This tutorial introduces the basics of linocut printing and shows how to carve and print your own linocut designs.
Background and History
Linocut printing emerged in the early twentieth century as artists began experimenting with linoleum, a flooring material invented in the 1860s, as a printmaking surface. Originally developed as a durable and affordable covering for floors and walls, linoleum was made from linseed oil, cork dust, and burlap, giving it a smooth yet slightly resistant surface that responded well to carving tools. Its softness made it easier to work with than wood, and its uniform texture allowed for clear, controlled lines as well as broad, open shapes.
Artists associated with the German Expressionist movement were among the first to adopt linocut in the early 1900s, drawn to the bold, graphic marks it could produce. Henri Matisse and Pablo Picasso also worked extensively with the medium, using it to explore form and line with a spontaneity that other printmaking methods did not always allow. Picasso developed a technique of cutting and reprinting from the same block in successive stages, pushing the medium in new directions.
Because linoleum was inexpensive and widely available, linocut became a powerful tool for political and community printmaking throughout the twentieth century. In Latin America, artists used it to produce posters and pamphlets that carried strong social messages. In South Africa, the Polly Street Art Centre helped establish a distinct tradition of linocut rooted in local visual culture and community practice. In many parts of the world, linocut became associated with the idea that printmaking could be democratic and accessible to anyone.
Over time, linocut moved between fine art studios, classrooms, and everyday creative practice. It was included in school classes as a foundational printmaking skill, while professional artists continued to push its limits. Today it remains one of the most widely practiced forms of printmaking, valued for its simplicity, graphic strength, and the visible evidence of the hand it always leaves behind.
What You’ll Need
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Block printing ink (acrylic recommended)
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Pencil
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Paper you’ll be printing on
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Plexiglass (for spreading ink)
Handy Notes
Carving Safety: Always carve away from your hands and body. Use a bench hook or nonslip mat to keep your block steady. Sharp tools are safer than dull ones; they require less force and give you more control
Design Reversal: Remember that your print will come out reversed. If your design included text or directional imagery, flip it before transferring it onto the block.
Depth Matters: You don’t need to carve extremely deep. Removing enough material so the brayer doesn’t touch the carved area is sufficient. Over-carving can weaken fine details.
Ink Application: Too much ink will fill in carved lines and reduce detail. Too little ink will create patchy coverage. Aim for a thin, even layer that produces a soft, tacky sound when rolled out.
Printing Pressure: Apply firm but even pressure when curnishing. Uneven pressure can result in light patches. If printing by hand, pay extra attention to corners and edges.
Printing Paper Choices: Strong, slightly soft papers hold detail beautifully. Cotton rag papers such as Rives BFK, Arches Cover, Somerset, and Stonehenge are excellent options. Lighter papers can also work, but may require gentler handling
Let's Get Carving
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Prepare Your Materials: Gather your materials and make sure your workspace is clean, flat, well-lit, and has enough room for you to move yourself and your materials around.
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Plan and Transfer Your Design: Sketch your designs on paper first, keeping in mind that your final print will appear reversed. Then transfer your design onto the linoleum block by tracing it (using graphite transfer, carbon paper, or by drawing directly on the block). Keep lines clear and simple, especially for your first print.
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Secure Your Block: Place your linoleum block on a non-slip surface or bench hook to prevent movement while carving. Always carve away from your hands and body for safety. To be extra safe, I recommend wearing cut-proof gloves.
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Begin Carving Your Design: Use a small lino cutter gouge for file lines and details, and larger gouges to remove bigger background areas. Carve slowly and controlled, applying consistent pressure. The areas you carve away will remain white (or the color of your printing material), while the raised, uncarved areas will hold ink and paint.
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Clear Background Areas: Continue removing all areas that should not print. Keep edges clean and intentional. Brush away linoleum shavings as you work to clearly see your progress.
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Proof Your Block: Before final printing, roll a small amount of ink onto the block and make a test print on scrap paper. This helps you see areas that may need further carving or cleaning. It can also help you determine if the amount of ink used was sufficient.
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Prepare Your Ink: Squeeze a small amount of relief ink onto your plexiglass. Roll the brayer back and forth until the ink forms a thin, even layer. The ink should appear smooth and slightly tacky, not thick or sticky.
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Ink Your Linoleum Block: Roll the inked brayer evenly across the carved surface. Apply light, even pressure. Ensure that only the raised areas are inked and that coverage is smooth without buildup in carved sections.
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Position Your Paper: Place the inked linoleum block face up on your workspace. Carefully lay your paper on top of the block. Avoid shifting the paper once it touches the ink.
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Apply Pressure: Using a barren, wooden spoon, or burnishing tool, rub the back of the paper in circular motions with firm, even pressure. Cover the entire surface. If using a press, run the paper and block through according to the press instructions.
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Lift the Print Carefully: Slowly peel the paper away from one corner in a smooth motion. Avoid pulling too quickly. Place the finished print on a clean, flat surface.
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Allow the Print to Dry: Let prints dry in a clean, safe area. Drying time depends on the type of ink used and may take several hours to several days to be completely dry. Acrylic inks tend to dry quicker than oil-based inks, but avoid stacking prints until fully dry regardless of ink type.
We hope you enjoy your brand new, handmade linocut print and that you learned a thing or two from this tutorial. You can find this and more in our independent publication Hands at Work that takes an inside look at the St. Petersburg, FL, creative community.
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We also offer private group workshops for anyone interested in learning linocut printmaking, bookbinding, or creative journaling, just like this. Perfect for friends, families, team events, and special occasions. Email us at DovetailStudioFL@gmail.com for more information.
