robert farber

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ReliefPrinting (LinoleumIWoodcut): Reduction Block Printing

Recommended Reading: Part I, Relief: pp 7-86, Printmaking: History and Process, Donald Saff/Deli Sacilotto,

1978 by Holt, Rinehart and Winston inc. ISBN-O-o3-085663-9

Block Preparation:

Linoleum: If you will be using linoleum it is recommended that you lightly sand your block with 400 grit

sandpaper. This will remove any small imperfections and aid in printing flat smooth areas in the block.

Woodcut: If you are doing a woodcut we recommend birch plywood. Virtually and wood surface is

acceptable. Most commonly used woods are #2 pine, plywood or poplar. After you complete cutling the

block, apply a few thin coats of polyurethane to the surface. This will ensure that ink does not soak into the

block and aid in cleaning the block when printing is conclUded.

Drawing: When conceiving of your drawing for your relief print it is important to "see" the Image initially as a

bold black image..You need to develop a "key" Image or block that contains most of the detailed imormation

in the drawing. This key block, when cut and printed, will pUll the entire image together and unify the print.

You will also need to do a drawing for each color you are attempting to print. These color drawings are

derived from the key image and transferred onto a separate block. You should work these drawings out

using a transparent paper like tracing paper and actually draw or paint them in the color you intend to use.

By completing this type of transparent drawing you will ,be able to visually see how the colors will Interact

with each other.

Sharpie markers, permanent markers and color markers are helpful when creating your drawings. You also

have the option of working directly on the block Itself with these materials.

Transferring a Drawing: To transfer an original drawing to the block It must first be made to the scale of the

block. Then it piece of red iron oxide transfer paper is laid face down onto the block. Tape the transfer

paper to the table. Next place the drawing on top of the red iron oxide paper and tape it down as well.

Begin to gently trace over the drawing. Check your progress occasionally by lifting the red iron oxide sheet.

Red Iron Oxide Transfer Sheet: Place a piece of newsprint down on the table in the back room.

Place a second sheet of newsprint or transparent tracing paper on top of the original piece.

Wearing plastic gloves apply a thin coating of red iron oxide on the sheet of paper. Slightly dampen the

cotton cloth with alcohol or lacquer thinner and work in a circular motion until the sheet appears slightly

reddish in tone. Work near a vent and avoid breathing any fumes.

You only need a small amount of solvent and a small amount of red iron oxide to make this sheet work as a

transfer paper. Put any excess red iron oxide back in the white plastic container located in the cupboard

above the sink in the backroom. Save your transfer sheet. It can be used several times.

Cutting the Block: It is very difficult to replace areas of the block that have been previously cut away.

Therefore, you should undercut the block and pull an occasional proof to see how much material and

information you are actually removing. Make sure you cut enough information in your image before you take

your first proof. Begin your cutting once you have used the straight knife blade on either side of most of the

lines in your drawing. Using various gouges begin to remove material thaUs unwanted In the image.

When cutting linoleum, it is only necessary to remove enough material to permit the raised areas In the block

to be printed freely. Do no cut all the way to the burlap backing.

Registration: For the most part you will be using an "L" shaped piece of matt board that corresponds to the

exact size of the border you will be having in your print (i.e. 1",2" or 3" etc.). Once the block is inked, insert

it into the right-angled registration board. Take care to make sure that you fit the block into the board at the

exact same corner every time. Place a piece of mylar or newsprint on top of the print paper and begin to

gently rub the print in circular motion. The amount of pressure applied and the closeness of the circular

motions will vary depending on your expertise and aesthetic concems. You may occasionally lift a comer of

the print to check your progress and assess the value. Be careful that the paper does not move. By doing

this you should have good registration each time you print or proof.

Relief Ink Preparation: Make sure that you are using relief or.block printing Inks. These inks are

manufactured specifically for relief printing and are somewhat stiffer In nature. The most common mistakes

made when printing relief prints is OVERINKING or using very loose Inks. Using a stiffer ink that reqUires

more passes, (rolls), will help you keep the detail in your Image.

You can use a small amount of #3 Burnt Plate Oil if the ink is too stiff. A #3 Litho Varnish can also be used

 to loosen the Ink. If the ink becomes too loose, " looses its tack", then add a small amount of magnesium

carbonate powder to the ink until the Ink has a shorter tack.

Printing the Block: You have the option of using the Intaglio press to print or you may print by hand.

hand-prlntlng allows for greater control and breadth of tones and variations In color.

Hand Printing: You will need a large wooden salad or cooking spoon. Once the block is

inked place the block in the "LH shaped registration board and place the print paper carefully in the comer.

Place a piece of mylar or newsprint on top of the print paper and begin to gently rub the print In circular motion.

The amount of pressure appl~ and the closeness of the circular motions will vary depending on your expertise and

aesthetic concems. You may occasionally lift a corner of the print to check your progress and assess the

value. Be careful that the paper does not move. You may also use a too called a baren to print your prints.

The baren is a traditional Japanese woodcut tool that was created expressly for the printing of Japanese

woodcuts.

Printing on the Press: If you decide to use the Intaglio press, we have found that you will get better results

by placing the block upside down on the printing paper. First, Ink the block. Rule a small line on the print

paper that corresponds to the block. Carefully place the block on top of the paper. You do not need blankest

to print on the press in this upside down method. Make sure that the pressure is set well before

you begin to print and make a notation of the pressure setting you use on the back of the block.

Printing on the press may be easler, but it Is fraught with problems from registration to pressure settings and

over inking. Be careful if you use the press to print