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ThatPainter
art techniques

How to Make Linocuts with Linoleum Blocks

A practical guide to making linocuts: choose tools, transfer a reversed design, carve the negative space safely, proof and ink the raised surface, print by hand or press, and plan multicolour editions.

By ThatPainter Team 5 min read
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To make a linocut, draw or transfer a design onto a linoleum block, carve away the areas that should remain the paper color, roll relief ink onto the raised surface, and press paper against it by hand or with a press. Proof the block before making an edition so you can correct weak lines, stray marks, and uneven areas.

What a linocut does

Linocut is a relief-printing process. The uncarved, raised parts of the block receive ink and print; the grooves and cleared areas do not receive ink, so they remain the paper color. Think of the block as a stamp in which you remove everything you do not want to print.

Materials and tools

  • Mounted or unmounted linoleum block
  • Linoleum carving tools or gouges: smaller profiles for detail and larger profiles for clearing broad areas
  • Relief-printing ink
  • Brayer (roller)
  • Smooth inking plate or palette
  • Graphite paper or a soft pencil for transferring the drawing
  • Scrap or butcher paper for proofs, followed by good printmaking paper for the edition
  • Bench hook or another stable, non-slip way to hold the block
  • Clean spoon, baren, or similar smooth tool if printing by hand

The Museum of Fine Arts Boston supply list specifically names RGM Linoleum Knives and the Flexcut Lino + Relief Printmaking Set as lino-cut relief-printing options. Choose tools that fit your hand and include both fine and broad gouges.

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Plan the design before cutting

Design for the final print

Draw with the positive shapes and paper-colored negative space in mind. Areas left raised will print, while areas you remove will not. Simple, high-contrast shapes are easier to cut and proof than a drawing built from delicate tonal shading.

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Reverse lettering and directional details

Anything that must read in a particular direction—lettering, numbers, arrows, or an asymmetrical profile—has to be reversed on the block. Transfer a reversed drawing or flip the original before tracing; otherwise the finished print will be backward.

Transfer the drawing to the block

  1. Place graphite paper on the block with its graphite side facing the lino.
  2. Put the drawing on top and trace every important contour with a pencil.
  3. Lift one corner without shifting the papers to check that the lines transferred.
  4. Reinforce key contours with a soft pencil if they are faint, and mark the areas to be removed before carving.

If the drawing disappears while you work, stop and re-mark the essential contours. A clear cutting map prevents accidental removal of a raised shape.

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Carve the block safely

Set up a stable work position

Secure the lino on a bench hook or non-slip surface. Keep the hand holding the block behind the gouge, never in front of its travel path.

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Use controlled cuts

Direct every cut away from your body and work slowly, especially when starting a line or changing direction. Use a larger gouge to clear broad negative areas and a smaller tool for narrow channels, edges, and detail. Lino can crumble and may not hold extremely fine lines; softer lino cuts readily, while harder lino can support finer detail but requires more force.

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Carve negative space, not the image

Leave the shapes that should print raised. Remove the surrounding negative space deeply enough that it will not pick up stray ink, but avoid carving into the raised forms you need.

Make a proof before the edition

Brush or wipe away loose crumbs, then make a first impression on scrap or butcher paper. The proof shows whether lines are too weak, unwanted marks remain, and additional clearing is needed. Keep this first proof and annotate the changes you make; it becomes a practical record for repeating the image later.

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Ink the block

  1. Squeeze a small amount of relief ink onto the smooth inking plate.
  2. Roll the brayer through it until the roller carries a thin, even film.
  3. Roll over the raised block surface in several directions, keeping ink off the carved recesses as much as possible.
  4. Inspect the block before printing. Excess ink in grooves will fill paper-colored areas and make the image muddy.

A thin, even film is more controllable than a heavy layer. If the print looks muddy, reduce the ink film and clean ink from the carved recesses before the next impression.

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Print without a press

  1. Place the paper carefully onto the inked block, taking care not to slide it.
  2. Burnish the back of the paper with a clean spoon, baren, or another smooth tool, applying steady pressure across the entire design.
  3. Peel the paper away steadily from one edge.
  4. Let the print dry flat according to the ink manufacturer’s directions.

Hand printing costs less and is suitable for beginners, but pressure and paper placement can vary. A press applies more uniform pressure and is useful when you need consistent impressions or a larger edition.

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Correct common proofing problems

  • Unwanted dark marks: Find the raised scraps that are printing and clear them during the next carving pass.
  • A line is too dark: Deepen or widen the surrounding negative space, then proof again.
  • Weak or broken lines: Check that the raised line is wide and continuous enough for the lino and your ink film.
  • Muddy open areas: Use less ink and remove ink that has collected in recesses.
  • Misplaced or incomplete transfer: Stop cutting, realign the drawing if possible, and redraw the key contours.

Print a consistent edition

  1. Continue only after the proof shows the image you want.
  2. Prepare the same paper size and placement for every impression.
  3. Apply a comparable amount of ink each time.
  4. Use the same hand-burnishing route and pressure, or keep the press settings unchanged.
  5. Allow prints to dry flat and handle them with clean, dry hands.

Consistency depends on controlling ink thickness, pressure, and registration rather than simply repeating the carving.

Make a multicolour linocut

Use separate blocks

One block can carry each colour. This preserves every colour plate, but each sheet must be aligned accurately as it passes through the blocks. Plan overlaps, margins, and registration marks before carving.

Use a reduction linocut

A reduction print uses one block: print one colour, carve away more material, print the next colour, and continue. Because each later cut removes material, the block cannot be restored for an earlier colour. This method demands a firm sequence and enough planned impressions for the entire edition.

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In either approach, make registration guides and test the colour order on proofs. Later colours cannot repair a raised area that was removed too early.

Separate blocks or reduction: which fits?

Method What happens Main advantage Main constraint
Separate blocks Each colour has its own carved plate Colour plates remain available for future prints Every colour requires careful registration
Reduction One block is progressively carved after each colour One block can create a layered colour image Later cuts permanently remove the earlier plate

Hand printing or press printing?

Option Best for Trade-off
Hand rubbing Beginners, low-cost setups, and small prints Pressure and registration can vary between impressions
Printing press More uniform pressure and repeatable editions Requires access to suitable equipment and setup

Clean up and store the work

Follow the ink manufacturer’s cleaning directions. Wipe the block, brayer, plate, and tools promptly so ink does not harden in grooves or on roller surfaces. Let prints dry flat, and store the carved block so its raised edges are not crushed or scratched.

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