Linocut printing
What is linocut in a nutshell? It’s a printmaking technique: you chisel or gouge your design onto lino, ink it and print it onto paper. The uncarved areas are what show up on the page.
How did you discover linocut? I discovered it in high school. I think it’s one of those mediums that all art teachers get young students to play with. When I took printmaking as an elective at uni, I started experimenting a little more. Then when I worked at Penguin as a book designer, I made a cover for Dee Nolan’s A Food Lover’s Pilgrimage to France and really started to enjoy the whole process.
Why do you love the medium? I enjoy the restrictions. You only have to think about the design, carving and printing. At the time I started working with linoleum, I was struggling with oil and gouache. With those mediums, you have to think about the design, colours, tone and technique. I felt like I couldn’t express what I wanted and was so frustrated. Using only black ink on linoleum allows you to have a certain freedom. It’s a challenging medium, which keeps it interesting – if you accidentally carve something away, that’s it! Your block is ruined!
What materials and equipment do you use? Paper for drawing, transfer sheets, gouging tools, a mirror, silk cut lino, printing ink, a roller, cheap proofing paper, and a baren or print press. There’s also marble or glass (to roll the ink out and transfer it to the lino), and printmaking paper.
Tell us about your process. I draw up my ideas as thumbnails first, then I sketch my design on thin paper to the size I want the linocut to be. During this process, I use a mirror and continually reflect the image to make sure it looks correct, as it’s printed in reverse. I place the drawing over transfer paper on top of the lino block and use a ballpoint pen to get a sharp, clear line on the block. From here, I use a Sharpie and a white Posca pen to make further corrections. Now it’s ready to cut. I download a good podcast series or audiobook while I cut the lino. Once it’s cut and ready to print, I use a stiff brush to get rid of any loose lino dust and grit. I cut my paper down to size, ink up the roller and press. I look at the pressed image and, usually, self-loathing ensues. Sometimes, if I’ve really fucked up an area, I’ll cut that part out and jigsaw a refined piece to the block. After that’s all done, I start a new drawing and begin again, trying to make the next one a little stronger.
Where do you find inspiration for your designs? I love peoplewatching and going to produce markets. Restaurant table settings are also super-exciting to me. I visit museums in Italy (I love ancient Etruscan and Roman art). Also, vintage cookbooks – I have a big collection.
How common is linocut printmaking these days? There is a large community of printmakers out there! David Frazer in Victoria does some incredible work.
What are some of your goals? I’d love to keep exhibiting my work at galleries until I die, and to have an exhibition in Europe one day. I’ve also picked up painting again, so I’d love to keep exploring and growing with my oils.
See more from Allie at alliewebb.com.au or on Instagram at @alliewebb.