Sandy Allison - Block Printing: Techniques for Linoleum and Wood
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- Book:Block Printing: Techniques for Linoleum and Wood
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- Publisher:Stackpole Books
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- Year:2011
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Block Printing: Techniques for Linoleum and Wood: summary, description and annotation
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Detailed, illustrated instructions for selecting tools, paper, and ink; carving both linoleum and wood; and printing by hand in one color or more to achieve professional results.
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instruction and art by Robert Craig
photographs by Alan Wycheck STACKPOLE
BOOKS
This book covers the basics of working with both linoleum and wood. It starts with selecting sketches that would work well as block prints and demonstrates an easy way to transfer sketches to the surface of a block. It covers carving tools and the proper ways to carve linoleum then moves on to inking techniques. Printing by hand and pulling a print are covered in detail, as are editioning and registration and clean-up techniques. Selecting wood and the tools and techniques for carving it are also described, as is a way to make multicolored reduction prints. The book also describes the different types of paper suitable for printmaking.
It ends with a gallery of finished prints that include notations by the artist, printmaker Robert Craig. Getting started block printing is easy, and the materials and tools are readily available. As with any craft, its best to start small at first then tackle larger and more complex projects. This book will cover everything you need to know to make original and practical works of art.
an Image
It can hold fairly fine detail. Linoleum blocks are often gray (so-called battleship gray) or tan. The white material shown here is printing foamvery easy to cut with a pencil or skewer and inexpensive, it is good for practice or younger artists. 
Linoleum blocks come in a variety of standard square or rectangular sizes: 4 by 5 inches, 5 by 7, 8 by 10, and 9 by 12 are most common. If you want to make a print thats not a standard size, its a simple matter to cut down a standard linoleum block using a handsaw or table saw. Battleship gray linoleum also comes unmounted in square or rectangular pieces or rolls.
The advantage to buying this form is that its slightly cheaper and more easily cut down. Unmounted linoleum is almost always mounted before carving, however, by gluing it to a plywood block using a heavy-duty adhesive.
Block printing linoleum also comes in a gold-cut variety. Block printing linoleum also comes in a gold-cut variety. This material is slightly softer than battleship gray and a touch easier to cut. Like the gray, it has no grain. Alternative block-cutting products are also available; many of these are even softer than gold-cut but cant be worked to show fine detail. 
A comparison of sketches and finished prints helps show the range of subjects that can be rendered as prints, and how sketches are altered during carving. Note how this stand of trees in the snow was sketched so it could be reproduced as a block print. The shadows and background trees are solid black with highlights cut out to indicate texture.
The places where the branches cross in front of other branches and the sky are solid black so they dont disappear. When you work up a sketch for a print, think carefully how each element will be rendered in a print. 
Almost any sketched image can be made into a block print, but all will require at least some abstraction to be rendered successfully. This pencil drawing of a juniper tree features a simplified branching pattern, clumps of foliage instead of individual leaves, and the suggestion of a darkening sky around the clouds. The sketch must be rendered in black and white (if not literally, at least metaphorically); you must decide for every stroke, line, dot, or segment whether it will print or nottheres no in-between. If its going to print, it must not be cut away.
If its cut away, it will not print. 
Even though its printed in two colors, this industrial scene was abstracted before it could be suitably rendered in ink. The shadows on the buildings and the stormy clouds are represented by carved bands of varying widths. The trees are solid with carved streaks indicating branches and leaves. The large pipe was left solid where it crosses the sky and cut away where it crosses the background trees. 
Tracing paper is used to transfer a pencil sketch to the surface of a linoleum block. (An alternate method described on page 10 uses carbon paper). (An alternate method described on page 10 uses carbon paper).
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