The art of linocut
For centuries, artists the world over have been making prints by cutting an image into natural materials such as wood and stone. Linocutting uses a technique similar to the Japanese woodcut, but instead of wood, the printing block is linoleum (made from linseed oil and rubber, with a hessian backing). Being softer and more pliable than wood, it offers the artist greater control during the cutting process.
The image is carved from a lino block using special tools with varying sized blades depending upon the depth and thickness of line required. The artist must work in 'negative' and also `mirror image' view - the carved areas will be white and the areas of untouched lino will be coloured (usually black) on the print
Once carved, the surface of the block is inked using a soft rubber roller, then a sheet of handmade Japanese paper is laid carefully on top. The paper is rubbed with a `barren' (palm leaf-covered disc) so that the ink is transferred evenly to the paper and a positive image is produced. The print is allowed to dry before handcolouring can begin, using conventional sable brushes and acrylic gouache or watercolour paint.
The first coloured print produced is usually filed as a `master proof' for future reference as not all the prints for an edition are printed and painted at this stage. No two prints are identical, subtle variations in the colour mixes and application results in each print being uniquely individual.
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