What is a woodcut? Woodcut printing is a step-by-step process. First, a woodcut artist carves an impression onto the face of a woodblock using gouges, ensuring that the printing areas are flush with the top surface while removing the non-printing portions. The areas where the wood has been trimmed away do not hold any ink, but the symbols or pictures on the surface are covered in ink to create the woodcut prints. To apply the ink, the artist rolls an ink-covered roller over the top surface, resulting in ink on the level surface but not in the non-printing areas. Thus, woodcutting art is produced.
What Is Woodcutting Art?
Woodcut printing has been practiced in various parts of the world, including China, Europe, Asia, and Latin America. In Europe, relief printmaking on fabrics was acknowledged in the early 14th century, but advancements were limited until paper production began in Germany and France near the end of the same century. While woodcutting was commonly used for illustrations in the 17th century, it did not attract any renowned artists.
How Woodcut Printing Labor Was Divided
In the past, in East Asia and Europe, it was customary for the designer to only create the woodcut design. The actual carving of the block was left to skilled artisans known as block-cutters or Formschneiders. Some of these artisans were quite famous in their own right, such as Hans Lützelburger, Hieronymus Andreae, and Jost de Negker, who were active in the 16th century. They not only owned studios but also worked as publishers and printers. Once the block was carved, the Formschneider would then send it to specialized printers. The production of blank blocks, on the other hand, was handled by other professionals.
The advantage of dividing labor is that it enables a skilled artist to swiftly adapt to the medium without needing to acquire carpentry skills. There were various methods for transferring the artist’s sketched image onto the wood for the carver to follow. This was achieved either directly on the block (often after whitening it) or by pasting a paper sketch onto the blocks. In either situation, the artist’s original design was obliterated during the slicing process.
Methods of Relief Printmaking
Printing involves less pressure compared to intaglio methods such as engraving and etching techniques. To achieve a satisfactory print using the relief approach, simply apply ink to the blocks, ensuring uniform contact with the cloth or paper. In Europe, various woods were commonly used, specifically boxwood and different fruit and nut woods like cherry or pear; whereas cherry wood was favored in Japan. Three printing processes should be considered.
- Stamping: Many textiles and most early European woodcuts manufactured between 1400 and 1440 were made with this technique. The fabric was placed on an even surface, with the block then positioned on top of the paper or fabric, and the rear side of the block was pressed or hammered.
- Rubbing : Reportedly the most popular way of printing on paper in the Far East at any and all periods. Later in the 15th century, it was commonly used for European woodcutting art as well as for textiles. From approximately 1910 until the present, it was also utilized for numerous Western woodcuts. The fabric is placed on top of the block, which is placed face-up on a table. A hard mat, a straight piece of wood, or a leather fronton is used to rub the back of the block.
In Japan, wooden gears were later employed to ensure the woodblock remains immobile and to apply the correct pressure during the printing process. This proved beneficial when adding multiple colors and needing to place them accurately over previous ink layers.
- Printing at a press : Presses appear to have been utilized in Asia only recently. Printing presses were employed for European block-books and prints beginning from 1480, and earlier for woodcut manuscript images. Basic weighted pressing machines may have been used in Europe prior to the printing press, but there is no clear proof.
The Art of Woodcut Prints
Woodcut printing started in ancient China to print on fabrics and later on paper. The oldest surviving evidence of woodblock printing is from China during the Han period, using silk imprinted with three distinct colors of flowers. The European introduction of Chinese block printing technology occurred in the 13th century.
Woodcut printing, which emerged around 1400 through the utilization of existing printing techniques on paper, stands as the earliest method employed for old master prints in Europe. One of the most ancient woodcuts on paper that can still be observed today is the Madonna of the Fire located at the Cathedral of Forl in Italy. However, during the mid-century, the increase in sales of affordable woodcuts led to a decline in quality, causing many renowned woodcuts from this era to be rather crude.
The introduction of hatching took place later than that of engraving. Starting in approximately 1475, Michael Wolgemut played a significant role in increasing the complexity of German woodcuts, while Erhard Reuwich became the first to employ cross-hatching, which is considerably more challenging to create compared to etching or engraving. Both of these artists primarily focused on producing graphics for books, a trend that was also seen among several Italian artists who were simultaneously enhancing the standard of artwork in the country.
Because woodcuts and moveable types are both relief-printed, they can be easily combined. Consequently, during the 16th century, woodcut was the main medium for manuscript illustration. The first woodcut book artwork was created around 1461, shortly after Albrecht Pfister introduced movable type printing in Bamberg. Woodcut prints for fine art purposes were less common from about 1550 until the late 19th century, when they regained popularity.
Art in Iran and East Asia experienced significant advancements in both technical and creative aspects. In the 17th century, Japan introduced Moku-hanga, also known as woodblock printing, which was used for literature and artistic purposes. The ukiyo-e genre gained popularity in the latter half of the 17th century, featuring monochrome prints that were occasionally hand-colored after printing. Eventually, prints with multiple colors emerged. Despite being considered less prestigious than painting at the time, Japanese woodcut became a significant and influential artistic medium.
White-Line Woodcuts
The process involves creating the image using mainly thin lines, similar to a rough engraving. The image is then printed in the traditional way, with the majority of the print consisting of white lines that form the picture. Urs Graf, a Swiss artist from the 16th century, was the first to use this method, but it gained more popularity in the 19th and 20th centuries. During this time, artists often modified the technique by incorporating large sections of white lines alongside sections in the traditional black-line style. Félix Vallotton was the first artist known for employing this modification.
Japonism
In the 1860s, Japanese prints started to make their way into Europe in large quantities. This coincided with the Japanese culture’s growing familiarity with Western visual art, and the prints became quite popular, especially in France. A number of painters, such as Pierre Bonnard, Édouard Manet, Henri de Toulouse-Lautrec, Paul Gauguin, Edgar Degas, Félix Vallotton, Vincent van Gogh, and Mary Cassatt, were influenced by these prints.
Notably in painting, the impact of Japan was reflected in many creative forms. This impact also had the result of reviving the woodcut in Europe, which at the time was close to disappearing as a significant art form. With the exception of Félix Vallotton and Paul Gauguin, most of the mentioned artists used lithography, especially for creating colored prints. Artists like Edvard Munch and Franz Masereel, on the other hand, continued to utilize the medium, which gained popularity during Modernism because of its convenience in terms of completing the entire process, including printing, within a studio using minimal specialized equipment.
The Use of Color
Colored woodcuts were first observed in ancient China, where the earliest known examples are three Buddhist pictures from the 10th century. In Germany around 1508, European woodcut prints with colored blocks, known as chiaroscuro woodcuts, were developed. However, unlike Japan where color became the standard in ukiyo-e and other genres, it did not become the norm.
In China, the single print did not appear until the 19th century, unlike in luxury art publications about painting where early color woodcuts are commonly found. The earliest known instance of this is seen in a book on ink-cakes created in 1606, and the peak of color technique can be observed in painting books published during the 17th century. An exceptional example of this is the Mustard Seed Garden Painting Manual, which was released in 1679.
In Japan, the technique called nishiki-e reached its full development and started being used for prints in the 1760s. Initially, both the text and illustrations in books were mostly one color. However, with the increasing popularity of ukiyo-e, there arose a demand for more colors and more intricate methods.
Chiaroscuro Woodcut Prints
Chiaroscuro woodcuts are old master prints that utilize multiple blocks printed in different colors, but they do not always exhibit noticeable contrasts between light and shadow. These prints were initially produced to mimic the effects seen in chiaroscuro paintings. The true chiaroscuro woodcut, made with two blocks, is believed to have been invented in Germany in 1509 by Lucas Cranach the Elder. However, Cranach retroactively dated some of his earlier prints and later added tone blocks to certain prints that were originally intended for monochrome printing. Hans Burgkmair is thought to have made advancements in this technique before Cranach.
The method was commonly employed in the German states in the early decades of the 16th century, while Italians remained using it for the remainder of the century, and it was occasionally used by later painters like Hendrik Goltzius.
The Italians frequently used tone blocks to achieve a unique appearance, which was more faithful to the original purpose of chiaroscuro sketches or watercolor works. In the 1930s and 1940s, Torsten Billman, a Swedish printer, developed a modified chiaroscuro method that incorporated numerous shades of gray using regular printing ink. This style was later named “grisaille woodcut” by Gunnar Jungmarker. It is considered a time-consuming printing technique that involves multiple gray-wood blocks in addition to the white and black key blocks.
WOODCUT PRINTMAKING FOR BEGINNERS – WHAT YOU NEED TO GET STARTED
Woodcut printmaking is the act of carving an image onto a wooden block, applying ink to it, and creating a print. It is considered the oldest form of relief printmaking, which involves printing directly from the block’s surface. There are two distinct approaches to woodcut printmaking: one in the western tradition and the other in the eastern tradition. Eastern woodcut techniques have their roots in 9th Century China, while Western Woodcut printing originated in 14th Century Germany alongside the invention of the printing press.
Essential Tools for Woodcut Printmaking
Soft Pencil and Tracing paper or Carbon Paper
To facilitate the wood cutting process, it can be helpful to first draw your design on the wood block as a reference. Keep in mind that the final print will be a mirror image, so for designs like text or those requiring a specific orientation, you can trace the image onto tracing paper from a sketch. Afterwards, flip the tracing paper and copy the design onto the block using carbon paper or by rubbing a soft pencil over the desired lines. This way, the pencil lines can be transferred successfully.
The Woodblock
There are different types of wood to select from, and blocks are specifically made for woodcut printmaking to guarantee consistent and uniform printing. Jackson’s Baltic Birch plywood is made from a dense and fine-grained wood, making it easy to cut cleanly and evenly if sharp tools are used. It has a thickness of 9 mm, preventing splitting or weakening when carved as long as the standard depth of around 2-3 mm is maintained. It is offered in five sizes, ranging from 106 x 145 mm to 605 x 915 mm.
The Jackson’s Japanese Magnolia block has a thickness of 10 mm and is double-sided, which is ideal for experimental purposes. Magnolia, being softer and smoother than plywood, is more suitable for printing large color areas. It is offered in two different sizes.
The 13 mm thick Japanese Katsura block is suitable for detailed carving and can be used on both sides. It provides excellent quality and is ideal for Mokuhanga, while also compatible with water and oil based ink.
Carving Tools
Using good, sharp tools will reduce the risk of them slipping on the surface. To start off, a simple and affordable set of woodcutting tools is recommended. The basic woodcut set by Jacksons consists of five knives in different sizes, featuring sturdy wooden handles that are easy to hold. The various blade types produce different markings on the wood, ranging from a V-shaped tool for intricate lines to a large U-shaped tool for defining areas around your design. Sets with 8, 10, and 12 knives are also available for more options in tool sizes. These sizes are described using the blade type and width in millimeters, such as V-Straight Parting Chisel 6 mm. It can be cost-effective in the long run to invest in more expensive carving tools, as high-quality tools can last a lifetime if properly maintained. Pfeil offers a range of tools suitable for both linocut and woodcutting, available in various sizes as individual tools or in sets. Their handles are designed in a mushroom shape to fit comfortably in the palm of your hand. Each tool is labeled with a number, indicating the curvature and blade width in millimeters, for example, 1/8. Flexcut is another excellent option known for its exceptional quality and is available in different sets, including micro tools for precise detailing and wider tools for clearing areas and larger projects.
Sharpening Tools
To ensure the woodcut tools perform effectively, it is crucial to keep them sharp. Colin Blanchard has authored a comprehensive guide on sharpening these tools. To retain their sharpness, the Flexcut slipstrop is highly recommended for tool maintenance.
Roller or Brayer
A roller or brayer made from durathene or tough rubber with a sturdy handle is used in woodcut printmaking to apply a thin layer of ink onto the wooden surface. The softness of the rollers can be measured by their shore value, with a value over 50 indicating hard rollers and a value under 50 indicating soft rollers. To achieve better coverage on uneven blocks, it is recommended to use a softer roller for woodcut. There are various options available such as Esdee soft lino rollers and Japanese soft rubber rollers, which are offered in different widths. It is suggested to select a roller that covers the entire width of the wood block, although it is advisable for beginners to start with a medium-sized roller ranging from 7 to 10cm. With proper care, the roller can last for many years. Therefore, it is essential to thoroughly clean the roller after each use.
Ink
The inks used for woodcut printmaking are called relief printing inks. Their purpose is to be rolled out uniformly and to not stick to the block, thus ensuring an even print. These inks can be classified into three main categories depending on the binder used in combination with the pigment.
Water-based Ink
Water-based inks, which are water-soluble, rely on natural binders like gum Arabic. They have the advantage of easy cleanup and quick drying, making them suitable for younger or at-home printers. Schminke aqua linoprint, an artist-quality ink, is available in a multitude of colors and three different sizes.
Water Soluble Oil-based Ink
Cranfield Caligo Safe Wash Relief Inks are a range of water washable oil-based inks that are suitable for home printing or studio use. These inks have the same vibrant colors and creamy consistency as other oil-based inks, but they can be easily cleaned with soap and water, eliminating the need for harsh solvents like white spirit or turpentine. Using these inks makes the printing process more convenient and avoids the use of toxic solvents.
Oil-based Ink
Oil based inks continue to be favored by printmakers due to their long-standing popularity and the vibrant, seamless colors they provide. To clean these inks, one can use gentler methods such as vegetable oil and newspaper or a cloth, followed by an eco-friendly solvent like Zest-it or gamsol. If the surface remains oily, a glass cleaner or multi-purpose spray can be employed. Cranfield Traditional Relief Inks offer a variety of sizes and an extensive palette of 62 colors.
Inking Slab
In order to achieve a balanced spread of ink on your roller, the first step is to roll the ink onto a smooth, non-absorbent, and even surface until it forms a thin layer. This surface can be an inking slab, a glass chopping board, or an acrylic sheet.
Printing Press or a Baren
In order to produce a woodblock print, it is necessary to apply pressure to transfer the image from the wood to the paper. This can be accomplished manually using a baren, which is a flat, circular disc with a handle. The baren is used to rub the back of the paper, which is placed face down on the inked woodblock, in order to print the image. A Japanese baren consists of a coil of string attached to a round piece of card or board, which is then wrapped in a bamboo leaf. The ends of the leaf are twisted and tied together on the back to create a handle. While the most expensive barens can cost hundreds of pounds, the cheapest ones are priced at £5-10. Although the back of a spoon can also be used, a baren is preferable because it is flatter and can cover a larger area. A spoon has a curved surface, resulting in a small point of contact, but it can be useful if you need to apply additional pressure to a specific area in your print. An alternative to traditional barens is the Speedball baren, which is made of sturdy plastic and padded with foam. Another option is the Japanese hard plastic baren, which has raised bumps on its surface.
Producing prints more consistently and efficiently is possible with a printing press, especially for large editions. The Pooki Press is a compact relief printing press that is both robust and highly portable. It has the capacity to print up to A3 size and is suitable for lino and vinyl printing as well. The Fome Manual Lino/Wood Press is another excellent beginner’s press that is easily portable. Certain etching presses can also be utilized for woodcut printmaking, provided that the cylinder can be raised to accommodate the thickness of the block being printed. If unsure, it is advisable to consult the manufacturer.
Paper
When it comes to relief printing, the choice of paper is crucial as it significantly impacts the final print outcome. It is important for the paper to possess both durability to withstand the printing process and a smooth texture to ensure even ink coverage. For test prints or experimental purposes, it is adequate to use newsprint or basic cartridge or printer paper, as long as it is not excessively textured.
European and American papers, which are used for relief printing, are characterized by their smooth texture and heavy weight. These papers are predominantly made from cotton or wood cellulose. On the other hand, Japanese papers are known for their thin and lightweight nature but are still remarkably strong. They are typically crafted from various plant fibers. For more comprehensive details, please refer to our article about printmaking papers.
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