Lino printing is a relief printmaking process in which linoleum is carved into, inked up and pressed. This particular printmaking process is considered to be one of the most satisfying and reward winning methods given the nature of the linoleum.
Relief printing is a generic term describing the process of printing from a raised surface where the white/bare areas of the composition have been cut away. Water-based ink is rolled over the raised areas and the image is transferred to paper. Traditionally the matrix is wood or linoleum.
Both hand tools and power tools are used to cut the image to be printed (power tools would not be necessary in carving linoleum) .The image is raised above the surface of the plate. Excess block material is cut away, leaving the raised image. After the image is inked, paper is placed over the inked surface and rubbed by hand or passed through a press to transfer ink from block to paper to create the image. If the plate is of a larger scale, passing the print through the press a number of times alongside using a baren, hands or a clean roller to rub the back of the matrix can assist in picking up the ink. When linoleum is used, it is generally mounted on a block of wood for stability, but this is not a necessity but rather an assurance. Linoleum is soft and easily carved with knives or gouges. The fragility of linoleum makes large editions problematic, due to linoleum tearing from the excessive number of abrasions cut through it, so mounting over a block of wood is sensible to do so when working on a larger scale.
Methodology -
> The first step in this method is designing or replicating a chosen design to print. You can choose to do this directly onto the linoleum or over paper. If you are concerned about making mistakes I would recommend working on paper first, allowing room for mistakes.
> If you have drawn over paper first, using chalk or graphite paper, place onto the back of your design to transfer over to the linoleum. The chalk can be white or black, though I would recommend white if you're working over a darker linoleum block, allowing you to navigate the lines easily. This process if referred to as the carbon print method, a reliable source in planning your design and transferring it over; as well as offering a reciprocated/ negative version of the initial design, allowing you to see what the print may look like as a final print.
> Colour the parts of the print you intend to be raised. Colouring these parts will allow you to stay in control of where to cut over the carving process and eliminates confusion.
> Begin carving into the linoleum, carve away from the second hand as to avoid injury. Try not to go too deep with each gauge as you may tear the linoleum. Repeat the process in one or multiple sessions until complete.
> Lay down the plate ready for inking and select the desired colour. If you wish to create a gradient, lay down two inks near one another, leaving about 10cm between the two. This may vary depending on the scale of the matrix and the roller needed. If this is an a4 plate I would suggest a 10cm gap between the inks.
> Using a roller which is at least 1-2 sizes bigger in width to the length of the plate, begin rolling into the ink. You will notice the space between each ink beginning to shorten and blend together. The space is left as a clear area in which the inks can mix without being too much and resulting in a 'claggy' texture. Remember to rotate the roller so that all areas of the surface are covered in ink, be careful not to flip the roller to the reciprocal side as this will cause both colours to be lost.
> Once you feel the colours have been rendered well begin applying to the plate, filing upwards in large stokes. Go over any areas of the plate which have retracted the ink.
> After inking the plate head over to the printing press and place onto the platform. If you're doing this from home like I have, use any flat surface to secure your plate, facing upwards towards you.
> The paper you use for printing should be a size bigger than the design ie. a5 design results in an a4 paper and so on.
> Gently secure your paper on top of the plate, use grips, paper fingers or your own (washed prior) to manage two of the papers corners adjacent from one another; this stops ink from transferring over clean paper and ruining your border. Take your time with this process and make sure your print is directly in the middle of the paper, providing your design with a paper border adding an air of professionalism.
> Lower down the press or use a baren, your hands or a dry roller to rub and press the back of the paper. If you find your hands aren't working well, use the base of a glass or something flat and weighted to press and rub the backing. You can check the progress of your print by holding the plate in place and gently peeling back a corner. Go over areas you notice to be sparse with ink by rubbing the perimeter of that area.
> Slowly peel back the paper, having one hand securing the plate as to hinder it from moving and see your print.
> Place your print over a drying rack or in my case the spear bedroom floor over a tarp sheet. The printing ink will take about 3 days to dry, I suggest not touching the print until at least 5 days since the process as to not disrupt the drying or the design.
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