Cell
Phone. If you are working
alone, having a cell phone handy is a necessity just in case you have an
emergency and need to call for help.
Carving
Tools. For carving the printing block, there are many specialized
tools. Recommended tools include a carving knife, an assortment of gouges (#5,
#7, #8), a V-parting tool, veniers (#11)
and chisels.
Tools. For carving the printing block, there are many specialized
tools. Recommended tools include a carving knife, an assortment of gouges (#5,
#7, #8), a V-parting tool, veniers (#11)
and chisels.
Carving tools for cutting a printing block. |
For linocuts, Pfeil, a Swiss company, manufactures a nice set of tools designed specifically for cutting linoleum. (Shown below.) 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.
Drying
rack. A drying rack is not necessary, but it sure is nice to
have. Prices for a good rack start at about $600.
rack. A drying rack is not necessary, but it sure is nice to
have. Prices for a good rack start at about $600.
Fire
Extinguisher. If you
are saturating rags with mineral spirits, there is always a chance of fire. Every
shop should have at least one multipurpose fire extinguisher for emergencies.
Extinguisher. If you
are saturating rags with mineral spirits, there is always a chance of fire. Every
shop should have at least one multipurpose fire extinguisher for emergencies.
First
Aid Kit. Your First Aid Kit should contain plenty of gauze compresses,
an assortment of Band-Aids and antiseptic ointment. If you have a severe cut or a wound becomes infected, get
medical attention immediately.
Aid Kit. Your First Aid Kit should contain plenty of gauze compresses,
an assortment of Band-Aids and antiseptic ointment. If you have a severe cut or a wound becomes infected, get
medical attention immediately.
Ink
(oil based ink). The type of ink used in relief printing is one
characteristic that distinguishes printing done in the Far East from that done
in Europe and America. Traditional Japanese woodblock printing is done with
water based inks. On the other hand, woodcuts and linocuts were generally
printed with oil based ink. Oil based inks are more opaque, more durable and
the colors are richer and more vibrant.
(oil based ink). The type of ink used in relief printing is one
characteristic that distinguishes printing done in the Far East from that done
in Europe and America. Traditional Japanese woodblock printing is done with
water based inks. On the other hand, woodcuts and linocuts were generally
printed with oil based ink. Oil based inks are more opaque, more durable and
the colors are richer and more vibrant.
Gamblin Oil-based Relief Ink. |
Ink
Cups. When you are mixing a special color, always mix a little
more than you need. This avoids the difficult if not impossible task of matching
colors. Keep several clean ink cups handy to store any extra ink.
Cups. When you are mixing a special color, always mix a little
more than you need. This avoids the difficult if not impossible task of matching
colors. Keep several clean ink cups handy to store any extra ink.
Inking
Knife. This type of knife is helpful both in mixing ink and
transferring the ink from the ink cup to
the inking slab. Inking knives are
available in a variety of widths.
Knife. This type of knife is helpful both in mixing ink and
transferring the ink from the ink cup to
the inking slab. Inking knives are
available in a variety of widths.
Inking knives are available in a variety of widths. When inking a woodblock or woodcut, you only need to apply a very small amount of ink to the inking slab. |
Inking
Slab. A piece of glass makes a perfectly smooth surface for
spreading out the ink to a uniform thickness. When ordering the glass, request that the edges are polished.
This prevents accidentally cutting yourself on any sharp edges.
Slab. A piece of glass makes a perfectly smooth surface for
spreading out the ink to a uniform thickness. When ordering the glass, request that the edges are polished.
This prevents accidentally cutting yourself on any sharp edges.
Leather
Strop. After sharpening your carving tools on a sharpening stone, hone the edge of the blade on a strop
treated with polishing compound.
Strop. After sharpening your carving tools on a sharpening stone, hone the edge of the blade on a strop
treated with polishing compound.
Lint
Free Rags or Shop Towels. In doing your final clean up of your
brayer, inking slab and printing block wet a lint free rag with mineral spirits
to wipe off the remaining ink.
Free Rags or Shop Towels. In doing your final clean up of your
brayer, inking slab and printing block wet a lint free rag with mineral spirits
to wipe off the remaining ink.
Magnifying
Hood. If you are cutting
fine detail, you need three things: a sharp knife; good diffused lighting; and
a magnifying hood.
Hood. If you are cutting
fine detail, you need three things: a sharp knife; good diffused lighting; and
a magnifying hood.
Magnifying Hood. |
Mallet.
For controlled cuts, especially when carving
hard wood, a mallet indispensable. Wood mallets are available in a
variety of styles, weights and materials.
For controlled cuts, especially when carving
hard wood, a mallet indispensable. Wood mallets are available in a
variety of styles, weights and materials.
Metal
Can with a Lid. One way to prevent fires is to dispose of rags
saturated with solvents in a metal container with a lid.
Can with a Lid. One way to prevent fires is to dispose of rags
saturated with solvents in a metal container with a lid.
Mineral
Spirits. For clean up after printing
use no solvent stronger than mineral spirits.
Spirits. For clean up after printing
use no solvent stronger than mineral spirits.
Newspaper. Keep a stack of old newspaper handy for use
in cleaning up your brayer. After you are done printing, roll the brayer over
newspaper to remove much of the excess ink. Then wipe the brayer wit paper
toweling. Then moisten a rag with mineral spirits to clean off the residual
ink.
in cleaning up your brayer. After you are done printing, roll the brayer over
newspaper to remove much of the excess ink. Then wipe the brayer wit paper
toweling. Then moisten a rag with mineral spirits to clean off the residual
ink.
Newsprint. Because
printmaking paper is expensive, use newsprint for proofing a job as you are
making the final corrections on your printing block
printmaking paper is expensive, use newsprint for proofing a job as you are
making the final corrections on your printing block
Nitrile
Gloves. It’s hard to keep your hands clean, when working with
either paint or ink. It is especially easy to get your hands dirty, during
clean up. For this reason, I wear nitrile gloves. The heavy-duty ones are worth
the investment, because you can get several uses before replacing them.
Gloves. It’s hard to keep your hands clean, when working with
either paint or ink. It is especially easy to get your hands dirty, during
clean up. For this reason, I wear nitrile gloves. The heavy-duty ones are worth
the investment, because you can get several uses before replacing them.
Venom Steel Premium Disposable Nitrile Gloves |
Oil
for Sharpening. Although
specialty oils for sharpening are available for use with oilstones, 3-in-1 oil
is commonly used. While some people believe that the oil provides some lubrication
for the sharpening process, its primary purpose is to float away any particles
of metal, which are worn away from the blade of the chisel. Otherwise
these residual particles would clog the pores of the stone reducing its
abrasive properties.
for Sharpening. Although
specialty oils for sharpening are available for use with oilstones, 3-in-1 oil
is commonly used. While some people believe that the oil provides some lubrication
for the sharpening process, its primary purpose is to float away any particles
of metal, which are worn away from the blade of the chisel. Otherwise
these residual particles would clog the pores of the stone reducing its
abrasive properties.
Sharpening stone oil. |
Paper
Towels. Paper towels are necessary for wiping up residual ink
after printing.
Towels. Paper towels are necessary for wiping up residual ink
after printing.
Plate Oil. Instead of adding mineral spirits to ink to lower its viscosity, add plate oil.
Gamblin Burnt Plate Oil |
Polishing
Compound. Jewelers Rouge and other polishing compounds come in a
variety of abrasive grade from coarse to fine. Just as if you were
working with sandpaper, start with the coarse compound, then progress to a
finer grit. Continue polishing the blade of your tool until it has a mirror
finish.
Compound. Jewelers Rouge and other polishing compounds come in a
variety of abrasive grade from coarse to fine. Just as if you were
working with sandpaper, start with the coarse compound, then progress to a
finer grit. Continue polishing the blade of your tool until it has a mirror
finish.
Polishing Compound |
Printing
Block Substrates. You
have many substrate choices to use as a printing block. Your choice of material
largely depends on a few factors including: the size and level of complexity of
your project; the workability of the material; the quality of the printed
image; durability of the printing block and material cost. If your job requires reproduction of fine
detail, one of your best choices is cherry plywood from a reputable supplier of
printmaking supplies. Cherry plywood is a very hard material, which can be
difficult to cut, but it can hold fine detail.
This material is not inexpensive, but it is a good choice if you need a
high quality, durable material. For ease
of workability, linoleum is a good choice. With a sharp knife and carving
tools, you can easily cut the material and produce clean edges. With linoleum,
you do not need to contend with woodgrain and the problem of the wood chipping
out. Linoleum is sold either unmounted or mounted to medium density fiberboard
(MDF). My suggestion is to buy it mounted. In this form, it is easier to cut
and the MDF backing makes the substrate dimensionally stable. A third option is
MDF. This is not the same thing as particle board. MDF is comprised of much smaller
particles of wood, along with wax and a resin that binds everything
together. It is much denser, heavier and much stronger than particle
board. It is an affordable material to work with for very large
projects. It is comparatively inexpensive and is readily available at lumber
yards.
Block Substrates. You
have many substrate choices to use as a printing block. Your choice of material
largely depends on a few factors including: the size and level of complexity of
your project; the workability of the material; the quality of the printed
image; durability of the printing block and material cost. If your job requires reproduction of fine
detail, one of your best choices is cherry plywood from a reputable supplier of
printmaking supplies. Cherry plywood is a very hard material, which can be
difficult to cut, but it can hold fine detail.
This material is not inexpensive, but it is a good choice if you need a
high quality, durable material. For ease
of workability, linoleum is a good choice. With a sharp knife and carving
tools, you can easily cut the material and produce clean edges. With linoleum,
you do not need to contend with woodgrain and the problem of the wood chipping
out. Linoleum is sold either unmounted or mounted to medium density fiberboard
(MDF). My suggestion is to buy it mounted. In this form, it is easier to cut
and the MDF backing makes the substrate dimensionally stable. A third option is
MDF. This is not the same thing as particle board. MDF is comprised of much smaller
particles of wood, along with wax and a resin that binds everything
together. It is much denser, heavier and much stronger than particle
board. It is an affordable material to work with for very large
projects. It is comparatively inexpensive and is readily available at lumber
yards.
Linoleum is sold either unmounted or mounted to medium density fiberboard (MDF). Mounted linoleum is easier to cut and print as well as being more dimensionally stable. |
Printing
Jig.
There are a few different ways that you can register prints. One of the
simplest is to construct a simple jig, which acts as a frame to hold the
printing block and to provide guides by which you can align or register the
paper over the block.
Jig.
There are a few different ways that you can register prints. One of the
simplest is to construct a simple jig, which acts as a frame to hold the
printing block and to provide guides by which you can align or register the
paper over the block.
Printmaking
Paper. If you project is worth printing, use paper designed
specifically for printmaking
Paper. If you project is worth printing, use paper designed
specifically for printmaking
Razor
Scraper. In cleaning up a glass inking slab, a razor scraper is
useful.
Scraper. In cleaning up a glass inking slab, a razor scraper is
useful.
Saral
Paper. An easy way to
transfer your design to the printing block is to use Saral paper, which is
similar to carbon paper, just not as messy to handle. It is available in
several colors. Remember that you will need to transfer a wrong reading image
to the block, so the woodcut or linocut prints right reading.
Paper. An easy way to
transfer your design to the printing block is to use Saral paper, which is
similar to carbon paper, just not as messy to handle. It is available in
several colors. Remember that you will need to transfer a wrong reading image
to the block, so the woodcut or linocut prints right reading.
Saral Transfer Paper is available in 5 colors. |
Sharpening
Stone. For precise carving, you need to keep your carving tools
sharp. A wide variety of
sharpening stones are available on the market. One of the most common types is
an oilstone. Some are synthetic, while others are natural stones.
Of the natural types, the two best known are Arkansas stones and Washita stones.
Stone. For precise carving, you need to keep your carving tools
sharp. A wide variety of
sharpening stones are available on the market. One of the most common types is
an oilstone. Some are synthetic, while others are natural stones.
Of the natural types, the two best known are Arkansas stones and Washita stones.
The wide range of sharpening stones includes oil stones, ceramic stones and diamond sharpeners. |
Tracing
Paper. Drawing your design on tracing paper is helpful, because
you can flip the design before transferring it to the substrate, just by
turning the paper over.
Paper. Drawing your design on tracing paper is helpful, because
you can flip the design before transferring it to the substrate, just by
turning the paper over.
Tweezer. After
you ink the printing block, little slivers of scrap may dislodge from the
substrate. A good pair of tweezers, the
kind that painters use, are helpful in capturing the pieces.
you ink the printing block, little slivers of scrap may dislodge from the
substrate. A good pair of tweezers, the
kind that painters use, are helpful in capturing the pieces.
Vegetable
Oil.
Prolonged exposure to solvents are hazardous to your health. As an alternative
to cleaning with mineral spirits, some printers will clean up residual ink on
their tools using vegetable oil. Using vegetable oil is also helpful in
cleaning oil based inks and paints from your hands. Never wash your hands with
solvents.
Oil.
Prolonged exposure to solvents are hazardous to your health. As an alternative
to cleaning with mineral spirits, some printers will clean up residual ink on
their tools using vegetable oil. Using vegetable oil is also helpful in
cleaning oil based inks and paints from your hands. Never wash your hands with
solvents.
RELATED ARTICLES
The Division of Labor in Ancient Japanese Print Production
Japanese Carving Tools for Woodblock Relief Printing
Japanese Carving Knives for Woodblock Printing
Safely Carving Woodblocks, Woodcuts and Linocuts
Linocut Tips
Selecting a Brayer for Relief Printing
Selecting Wood for Relief Printing
Selecting an Ink for Relief Printing
Inking the Woodblock Panel
Clean Up After Relief Printing
Japanese Carving Tools for Woodblock Relief Printing
Japanese Carving Knives for Woodblock Printing
Safely Carving Woodblocks, Woodcuts and Linocuts
Linocut Tips
Selecting a Brayer for Relief Printing
Selecting Wood for Relief Printing
Selecting an Ink for Relief Printing
Inking the Woodblock Panel
Clean Up After Relief Printing
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.