Tool Tour

What goes in to making a linocut? Here’s a quick overview of the main tools used in the printmaking process.

Cutters

The main tool any printmaker needs is a cutter (also known as a gouge or burin). Cutters are available for every price range, from budget options with interchangeable heads (which are still excellent to use!) to high-end precision tools. Cutters are usually available in both ‘V’ and ‘U’ shapes, with the steepness of the angle varying the width of the line they will carve. I usually favour a small ‘V’ tool for fine detail, with the pointy edge being perfect for tiny lines. I keep my tools sharp with a polishing cloth that I place around a wooden former in the shape of the cutter blade, which provides a smooth, shiny surface to help the tool glide through the lino.

Lino Plates

Just as there are many options for cutters, so there are many options for lino plates and blocks too, varying from rubbery soft cut to the hard grey traditional lino. For my prints I use a softcut lino produced by Essdee, which is firmer than other soft linos but not as tough as the grey lino. I prefer this type as, again, it helps with fine detail, and suits my working practice. It is also incredible durable, and will last for multiple printing sessions, whereas I find the very soft and grey linos can degrade over time. Grey lino is also harder to clean, as excess water will cause the block to warp. Trial and error is the best way to discover which lino works best for you, as it can vary depending on what you’re making, the tools you use to carve, and the inking and printing process.

Ink

Ink is usually available in both water-based and and oil-based options. Water-based inks are perfect for when you need quick drying times, as your print will be dry within a few hours, whereas oil-based will need a few days (or even weeks!) depending on the temperature, any additives you have mixed in to the ink, or the thickness of the ink layer.

Paper

Paper is a favourite subject for printmakers, from whether you prefer a smooth or soft surface to the best GSM (grams per square metre)! In my experience smooth paper between 100 and 200 gsm is perfect for handprinting (without using a press), but if you are using a press higher gsm paper will also work. Handmade papers, such as lokta and washi, are also ideal for printmaking, their strong fibres meaning that despite their often low gsm they can withstand the printmaking process perfectly. Their natural textures also add another layer of interest for your prints.

Barens and Brayers

Despite their similar name, these two items do very different jobs (although a brayer can be used as a baren, but not the other way around!). A brayer is a roller used for inking a block, and they are usually made of smooth, hard rubber. They come in various sizes too, from small ones for tiny blocks or areas of detail, to massive ones for bigger blocks. A baren in used to apply pressure to the paper during the print transfer process when handprinting. Almost anything can be used as a baren, including wooden spoons (a favourite printmaker’s tool!) although purpose made ones can also be bought. A brayer can also be used to apply pressure, but make sure it’s clean first!