Linocut printing techniques
advanced methods for creating multi colour
lino cut prints
Lino printing is a versatile printmaking technique that allows artists to create intricate and striking images. Several methods exist within lino printing, each offering unique processes and outcomes. Here, we will explore four methods: single block linocut, multiblock linocut, reduction linocut, and jigsaw linocut. Each method has its distinct characteristics, advantages, and disadvantages.
Single Block Linocut (Recommended for beginners!)
Method:
The single block linocut method involves carving a design into one linoleum block. The block is then inked and printed onto paper.
Pros:
Simplicity: This method is straightforward and perfect for beginners. The artist needs only one block, which reduces costs and materials. Also, less prints are wasted as there is less room for error.
Precision: Single block linocuts allow for detailed and intricate designs since the artist can focus all efforts on carving one surface.
Ease of Use: With only one block the artist does not need to worry about registration (aligning more than one block to print exactly in the same place).
Cons:
Colour Limitation: With a single block lino print, only one colour can be achieved. Using multiple colours requires either a complex layering process or printing each colour separately, which can be time-consuming and challenging to align perfectly.
Multiblock Linocut (Multiple colours)
Method:
In the multiblock linocut method, each colour in the design is carved into a separate block. The blocks are inked and printed sequentially to build the final image. With opaque colours, one colour per block can be created (plus white from the paper where areas are carved away).
Especially clever artists can create more than one colour per block by using extender in their ink to create mixes using transparent colour.
To try this method:
- 2 blocks (red, yellow) , 4 colours can be created (white, red, yellow, orange).
- 3 blocks (red, yellow, blue) = 8 colours can be created (white, red, yellow, blue, orange, purple, green, brown).
Pros:
Colour Options – Artists can use multiple colours in their prints.
Enhanced Depth: Multiblock prints can achieve a greater depth and richness in colour and texture.
Future proofing: If you aim to sell your prints you can keep printing almost indefinitely (or until the linos physically break so you don’t need to make tons of prints. You can keep printing more runs as needed.
Cons:
Complexity: Managing multiple blocks requires careful planning and precise registration to ensure alignment.
Time-Consuming: Carving and printing multiple blocks is a lengthier process compared to single block linocuts.
Cost: More lino blocks are needed per print, increasing the cost of the printmaking process.
“Sallie’s House” is a multi-block lino print. Four blocks; Orange, Green, Blue & Grey were used to create multiple colours. The grey allowed me to capture the dramatic shadow on the wall and also to add depth by making darker shades of the other colours where needed. Greens and oranges were mixed with and without blue and grey to make variations of brown soils, dark tree trucks and hints of bananas in the tree.
Reduction Linocut (Multiple colours)
Method:
The reduction linocut method, also known as a “suicide print”, involves using one block that is gradually carved away for each colour layer. The artist prints the lightest colour first, then carves away more of the same block and prints the next colour, continuing until the darkest colour is printed. The block is then discarded as it cannot be reused to make more prints. If too many errors occur along the way no more prints can be made. This non turning back approach earns it its ominous nickname. Despite the warning these can be extremely fun to make so it you want to make one there is a little more in the method that needs to be considered when planning…
This style can take a moment to get your head around. It’s a little like watching memento in the way that the scenes aren’t quite in the right order. What I always try to remember throughout the process is “You carve away the colour you want stay”. For example, If you would like three colours (yellow, red and blue) plus the white of the paper, then stage one is to carve out everything you would like to remain white (because you carve away the colour you want to stay!), we then roll the next lightest colour; yellow onto the block and print it. We clean the block and let the print dry. Next we carve away everything we want to remain yellow from our clean dry lino (because we want to carve away the colour we want to stay!). We then roll the red over the lino and print it. We clean our block and let our print dry. Next we carve away everything we want to remain red. Finally we roll the blue over the lino and print it. This should revel a complete layered image of white, yellow, red and blue.
Pros:
Colour Blending: The gradual reduction of the block allows for smooth transitions and blending of colours.
No Registration Issues: Since the same block is used throughout, registration is less problematic. (The print will need to be in the same place but white missed areas wont be created unless on purpose.)
Unique Prints: Each print run is unique, and subsequent editions cannot be exactly reproduced, making them ‘limited edition prints’ adding value and exclusivity to each print.
Cons:
Irreversible: Mistakes are permanent, as the block is progressively destroyed with each colour layer.
Complex Planning: Requires thorough planning and a clear vision of the final print, as changes cannot be made once carving starts.
Time-Intensive: Each layer requires a separate print run, making the process time-consuming.
Transparent mixing cannot be achieved only one colour per printing session (unless you find a way in which case get in touch! I love to learn too!
“Catherine’s Cafe” is a lino cut print I made using the reduction technique. One lino was used to make this piece. I started by cutting away the white areas and rolled on the beige colour. I continued until all 8 colours were printed. After the final colour was printed the lino was finished with. The reduction method means this is a limited edition print and no more can be made once they sold out.
Jigsaw Linocut (Multiple colours)
Method:
The jigsaw linocut involves cutting the linoleum block into pieces, each piece representing a different colour or section of the design. These pieces are inked separately and then reassembled like a puzzle for printing.
Pros:
Colour Versatility: Allows for multiple colours and intricate designs within a single print run.
Creative Freedom: Offers flexibility in experimenting with different colour combinations and patterns in one layer.
Efficiency: Multiple colours can be printed simultaneously, saving time compared to the reduction method.
Future proofing: If you aim to sell your prints you can keep printing almost indefinitely (or until the linos physically break or you lose a piece - so you don’t need to make tons of prints. You can keep printing more runs as needed.
Cons:
Complex Assembly: Requires careful reassembly of the block pieces, which can be challenging and requires precision.
Potential Gaps: If not reassembled perfectly, gaps or misalignments may appear in the final print.
Fragility: Smaller pieces can be delicate and difficult to handle without damage.
More table space: You need a station for each colour
More expensive: Good rollers can be pricey and you will need one for each colour.
Other Lino Printing Techniques
Ombre - Another technique to consider would be to roll two inks on the same roller making a graduated ombre effect. This can be used in combination with any of the techniques above.
Noise - When carving backgrounds you may notice the ink still printing in some areas that have been cut away. These can be controlled by covering with a bit of protective paper when printing or alternatively you may wish to include this ‘noise’ as an effect to add dimension to your work. I find it quite expressive so good for conveying power, emotions or energy in people or in dynamic things such as wind or moving leaves.
Conclusion
Each lino print method offers unique advantages and challenges. The single block linocut is ideal for beginners and simple designs, while the multiblock linocut provides greater colour control and flexibility to . The reduction linocut offers rich colour blending but requires meticulous planning and execution. The jigsaw linocut allows for creative colour use and efficiency but demands precise assembly.
Don’t be afraid to try them out but be warned, swapping from one style to another can boggle the brain. You can actually mix these styles together too. I recently had a lot of fun and made a multi block jig-saw print mix! I would recommend getting comfortable with the initial styles above first though!
Ultimately choosing the right method depends on your skill level, design complexity, and desired outcome. Exploring these methods can enhance one’s printmaking skills and lead to the creation of stunning, expressive prints.
You can see more of my linocuts here or if you want to see ones available for sale click below.
How to make a Lino Cut Print
A step by step guide to making a Linocut print
Lino Printing is a Relief printmaking technique that involves carving a design into an artists grade lino block, which is then inked and pressed onto paper to create a print. This guide will walk you through the process from start to finish, whether you're a beginner or looking to refine your technique.
Materials Needed:
Linoleum Block: You can buy this from most art stores or online.
Pens / Pencils / Eraser
Linocut Tools: A set of gouges (U-shaped and V-shaped) for carving.
Ink: Water-based or oil-based block printing ink.
Roller (Brayer): For spreading the ink evenly on the block.
Good Quality Printmaking Paper and Scrap Paper / Newsprint for testing on.
Tracing Paper (Optional): For transferring your design.
Bench Hook or Non-Slip Mat: To keep the block steady while carving.
Baren or Spoon or Printing press: For pressing the paper onto the inked block.
Palette Knife
Driers (Optional): If you want your oil based or safe wash ink to dry more quickly
Glass or Perspex Sheet: A flat surface you can roll ink onto
Registration Tools.
Print drying: This can be anything from a string and some crocodile clips to a fancy shop bought hanging system.
Step 1: Design Your Image
Start by sketching your design on paper. Keep in mind that the final print will be a mirror image of your design, so reverse your image! Simple, bold designs with clear lines and shapes work best for lino cutting, especially for beginners. Remember you don’t need to make a perfect image first time so don’t be worry about making mistakes, experiment and have fun.
Step 2: Transfer the Design to the Linoleum Block
There are multiple ways to put your design onto lino. Here are two options of many for you to try. You can draw the design straight onto the lino. Doing this will make your image come out as a mirror image so you will need to reverse the image before drawing it on. A second approach would be to draw your design onto tracing paper and put graphite paper or transfer paper between the tracing paper and lino (put the transfer / graphite side facing down towards the lino). Now draw over the design again. This will push the design onto the lino. This will create a reversed image so make sure you design it in reverse first.
If you forget to reverse your image, don’t fret. It may work out that it looks great in reverse. An image such as a flower wont be ruined being in reverse. However if you forget to reverse the design for designs including text for example this will mean you need to start the process again.
Step 3: Carve the Linoleum Block
Set up a clean, well-lit workspace. Secure your linoleum block on a bench hook or non-slip mat to prevent it from moving while you carve. Make sure you have all your tools within easy reach. Start carving along the lines of your design. Experiment with different shapes of gouges and the marks they make, how deeply they cut etc. Always carve away from your body to avoid injury. Tools can be extremely sharp and often beginners learn the hard way to not leave a stray finger in the path of a cut. Slipping, especially in the beginning is extremely common. Take your time and make shallow cuts to avoid cutting too deep, which can damage the block. You want to avoid cutting all the way to the bottom so do some practice cuts first on a spare piece of lino. Each tool cerates different resistance and can cut too deeply or slip more or less easily so practice, practice, practice. Once you have finished carving, remove any loose pieces of linoleum. I like to use a brush or a hand-held vacuum to pick loose pieces out of the lino.
Step 4: Ink the Block
Clean your area of lino scraps and dust as you will want a clean area for printing. Dust, hair and stray lino piece can quickly create havock once they find their way into your ink. You will want to make a test print on a scrap paper. This will help you identify any areas that need further carving or adjustment. Spread a small amount of ink on a flat surface (a glass or acrylic sheet works well). Use the roller (brayer) to evenly spread the ink until it makes a thin, even layer. Beginners often use too much ink. A good way to know the correct amount is to roll out the ink thinly. There shouldn’t be a tacky texture when rolling. You can add or remove excess ink with a palette knife. Roll the ink onto the carved linoleum block, ensuring all raised areas are covered. If you need your ink to dry more quickly (if you are in a rush for a deadline or if you are doing multiple layer linos and wish to reduce the days it ill take for one layer to dry). I add one drop of driers to my ink. This is only for oil based or safe wash oil inks. Fully water based inks should dry quickly enough.
Step 5: Print Your Image
Place the inked block on a clean surface. Carefully lay your paper on top of the block. If you are doing an image with more than one block, you will need registration tools such as the turns burton method to align the image in the same place each time. If you are a beginner I advise you skip this step and use just one block for your image. Use a baren or the back of a spoon to apply even pressure across the entire surface of the paper. Make sure to cover all areas to transfer the ink evenly. Alternatively use a printing press. Peel up one edge to see how the transfer is going. Lift the paper carefully to reveal your print. I always find it takes a while to get the lino working properly. A smooth image begins happening on the third or fourth try. This is why I like to use scrap paper or newsprint for the first three prints which I discard. This is so I do not waste expensive printmaking paper.
Step 6: Allow the Print to Dry
Place the print on a drying rack or clean surface to dry. Depending on the type of ink used and if you have added driers, drying time can vary from a few hours to a day or more.
Step 7: Clean Up
Clean your tools and workspace immediately after printing. Water-based ink can be cleaned with soap and water, while oil-based ink requires mineral spirits or a specialized cleaner. Some inks such as Caligo safe wash are a sort of half way ink between oil and water. For this I recommend putting lots of washing up liquid on anything with ink on, moving it around to dissolve the ink and then washing off with water. Proper maintenance of your tools will extend their life and ensure better results in future projects. If you can hang your rollers up this will extend their life and stop them from sitting on a table and creating a imprint in the roller which will affect future prints. Depending on your ink type you will have paint water, or rags covered in mineral spirits etc. Please try and dispose of them in a way which is safe for you and the environment. Mineral spirit rags can cause a fire risk and paint water can block sinks or work its way into water systems which can be harmful for the environment.
“Hummingbird House” - Made using the reduction linocut technique. Using one piece of lino and cutting away more and more lino each time a new colour is printed. If you are interested in buying an original print, there are some available in my online art shop. Just click the link below.
Now you know how to make a single colour print you may wish to experiment more with different linocut styles introduce multiple colours or learn some other methods to improve your technique. Below is a linocut print I made using a technique known as a ‘reduction linocut’. You can advance your knowledge by reading more about that in my blog “Linocut Printing Techniques” or click here.