If these instructions are confusing or seem incomplete check back in about a week- I'll be updating these steps with pictures and hopefully some video clips too in a few days. --Scott.
Getting started:
Making linocuts can be a fairly simple process. Like anything though, it can be as complex as you care to make it. For the purposes of this 'how-to' I'm going to keep it fairly simple. (I am linking to several products here to give examples of what I find useful, I do not work for these companies and do not get a kickback if you purchase from them.)
Your 'studio' space:
You don't need much space to make a linocut, it can be done in a fairly small space. How large will depend on the size prints you are doing and whether or not you use a press. My workspace is about 11 feet square - I have two workbenches and a few wire lines stretched on the walls to use for hanging wet prints. Having wall-space to hang wet prints can be very handy, as it saves a lot of table space. I used copper wire between a couple of turnbuckles - but a simple clothesline would do.
The basics:
1. Draw the image you want to carve into your linoleum block for printing.
2. If your drawing is on paper (and not the block itself) you'll need to transfer the image to the linoleum. For this step I use Saral transfer paper - it's much nicer than carbon paper in my opinion and comes in several colors. I find it helps if you are collaging several drawings onto one block to use a unique color for each drawing if the drawings overlap and I'm going to be making decisions about how to join them up as I carve them.
I have tried other methods as well - you can use a Chartpak #0 blender marker to transfer the toner from a fresh xerox copy to a lino block as well by rubbing the back of the xerox with the marker and letting it soak through. I have done this a number of times but found that the fumes from the pen were causing me to have headaches even when I did it outdoors. Always be careful when using any chemicals to do it with proper ventilation - make sure to read any warning labels on the products you use.
3. There are several types of 'linoleum' - typically art supply shops sell some variation of the 'battleship grey' linoleum that is gray (sometimes tan or brown) on one side and either backed with a burlap-like fabric weave or with a wood block. This type of lino is usually more easily carved if you warm it with an iron.
Over time I switched from the harder battleship type to something called 'safety-cut' which is thicker and softer though it can stretch if run through a press with the pressure too high. Another very nice thing about the safety-cut type is that you can carve both sides of the block so it's like getting two for the price of one.
4. Next you'll be carving your lino block. There are different types of cutting tools you can use. You can get a fancier set than the one I have linked to - but you really can't go wrong with a very basic set.
5. Once your block is carved, you'll be inking it to print it. You'll either be using water based or oil based relief printing ink. I recommend you try water-based to begin with unless you really believe you need to use oil based. The Daniel Smith water based inks are very nice, once they are dry they stay that way. The two factors that made me switch are that the prints dry faster and they clean up much easier than oil based inks. You'll roll the ink onto the block with a brayer, which is essentally a small rubber paint roller. You'll use a palette knife to spread the ink on a sheet of glass or plexiglass (which are also easy for cleanup) then roll it out smooth and then roll ink onto the lino.
6. You'll probably be printing onto paper, but don't be afraid to try printing the block onto other materials as well. I have been printing onto wood and metal and sometimes fabric. There are tons of paper choices out there - you'll want to experiment and over time you'll find papers you prefer.
7. The final step is to print the block. There are several ways to do this. You can use a press (this is the small one I have), or lay the paper on the block and rub the back of the paper with a disc baren. I have found that I use the press when I am doing an edition (a numbered set of the same print) - or the baren when I am making a single print that I am either testing out or not plannging to edition. When printing onto wood or metal, I just carefully use the lino block as if it were a large rubber stamp - inking it and setting it on the surface - then gently pressing the back then lifting it back up. This take a bit of practice as it's easy to smear the image if you are not careful when peeling the block back up. It is certainly easier to do this when the lino block is small, and also requires that the surface you are printing to be smooth and level.
Additional notes :
Most importantly, have fun and experiment. Take your work in the direction you want to go, don't force yourself to try to make your print 'look right' or look like someone else's work. You will have 'accidents' that will turn out to be very cool. Keep a notebook handy and jot down ideas and things you try so you can remember what works and what doesn't. You will have days where everything you print bugs you for some reason or things just do not turn out the way you hope. Let them dry, do not toss them out. Set those prints aside in a box. You can look at them weeks, months, or years later and sometimes be inspired to pick some new direction from them. You can print right over the top of them adding more layers. You can cut them up and use some of the good bits in a collage. I have had friends go through my 'dead prints' box and find something they really like.
If you have read this far and have feedback, please send it along. If you find it helpful, please let me know too. If you are a student doing a report - please remember to rewrite it in your own words :-) if only becasuse I'm a printmaker/designer and not a writer. Isn't spellcheck a nice thing!
--
Scott
First draft 11/22/2003
Pictures: coming
Video: coming