11 Basic Linocut Tools and Supplies
Welcome to my world of linoleum block carving and printing! For nearly three decades, I've been immersed in the art of carving designs onto linoleum blocks and bringing them to life through printing. Along the way, I've discovered some essential supplies that have become indispensable to my creative process. Whether you're just starting out or have been printing for a while, I'm excited to share a few of these supplies with you—some you may have never considered before!
I have provided useful links to order some of the products online (some are affiliate links where I may receive a small commission). But please also take advantage of your local independent art supply store as well!
1. CARVING TOOLS
· I swear by Flexcut tools for my linoleum block carving needs. Not only do they fit perfectly into the palm of my hand, but their durability and precision make them a worthwhile investment. While they may come with a higher price tag, their longevity and performance more than justify the cost. For those just starting out, I highly recommend beginning with the Mini-Palm Set—it's versatile and beginner-friendly. As you gain experience, you can explore additional shapes and sizes to expand your toolkit. You can easily find Flexcut tools on popular sites like Amazon, Dick Blick, and directly from the Flexcut website.
2. POLISHING STROP
· I can't carve without my trusty honing block from Flexcut—it's a game-changer! Positioned right on my worktable, it's always within reach for a quick blade touch-up whenever I need it. What I love most is its versatility: with various profiles to match different blade curves and points, it ensures my tools are always razor-sharp. Whether I'm working on intricate details or broader strokes, this honing block has my back. You'll find it available on popular sites like Amazon, Dick Blick, and Flexcut's own store.
3. PRINTING BLOCKS
Choosing the right material for linoleum block carving is crucial, and I often switch between Dick Blick's mounted battleship gray linoleum and Speedball's Speedy-Cut blocks depending on the project at hand. The traditional battleship grey linoleum boasts a harder surface, making it ideal for carving intricate details and achieving crisp prints on a press. On the other hand, Speedy-Cut blocks offer a softer texture that's easy to carve and are a top choice for hand printing. Personally, I love the precision I get with battleship grey linoleum for my detailed work, while Speedy-Cut blocks are my go-to for more experimental, hand-printed pieces. You can easily find both options available for purchase here: Battleship grey linoleum, Speedy-Cut Blocks.
4. INK
· For over two decades, Speedball's oil-based block printing ink has been my go-to choice for all my linocut printing projects. While it typically comes in small, 1.2 oz tubes, you can also find it in larger tubes or cans on occasion. Aside from its smooth, creamy consistency, which ensures consistently beautiful prints, I've found that its oil-based formula offers unparalleled versatility. Unlike water-soluble inks, the oil-based variety allows me to hand-paint my prints later on or seamlessly incorporate them into my mixed media artworks through collaging. You can easily get your hands on this ink through retailers like Dick Blick or Amazon.
5. PAPER
I When it comes to linocut printing, choosing the right paper is essential to achieving the desired outcome. I like to mix it up depending on whether I'm printing by hand or using a press. For hand-printing, nothing beats the delicate yet durable texture of Yasutomo Kozo Paper. Made from fibers sourced from the mulberry plant, it adds a unique depth to my prints. On the other hand, when I'm using a press, I opt for heavier paper like Stonehenge or Coventry Rag. Stonehenge even offers convenient small pads in various sizes, eliminating the need for cutting or tearing. Whether you're looking for full sheets or small pads, Stonehenge Paper has you covered here. And for the exquisite texture of mulberry paper, check out the mulberry paper pads here .
6. GLASS INKING PLATE
· It’s important to have a suitable, dedicated surface for rolling out and mixing your inks. Instead of purchasing inking plates, I prefer to make my own version. I begin with a sturdy sheet of glass, often sourced from repurposed materials. Next, I trace the outline of the glass onto a sheet of white foam core board and carefully cut it out to match the size of the glass. Placing the glass on top of the foam board, I secure the layers together by wrapping the edges with duct tape, hiding any sharp edges.
This DIY inking plate serves not only as a reliable palette for rolling out ink but also doubles as a painting palette (though I maintain separate palettes for painting and inking). The white surface of the foam board offers an ideal backdrop for seeing the ink color as clearly as possible.
7. BAREN
Once you've rolled the ink onto your linoleum block using a brayer and positioned the paper over it, the next step is crucial: applying pressure to ensure a clean transfer of the ink. While various household items like wooden spoons or rice paddles can do the job, the traditional tool for this purpose is a baren.
Traditional printmaking barens typically feature cushioned layers of bamboo bark. However, I prefer using a newer style of baren with a wood handle and a cushioned smooth synthetic screen surface. This modern variation glides effortlessly over the paper's surface, providing an even and consistent pressure for optimal ink transfer. You can find this barren here. Also, take a look at the traditional bamboo baren here.
8. TRACING PAPER
Every artist has their unique method for transferring images onto their linoleum block before carving, and for me, tracing paper is an indispensable tool in this process. I start by drawing my image on the tracing paper with a soft graphite pencil, then carefully flip it face down onto the block. With light pressure, I trace over the image using an old ballpoint pen, effectively transferring the outlines onto the linoleum surface. Or, if I’m printing on the softer, synthetic linoleum, I can just burnish the back of the tracing paper with a spoon to transfer the image. (This method doesn’t work quite as well on the battleship gray linoleum).
In my studio, I always keep both rolls and pads of tracing paper on hand, ensuring I'm prepared for projects of any size.
For those looking to stock up on tracing paper for their own projects, I recommend checking out Dick Blick or Amazon, where you can find a variety of options to suit your needs.
9. SHARPIE
After transferring my image to the block, I've found it incredibly useful to outline the design with a Sharpie marker. This straightforward step ensures that the lines are visible and crisp as I begin the carving process. You can order some Sharpies here.
10. BRAYER
I have always relied on Speedball's classic soft rubber brayers to roll ink evenly onto the surface of my linoleum blocks. The weight and ergonomic shape of the handle make them super easy to use. With a variety of sizes available, I suggest keeping several on hand to suit the unique needs of each project. You can find them here on Amazon and here on Dick Blick.
11. BABY OIL OR MINERAL SPIRITS
I've developed a routine for cleaning up after my printmaking sessions, especially since I prefer using oil-based ink. When teaching workshops or working in public spaces, where fumes are a concern, I rely on baby oil for its effectiveness and odorless nature. However, in my personal studio, efficiency is key, so I opt for low-odor mineral spirits despite their environmental impact. I've found that this choice streamlines the cleanup process, leaving my blocks and brayers free of any greasy residue.
These are the most essential tools and supplies in my print studio. In future posts I will take a deeper dive into the entire process.