Linoleum for letterpress: Which kind?
I’m planning to print a large, fairly simple design using a linoleum cut. I’ve used Battleship Gray in the past, but I’m thinking of trying the Golden-Cut. The Dick Blick catalog says that “Golden-Cut offers all of the benefits of Battleship Gray, with an easier-to-cut surface,” so I’m wondering why anyone would choose the Battleship Gray. The description of Battleship Gray says that it “maintains fine edges when printing,” which of course I want. For the Golden-Cut, it says “provides a sharp, clear print with a minimum of crumble” (of course I don’t want any crumble at all). I’ll be printing about 50 copies on a Vandercook with a slightly more than kiss impression.
Barbara
Barbara,
I’ve used both Gray and Golden, for prints large and small, and found not much difference in their print-ability. I think the gold crumbles just a bit more if you carve it cold. I always heat mine under a lamp (or the sun, when it’s out) for smooth strokes.
Hope that helps!
Kelly
Thanks, Kelly. So, the crumbling happens when you carve it, not on the press?
Barbara
McClain’s sells this linoleum made especially for printmaking. I have been meaning to try it.
http://www.imcclains.com/catalog/blocks/linocut.html
They will send you a free sample if you ask.
Barbara,
Yes—it’s just in the carving. I haven’t had any trouble with flaking or crumbling while on the press.
I had a student bring in the McClain’s lino that mchiplis links to—it carved well, but being 5/8” required much more shimming that the standard mounted blocks. Also, the lino is slightly smaller than the MDF, which made for some interesting calculations trying to get it to register on a pre-cut sheet on the Vandercook.
Kelly
If the cutting tool is sharp there is no crumbling problem with the Golden. If the cutting tool is sharp there’s little resistance with the Gray. Sharpening a Speedball linocut tool or a palm veiner gouge takes a little patience. They’re nearly never right directly out of the box. Don’t forget to both remove the inside burr as well as giving the tool a very slight inside bevel. Check out Chris Pye’s instructions for sharpening an out cannel gouge.
Calvert
Thanks Kelly, mchiplis, and Calvert for the very helpful information. I checked out Chris Pye’s sharpening instructions — is it the two-hour DVD that you were referring to, Calvert? If so I think I need to convert to one of those religions where you get more lives. I’ve had very little experience with carving things, and like any other craft it’s a whole new world. I can’t think of any other way to achieve what I want at a reasonable cost. It’s a background pattern for a largish broadside, in the 11 x 17 range. I don’t have a photopolymer or honeycomb base that big, and even if I did the plates would be pretty pricey at that size.
Barbara
Have you considered screenprinting the pattern? I imagine it would take less work than carving lino, depending on the pattern offcourse. =)
-Kim
Hi Kim,
I hadn’t considered screenprinting, but I did think about some sort of pochoir or stenciling technique, which I guess is related. I still may go that route. Thanks for reminding me of it!
Barbara
Barbara,
Casey McGarr has a really neat youtube video on linoleum carving/printing that he probably wouldn’t mind me plugging:
http://www.youtube.com/watch?v=xh6sgedq1HA
I found it very informative and I’m planning on doing similar work in the near future. I have a 12x18 C&P and no Vandercook.
Barbara…
I was thinking of his book.
—Woodcarving Tools, Materials, and Equipment (GMC Publications, 1995. Revised and Expanded, in two volumes, 2002) A used copy of the first ed. should be cheap.
Casey McGarr’s carving technique is good for getting blood on your block. Use a bench hook instead. And don’t park your hand down-range from your cutting tool.
Calvert