The Art Of Linocut

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The Art Of Linocut

Posted On : Jun-04-2009 | seen (1490) times | Article Word Count : 968 |

Block printing – or the practice of reproducing text or images by inking a relief surface – was an old and well-understood technology long before William Caxton set up his first English printing press in 1476. The earliest recorded examples of block printing come from China as a means of transferring designs and text to cloth or paper. The earliest surviving examples of patterned cloth prints date from around 220 AD although the process was undoubtedly old even then. The first printed newspapers were in circulation in Beijing by 713 AD.

In principle, the techniques used by the ancient Chinese printmakers were little different to those used by artists working in linocut today. Since the invention of linoleum (lino, to you and me) would have to wait until the 1860s, they worked primarily in wood to provide the relief master.

Linoleum was patented by Englishman Fredrick Walton in 1860. In 1864, he formed the Linoleum Manufacturing Company and by 1869 was exporting his new floor covering across Europe and the United States. Linoleum is produced by a process of overlaying solidified linseed oil mixed with cork dust or “woodflour” (very fine milled sawdust) on a burlap, jute or canvas backing sheet. The fact that the oil and wood/cork overlay can easily be carved away from the backing medium makes lino eminently suitable for use in printmaking. A note of caution, though: while modern PVC flooring is often referred to as “lino”, it is quite different in its properties and, because of its composition is quite unsuited to printmaking.

In essence, the techniques used in woodblock and linoleum printmaking are quite similar, and would be familiar to any child who’s ever made a potato print in art class. A design is produced and transferred to the surface of the woodblock or linoleum plate. The artist then uses a sharp knife or “V” shaped chisel to carve away the part of the surface which (s)he does not wish to receive ink. The raised (uncarved) areas of the plate now form a “Bass Relief” in mirror image of the area to be printed. The surface of the plate is then inked, usually using a roller or “Brayer” and, finally, an impression made of the design onto the print medium (wood, paper, card or whatever). This process can be repeated a number of times to provide multiple colours on the same print, either by using different plates or by successively carving more of the surface away from the same plate – a process known as the Reductive Method. The Reductive Method has the advantage that once the plate has been reduced for the application of the second colour, repeat impressions of the original print cannot be made therefore the integrity of the edition is maintained.

It is important to ensure that the position of the plate (sometimes known as registration) is repeated as accurately as possible when making successive imprints. The character of the finished work will also be influenced greatly by the evenness or otherwise of pressure used. The surest way of achieving even pressure is through use of a press which clamps the relief plate to the surface of the receiving medium. A press is not essential, however, and devices such as pressure from the back of a spoon or bamboo covered “baren” can be used for a more sophisticated manner.

Although the techniques are similar, there are subtle differences in both the way in which artists use the mediums of wood or linoleum for printmaking and in the character of the finished artworks. The first practitioners of linocut in artwork, such as Fritz Bleyl and Erich Heckel of the Die Brucke Group, described their work as Woodcut, perhaps partly to appear more acceptable to a conservative art establishment but there are definite pros and cons to both media.

Perhaps the most obvious advantage of the use of Linoleum in printmaking is the relative ease with which it can be cut and carved. Deep relief cuts can be made simply by cutting the surface composite back to the backing sheet and peeling the unwanted area away. Shallower, more intricately detailed grooves are more easily cut into the relatively pliant surface material than would be the case in even a softwood block. However, wood is a considerably more durable material which means that the finished plate will last longer and be capable of more repeated use for printmaking than a similar design inscribed in linoleum. Wood is also more suited to larger scale works than linoleum due to its greater inherent strength and stability. Some artists argue that linoleum printmaking lacks the character and individuality of woodblock, with its unique and distinctive grain pattern. Others such as Matt Hilton have argued that the differences in surface characteristics between different types of lino, its reaction to variations in temperature and even the ease with which the surface can be inscribed with tools as unlikely as wire wool, produce an equally distinctive individual character to linoleum printmaking.

Despite the early reservation of the earliest practitioners of linocut printmaking of the artists of the Die Brucke Group, the use of linoleum as a bona fide artistic medium is now quite established . Both Picasso and Henri Matisse helped to establish the use of lino among professional artists. This continued with the first large scale exhibition of colour linocuts by American artist Walter Inglis Anderson in 1943-45 in Brooklyn. More recently, artists such as Josh MacPhee and Stanley Donwood (the latter perhaps most famous for his cover artwork with British band Radiohead) have continued this tradition. The ease with which printmaking can be achieved with lino helps to ensure that the medium remains a firm favourite with artists at all levels – from schoolroom potato-printers to professional artists.

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<h1>The Art Of Linocut</h1> Author: <a href='http://www.articleseen.com/profile_Mark Wood.aspx'>Mark Wood</a> Block printing – or the practice of reproducing text or images by inking a relief surface – was an old and well-understood technology long before William Caxton set up his first English printing press in 1476. The earliest recorded examples of block printing come from China as a means of transferring designs and text to cloth or paper. The earliest surviving examples of patterned cloth prints date from around 220 AD although the process was undoubtedly old even then. The first printed newspapers were in circulation in Beijing by 713 AD.

In principle, the techniques used by the ancient Chinese printmakers were little different to those used by artists working in linocut today. Since the invention of linoleum (lino, to you and me) would have to wait until the 1860s, they worked primarily in wood to provide the relief master.

Linoleum was patented by Englishman Fredrick Walton in 1860. In 1864, he formed the Linoleum Manufacturing Company and by 1869 was exporting his new floor covering across Europe and the United States. Linoleum is produced by a process of overlaying solidified linseed oil mixed with cork dust or “woodflour” (very fine milled sawdust) on a burlap, jute or canvas backing sheet. The fact that the oil and wood/cork overlay can easily be carved away from the backing medium makes lino eminently suitable for use in printmaking. A note of caution, though: while modern PVC flooring is often referred to as “lino”, it is quite different in its properties and, because of its composition is quite unsuited to printmaking.

In essence, the techniques used in woodblock and linoleum printmaking are quite similar, and would be familiar to any child who’s ever made a potato print in art class. A design is produced and transferred to the surface of the woodblock or linoleum plate. The artist then uses a sharp knife or “V” shaped chisel to carve away the part of the surface which (s)he does not wish to receive ink. The raised (uncarved) areas of the plate now form a “Bass Relief” in mirror image of the area to be printed. The surface of the plate is then inked, usually using a roller or “Brayer” and, finally, an impression made of the design onto the print medium (wood, paper, card or whatever). This process can be repeated a number of times to provide multiple colours on the same print, either by using different plates or by successively carving more of the surface away from the same plate – a process known as the Reductive Method. The Reductive Method has the advantage that once the plate has been reduced for the application of the second colour, repeat impressions of the original print cannot be made therefore the integrity of the edition is maintained.

It is important to ensure that the position of the plate (sometimes known as registration) is repeated as accurately as possible when making successive imprints. The character of the finished work will also be influenced greatly by the evenness or otherwise of pressure used. The surest way of achieving even pressure is through use of a press which clamps the relief plate to the surface of the receiving medium. A press is not essential, however, and devices such as pressure from the back of a spoon or bamboo covered “baren” can be used for a more sophisticated manner.

Although the techniques are similar, there are subtle differences in both the way in which artists use the mediums of wood or linoleum for printmaking and in the character of the finished artworks. The first practitioners of linocut in artwork, such as Fritz Bleyl and Erich Heckel of the Die Brucke Group, described their work as Woodcut, perhaps partly to appear more acceptable to a conservative art establishment but there are definite pros and cons to both media.

Perhaps the most obvious advantage of the use of Linoleum in printmaking is the relative ease with which it can be cut and carved. Deep relief cuts can be made simply by cutting the surface composite back to the backing sheet and peeling the unwanted area away. Shallower, more intricately detailed grooves are more easily cut into the relatively pliant surface material than would be the case in even a softwood block. However, wood is a considerably more durable material which means that the finished plate will last longer and be capable of more repeated use for printmaking than a similar design inscribed in linoleum. Wood is also more suited to larger scale works than linoleum due to its greater inherent strength and stability. Some artists argue that linoleum printmaking lacks the character and individuality of woodblock, with its unique and distinctive grain pattern. Others such as Matt Hilton have argued that the differences in surface characteristics between different types of lino, its reaction to variations in temperature and even the ease with which the surface can be inscribed with tools as unlikely as wire wool, produce an equally distinctive individual character to linoleum printmaking.

Despite the early reservation of the earliest practitioners of linocut printmaking of the artists of the Die Brucke Group, the use of linoleum as a bona fide artistic medium is now quite established . Both Picasso and Henri Matisse helped to establish the use of lino among professional artists. This continued with the first large scale exhibition of colour linocuts by American artist Walter Inglis Anderson in 1943-45 in Brooklyn. More recently, artists such as Josh MacPhee and Stanley Donwood (the latter perhaps most famous for his cover artwork with British band Radiohead) have continued this tradition. The ease with which printmaking can be achieved with lino helps to ensure that the medium remains a firm favourite with artists at all levels – from schoolroom potato-printers to professional artists.About the Author: <a rel="nofollow" href="http://www.apwb.org/">Languedoc Roussillon contemporary art</a> from Matt Hilton, a <a rel="nofollow" href="http://www.apwb.org/">printmaker in Aude</a>, South France. Matt has had a range of <a rel="nofollow" href="http://www.apwb.org/content/matt-hilton-cv-and-public-aquisitions">printmaking exhibitions</a> throughout France and the UK. Article Source: <a href='http://www.articleseen.com/Article_The-Art-Of-Linocut_946.aspx'> http://www.articleseen.com/Article_The Art Of Linocut_946.aspx</a>

Article Source : http://www.articleseen.com/Article_The Art Of Linocut_946.aspx

Author Resource :
Languedoc Roussillon contemporary art from Matt Hilton, a printmaker in Aude, South France. Matt has had a range of printmaking exhibitions throughout France and the UK.

Keywords : printmaking in Languedoc Roussillon, contemporary art in Languedoc, Aude printmaker, artist South France, art, prints,

Category : Arts and Entertainment : Arts and Entertainment

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