Above: Bartolomeo Coriolano. A sleeping cupid. 1630-45. Woodcut
The first crude woodcuts appeared in Europe by 1400. Given the difficulties of carving out the wood between the lines to be printed, and the danger that lines that were too thin would break under pressure, early woodcuts consisted mainly of thick outlines with minimal shading. Resembling coloring books in their design, they were meant to be colored by hand or with stencils. Many early woodcuts served as illustrations for the new printed books, and the demands of book illustration caused the medium to become more sophisticated and its subject matter more varied. It was the brilliant German artist Albrecht Dürer who transformed the medium with woodcuts like Samson Rending the Lion, such fully realized works in black and white, complete with subtle gradations of tone and suggestions of texture, that Durer’s contemporary, Erasmus of Rotterdam, claimed that to add color would be to “injure the work.”
RESOURCES
RESOURCES
- Printmaking Essentials: Carve and Print Your Own Woodblock – crafts.tutsplus.com
- Woodcut – Letterpress Commons
WOOD TYPES
The variety of wood you carve will have a strong effect on the final print. Here are some options, ranging from what you can find at the hardware store versus a supplier that carries wood for carving. WOOD DATABASE WEBSITE Specialty Woods – available at McClain's Printmaking Supplies
NEVER CARVE ON PRESSURE TREATED WOOD! SURFACE PREPARATION
STORAGE
Wood is a natural material. It will absorb moisture and/or dry out. As it expands and contracts and will distort its shape. Store the substrate that you are using for woodcuts in a controlled environment, away from high heat and moisture. If you want a piece of wood to stay flat, store it flat. |
Selecting Wood for Relief Printing – Jim Hingst
There is a wide range of soft wood, hardwood, plywood and medium density fiberboard panels suitable for woodblock relief printing. The ancient Japanese used dried cherry wood planks for their prints. In 15th century Europe, printers, such as Albrecht Dürer, used pear for their woodcuts. Both cherry and pear are hardwoods, which hold fine lines when carved, and maintain their detail after repeated printings. Other hardwoods can also be used. These include maple, birch, beech, walnut. Soft woods, such as basswood, pine and poplar, can also be used for relief printing. The drawback in using these softer materials is that they are generally not capable of holding fine detail and not durable enough to withstand the rigors of repeated use. Some of the softer woods are also prone to splintering as you are carving. In a pinch, though, they are more reasonably priced and readily available. Supplies of pine are abundant. Be aware that there are many species of pine, each with its own unique properties. While a rose is a rose is a rose, it’s not that way with pine. Among woodcarvers, sugar pine is well regarded. It is a soft, lightweight wood that is known for its dimensional stability and workability. It is a good wood for carving, because it has a straight grain. Other types of pine can give you fits. With some species of pine, the wood is prone to shrinking, warping and twisting. |
CARVING + MARK
MAKING TOOLS There are a variety of tools at your disposal to carve and gouge the wood. TRADITIONAL HAND TOOLS
POWER TOOLS
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DIY HOMEMADE TOOLS
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SAFE CARVING PRACTICES
ALWAYS KEEP YOUR BLOCK STABLE WHILE CARVING There are several ways to stabilize your block during carving. Some like to use a bench hook, while others prefer to use anti-skid mats (the type that are used underneath carpets or inside kitchen drawers). RESOURCES |
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TOOL MAINTENANCE
You rarely need to use their sharpening stones if you hone your carving tools on leather, with both consistency and care. Products
Sharpening Without Tools Instructions (PDF/McClain's) Other Options
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IMAGE TRANSFER
There are a lot of ways to get your image ontp the block, or matrix. Learn how to transfer and choose the process that works best for you!
RESOURCES Remember to use a permanent marker to "trace over" the transferred drawing. You must trace the image on the block before you begin carving! |
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Toner Transfer
The toner transfer method is technically complicated, but yields very great results— which is important if the image has a high level of detail. This technique requires the use of a heated transfer tool, a photocopy, and mineral spirits. The image should be transferred before the wood surface is sealed with varnish and then the surface should only be sealed with a waterborne acrylic. Shellac may loosen the transferred toner and blur the image. This method should only be used in a properly ventilated and fire safe environment. The transfer tool is hot enough to cause severe burns and must be kept under observation during use. Mineral spirits are flammable and should be stored and applied in an area away from where the transfer tool is to be used for the procedure. |
Materials needed
- Heat transfer tool not greater than 18w capacity. These are available widely in stores selling wood carving tools and most craft stores. Higher wattage tools will scorch the wood immediately and cannot be used.
- Odorless Mineral Spirits
- Photocopy made on a non-fusing oil or dry toner type copier of the ‘right reading’ and properly sized image for the intended block. The fresher the copy the easier the toner will transfer.
INKS
Water-based means the main ingredient is water and does not mean it is water-soluble, especially after it dries. Water-soluble means it will dissolve in water. Water-soluble, oil-based ink suggestions:
Ink Modifiers and Additives When mixing shades of ink, you have the choice to dilute the color with either Opaque White ink or an Extender. Both of these give us different results so which should we choose? Other Modifiers and Ink Additives
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BRAYERS + ROLLERS
Brayers and rollers are used to apply ink to the surface of a matrix. A brayer has a single handle and is used for smaller sized blocks. A roller has two grips, or handles, and is used on larger sized blocks. Both come in many different widths, compositions and hardnesses. Hard vs. Soft It is best to avoid hard rollers. They will only ink the topmost surface of the block. Soft rollers will apply ink to with greater ease to the block, but this softness can lead to over-inking as well. Entry Level Brayers: Professional Quality Brayers:
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PAPER
Common papers used by for relief printing are:
Gampi – Any gampi papers are ideal because their smooth surface has the ability to show very fine detail. The Chinese characters for gampi literally translates as “goose skin”. This paper is sometimes referred to as “silk tissue”. (About Gampi from Japan)
Kozo – Kozo papers with a crisp, smooth surface work very well.
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REGISTRATION
There are lots of different registration systems that will help you keep you printed layers in alignment. They include: RESOURCES
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CLEAN UP
When you are not using oil based inks, clean-up is much easier – and safer for the environment!
AT HOME, AVOID USING SOLVENTS FOR CLEAN UP! A GREAT ALTERNATIVE IS VEGETABLE OIL. A LITTLE GOES A LONG WAY, SO USE SPARINGLY! |
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CARVED OBJECTS
Not all wood is flat! You can carve any wooden surface, if the wood is soft enough.
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CHECK OUT ALL THE WAYS YOU CAN PRINT WITHOUT A PRESS! |
References (still in progress)