Woodcut, which is the oldest form of printmaking, is a relief technique where tools, including knives, are employed to carve a design onto a wooden block. The ink is applied to the raised portions left after the block is cut, while the recessed areas that have been removed do not hold ink and will appear blank in the final print.
The wooden block, typically made from pear wood, is sawn along the grain and planed smooth. After this, the block is seasoned to decrease the moisture content in order to prevent warping and cracking. The size of the woodblock depends on the image, but it is ultimately restricted by the printing press size. Consequently, for a large-scale print, several blocks are cut and printed separately, and then the image is assembled. Smaller blocks have a reduced likelihood of cracking from age or pressure during the printing process. The block’s thickness is also significant for ease of use and to prevent wear; the optimal thickness is approximately one inch.
Once the woodblock is ready, there are various methods to apply the design onto its surface. One possibility is to draw the design directly on the block or to paste a sketch onto it. Another option is to transfer the design from a sheet of paper by using chalk or graphite on the back of the paper. The printmaker then places the design onto the block and traces the lines with a stylus, thus transferring the design onto the block along with the chalk or graphite.
Woodblocks are typically carved by a skilled block cutter using a chisel, gouge, or knife to meticulously remove portions of the block that will not be inked.
Woodcuts are classified as relief prints because the lines in the image are raised from the rest of the block.
The block is evenly inked by using a dauber or roller to ensure that no ink spills into the recesses.
Next, the block is placed on the bed of a press, and a dampened sheet of paper is positioned onto the inked surface of the block. Printmakers have the option to use either a platen press or a roller press. While it seems that earlier relief prints were created by manually pressing the paper against the block, using a press is preferred for a reliable ink distribution.
After being printed onto paper, the woodcut’s design is seen in a reverse form compared to the original on the block.
WOODCUT PRINTMAKING FOR BEGINNERS – WHAT YOU NEED TO GET STARTED
Woodcut printmaking is the act of carving an image on the surface of a wooden block, applying ink to it, and creating a print. It is the earliest form of relief printmaking, which involves printing from the surface of a block. Woodcut printmaking can be categorized into two distinct traditions: one in the western tradition and the other in the eastern tradition. The techniques of eastern woodcut printmaking originated in 9th Century China, while western woodcut printing emerged during the 14th Century in Germany alongside the invention of the printing press.
Essential Tools for Woodcut Printmaking
Soft Pencil and Tracing paper or Carbon Paper
Before cutting the wood, it can be helpful to draw your design onto the wood block as a reference. This will make the process of cutting the wood easier. Keep in mind that when printing, your image will appear in reverse. Therefore, for designs with important orientation like text, you can trace the image onto tracing paper from a sketch. Then, flip the tracing paper and transfer the image onto the block using carbon paper or by rubbing a soft pencil over the lines you want to transfer. This way, the pencil line can be successfully transferred onto the block.
The Woodblock
Jackson’s offers a range of woods for woodcut printmaking. They specially prepare blocks to ensure consistent printing. The wood they use, Baltic Birch plywood, is dense and has a fine grain. This allows for clean and even cutting, as long as sharp tools are used. The plywood is 9 mm thick, so it won’t split or weaken if carved at a standard depth of 2-3 mm. It comes in five sizes, ranging from 106 x 145 mm to 605 x 915 mm.
The Jackson’s Japanese Magnolia block is available in two sizes and has a thickness of 10 mm. It allows for carving on both sides, which is advantageous for those who are in the experimental phase. Compared to plywood, Magnolia is softer and smoother, making it more suitable for printing large areas of color.
The Japanese Katsura block has a thickness of 13 mm and can be carved on both sides. It possesses exceptional quality, making it suitable for intricate carving. Although originally intended for Mokuhanga, they are also compatible with water and oil-based ink.
Carving Tools
Minimizing the risk of slipping across the surface can be achieved by using good, sharp tools. To begin, a set of woodcutting tools that are simple and inexpensive is recommended. The basic Jacksons woodcut set includes five knives of varying sizes, featuring sturdy wooden handles that are easily gripped. Different blade types within the set can create various marks in the wood, such as the V shaped tool for intricate lines or the large U shaped tool for clear areas surrounding the design. Additionally, sets containing 8, 10, or 12 tools offer more options in terms of tool sizes. These sizes are denoted by the blade type and width in millimeters, for example, V-Straight Parting Chisel 6 mm. In the long run, investing in more expensive carving tools can actually be cost-effective, as high-quality tools have the potential to last a lifetime with proper care. Pfeil offers a range of tools suitable for both linocut and woodcut, available in different sizes individually or as sets. Their handles have a mushroom shape, ergonomically designed to fit comfortably in the palm of your hand. Each tool is assigned a number, such as 1/8, which corresponds to the curvature and width of the blade in millimeters. Another top-quality option is Flexcut, which offers sets in a range of sizes, from micro for fine details to wide for clearing larger areas.
Sharpening Tools
To maintain the sharpness of woodcut tools, it is crucial that they are kept sharp. An article by Colin Blanchard serves as a comprehensive guide on sharpening tools. The Flexcut slipstrop is an excellent tool for retaining sharpness in maintaining your tools.
Roller or Brayer
A roller or brayer is used in woodcut printmaking to apply a thin layer of ink onto the wood surface. These rollers are typically made from durathene or tough rubber and have a strong handle. The softness of a roller can be determined by its shore value, with a value of over 50 indicating hardness and under 50 indicating softness. For woodcut prints, it is recommended to use a softer roller for better coverage on uneven blocks. There are various options available, such as the Esdee soft lino rollers and Japanese soft rubber rollers, which come in different widths. It is suggested to choose a roller that matches the width of the wood block, although starting with a medium-sized roller (7-10cm) is a good idea. With proper care, the roller can last for many years, making it essential to thoroughly clean it after each use.
Ink
Relief printing inks used for woodcut printmaking are referred to as inks for woodcut. These inks are specifically formulated to be applied evenly and without adhering to the block, thus ensuring a uniform print. The classification of these inks is primarily based on the kind of binder employed in conjunction with the pigment.
Water-based Ink
Water-based inks, which are soluble in water, incorporate natural binders like gum Arabic. Due to their quick-drying nature, they are highly convenient for younger printers or individuals printing at home. Schminke aqua linoprint, an exemplary ink for artists, is available in a range of colors and comes in three different sizes.
Water Soluble Oil-based Ink
Cranfield Caligo Safe Wash Relief Inks are a type of water washable oil based ink. They have the same richness and smoothness as other oil based inks and can be easily cleaned up with soap and water, eliminating the need for solvents like white spirit or turpentine. This makes them a convenient option for home printing or for those who prefer to avoid harsh solvents.
Oil-based Ink
Oil-based inks remain highly favored among printmakers due to their long-standing popularity and ability to produce vibrant, seamless colors. To clean these inks, a gentle approach can be taken by utilizing vegetable oil alongside newspaper or a cloth. Subsequently, a plant-based solvent such as Zest-it or gamsol can be employed. If the surface still exhibits greasiness, a glass washer or multi-purpose spray may be used. The Cranfield Traditional Relief Inks offer a wide selection of sizes and an impressive array of 62 colors.
Inking Slab
In order to achieve a uniform spread of ink on the roller, it is necessary to first apply a thin layer of ink onto a surface that is smooth, non-absorbent, and level. This surface can be an inking slab, a glass chopping board, or an acrylic sheet prior to inking the woodblock.
Printing Press or a Baren
In order to print a woodblock, it is necessary to apply pressure to transfer the image from the wood to the paper. One way to do this is by using a baren, which is a flat round disc with a handle. The baren is used to rub the back of the paper, which is placed face down on the inked up woodblock, in order to print the image. A Japanese baren is made by backing a coil of string onto a round piece of card or board, and then wrapping it in a bamboo leaf. The ends of the bamboo leaf are twisted and tied together on the reverse side to create a handle. The cost of barens can vary, with the finest ones costing hundreds of pounds and the cheapest ones costing around £5-10. While a spoon can also be used, a baren is preferable because it is flatter and can cover a larger area. The curved shape of a spoon means it only has a small point of contact, but it can be useful if you need to apply more pressure to a specific area of your print. An alternative to the traditional baren is the Speedball baren, which is made of sturdy plastic and padded with foam. Japanese hard plastic barens with raised bumps on the surface are another alternative.
If you have a printing press, particularly a large one, it is possible to produce prints more consistently and quickly. The Pooki Press is an excellent relief printing press that is compact but sturdy enough to be easily carried. It has the capability of printing up to A3 size and is suitable for lino and vinyl printing as well. Another good option is the Fome Manual Lino/Wood Press, which is also a beginner-friendly press and can be easily moved around. In some cases, certain etching presses can be used for woodcut printmaking, but it is important to ensure that the cylinder can be elevated to accommodate the thickness of the block being printed. If you are unsure, it is advisable to consult the manufacturer for clarification.
Paper
The quality of paper can have an impact on the final result of a print. In relief printing, the paper needs to be sturdy to withstand the printing process and have a smooth surface to ensure that the ink is distributed evenly. When conducting test prints or experiments, it is adequate to use newsprint or basic cartridge or printer paper – as long as it does not have a rough texture.
European and American papers used in relief printing are typically heavy and have a smooth texture. They are commonly manufactured from cotton or wood cellulose. Conversely, Japanese papers are lightweight yet remarkably durable, often crafted from various plant fibers. For additional details, refer to our article about printmaking papers.
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