Lino and Block Printing

Lino printing is a form of fine art printmaking where the printing plate is cut into lino. Yes, lino as in linoleum, as in the floor covering. The lino is then inked, a piece of paper placed over it, and then run through a printing press or pressure applied by hand to transfer the ink to the paper. The result, a linocut print. Because it's a smooth surface, the lino itself doesn't add texture to the print.

When Was Lino First Used for Printmaking?

The use of lino to create art is "primarily attributed to German Expressionists such as Erich Heckel (1883-1944) and Gabriele Munter (1877-1962)"2. Russian Constructivist artists were using it by 1913, and black-and-white linocuts appeared in the UK in 1912 (attributed to Horace Brodzky). The development of color linocuts was "driven by the influence of Claude Flight (1881-1955)" who taught linocut in London at the Grosvenor School of Modern Art between 1926 and 1930.2

Picasso is known to have produced his first linocuts in 1939 and continued doing so into the early 1960s. Matisse also made linocuts. Another artist famous for his linocuts is Namibian John Ndevasia Muafangejo.  His prints often contain explanatory words or narratives in English on them.

Block printing is a method of placing permanent designs on surfaces by carving a pattern on a wood and like with lino, inking it, and transferring it to the paper.

From the Orient, block printing found its way into Europe about the year 1423. Here it was taken up and improved, until in Germany Purer brought it to such a peak of perfection that few artists in the craft have ever been able to surpass his work.

How to get started.

The following supplies are needed.  Linoleum mounted on thick baord (18mm shutterboard,  lono tools, lino ink, rubber roller, larg metal or wooden spoon &
200-300g paper

Step 1: Transfer your sketch
A terrific way to transfer is to use carbon paper.  Remember that you are working in reverse so invert your image before outlining it on top of the carbon paper.

Step 2: Carve out the positive (open/blank) space
Take a minute to look at your drawing and decide which areas you want to leave and which areas you want to carve away. Remember that the raised areas will be what shows up in the ink. My biggest mistake when I first started, was trying to carve too deep into the linoleum. You really don't have to carve deep at all, just along the surface. The tools are sharp, and you can cut yourself so use with caution.

Step 3: Ink your block
Squeeze a small amount of ink onto a glass sheet.  Take your rubber roller and  roll the ink out into a smooth, thin layer. Then careful roll the inked brayer onto the surface of your block. All of the raised areas will accept the ink.

Step 3: Ink your block
Squeeze a small amount of ink onto a glass sheet.  Take your rubber roller and  roll the ink out into a smooth, thin layer. Then careful roll the inked brayer onto the surface of your block. All of the raised areas will accept the ink.

Step 4: Pulling your print
Center a piece of paper on top of the inked block. Using a large metal or wooden spoon to burnish (rub) the paper with even pressure.  This "pulls" the ink from the block onto the paper. Carefully peel the paper from the block & allow it to dry.

Technically, a baren is used to do the burnishing. A Baren is a lightweight, hand-held disk made with an ategawa or stiff backing piece; a shin, which is a coiled pad of twisted fiber; and a Barengawa (cover) made from a takenokawa (bamboo sheath). The Baren is used to rub the back of the printing paper after it is placed on the inked block, to transfer the ink into the printing paper.

Lino Materials are obtainable from Spectrum Art & Office of 415 Umgeni Rd, Durban