Linocut
It
is not known who first used linoleum as
an alternative to wood for relief printmaking.
Lino
itself, a mixture of ground cork and linseed
oil with a canvas backing, was patented
as early as 1860 as floor covering. A Czech,
Franz Cizek, professor in Vienna, encouraged
his students to make linocuts in the early
years of the 20th century and its cheapness
and comparable ease of handling has led
to its extensive use in schools; along
with potato cuts (also a relief method)
it is most school children’s first
introduction to printmaking.
Though
impressions of linocuts can look very similar
to woodcuts, there is generally a distinctive
slightly raised inky edge defining the
printed areas, which is not present in
woodcut or wood engraving. As
lino is manufactured in large sheets it
allows relief prints from a single block
on a previously unprecedented scale. Picasso
in particular exploited the possibilities
of large sheets of lino.
The
soft flakey surface does not lend itself
to fine detail but is ideal for bold designs
with strong contrasts and large unworked
areas. This makes it particularly suited
to colour printing, with which the technique
is largely identified. However
a few isolated artists also made the occasional
striking monochrome (single block) image.
See
also the page dedicated to Colour
linocut |
