What is Linocut?

Linocut, or linoleum print, is a relief printing technique where an image is carved into a sheet of linoleum. The design is then inked and pressed onto paper or fabric to create a print. Unlike woodcuts, linocut offers a smoother surface and is easier to carve, making it perfect for beginners. However, the material wears down faster during the printing process due to its soft nature.

Essential Supplies for Linocut

Before you dive into the linocut process, you’ll need a few essential materials. Luckily, linocut is accessible and affordable for beginners.

1. Linoleum Blocks
   Start with traditional battleship-gray linoleum, which is easy to carve. Look for unmounted linoleum, or, for added stability, choose linoleum mounted on a wooden block.

2. Carving Tools
A set of carving tools is essential for shaping your design. I personally use Power Grip Carving Tools, but there are many affordable options available. Make sure you have a variety of V-gouges and U-gouges to achieve different textures and line qualities in your design.

3. Ink
Choose an ink based on your intended surface. For paper, oil-based inks like Cranfield Caligo Safe Wash Relief Ink work well. For fabric printing, try Speedball Fabric Block Printing Inks. If you’re just starting, water-based inks might be easier to clean up.

4. Brayer (Roller)
A soft rubber brayer is used to evenly spread ink over your linoleum block. Brayers come in different sizes, so select one that matches the size of your linoleum block. Speedball Soft Rubber Brayers are a popular choice for beginners.

5. Paper
For hand-printing, choose a soft, absorbent paper. Popular choices include rice paper or specialized printmaking paper like Rives BFK.

6. Spoon or Baren
If you don’t have access to a printing press, a simple tool like the back of a spoon or a baren can be used to transfer the ink from your linoleum block to the paper.

Step-by-Step Guide to Linocut

Now that you have your supplies ready, here’s a step-by-step guide to creating your first linocut print.

1. Design Your Image

Start by sketching your design on paper. Keep in mind that the final print will be a mirror image of your drawing, so if you’re including text, reverse it before transferring. Simple black-and-white designs with bold lines work best for beginners.

2. Transfer the Design

Once your design is finalized, transfer it onto the linoleum block. You can do this by drawing directly onto the block or by using carbon paper to trace the image onto the surface.

3. Carve the Block

Begin carving your design using the V-shaped and U-shaped gouges. Carve away the areas you don’t want to print (the negative space). Take your time and be cautious, as it’s easy to make mistakes. If you do slip, don’t worry — mistakes can be patched up with super glue and re-carved.

4. Ink the Block

Use your brayer to roll a thin, even layer of ink over the raised surfaces of your linoleum block. Avoid over-inking, as this can lead to messy prints.

5. Print Your Design

Place your inked block face-down onto the paper. If you’re printing by hand, press firmly with a baren or the back of a spoon to transfer the ink. Make sure to apply even pressure across the entire surface. Peel the paper off slowly to reveal your print.

6. Dry and Repeat

Let your print dry completely before handling it. If you’re making multiple prints, repeat the inking and printing process for each one.

Troubleshooting Common Linocut Issues

Linocut is a forgiving medium, but a few common issues can arise. Here’s how to solve them:

• Uneven Printing: If some parts of your print aren’t as dark as others, ensure you’re applying even pressure when printing by hand.
• Stray Marks: Stray ink marks can occur if you don’t carve deeply enough. Try wiping the block clean before inking or carve out the areas again.
• Ink Bleeding: If your ink spreads too much, you may have used too much ink. Try applying a thinner layer with your brayer.

Exploring Color Linocuts

Once you’ve mastered the basics of black-and-white linocut, you can experiment with color. There are two primary methods for creating color linocuts:

1. Multi-Block Method: Use a separate block for each color in your design. Print each layer in succession.
2. Reduction Method: Carve and print one layer at a time from a single block, cutting away more material for each successive color.

Final Thoughts

Linocut is a rewarding and versatile printmaking technique that’s perfect for artists of all levels. Whether you’re experimenting with simple black-and-white designs or diving into multi-color prints, the process offers endless creative possibilities. If you encounter challenges along the way, don’t be discouraged. With practice and patience, you’ll be creating beautiful prints in no time.

Feel free to reach out with any questions or for additional tips — happy printing!

My journey with etching began during my second year at the Institute of Fine Arts, Chittagong, where I first encountered this intricate and fascinating art form. Although my primary focus at the time was painting, etching always held a certain allure for me. Yet, as a painting student, I never had the chance to delve into it hands-on—until 2020, when I participated in an Erasmus program in Dresden.

It was there that I met Hanif Lehmann, a talented printmaker who introduced me to the practical aspects of etching. This experience reignited my dormant curiosity and quickly turned into a passion, leading me to create several etching plates. The process was both challenging and immensely rewarding, allowing me to develop a profound appreciation for the art of etching.

Etching is a time-honored printmaking technique that blends artistry with chemical processes to produce intricate designs on metal plates. Despite its Renaissance origins, etching remains a popular medium among artists today. In this guide, I’ll walk you through the basic steps of etching, offer insights on selecting the right materials, and share tips based on my own experiences, from the classroom in Chittagong to the studios of Dresden. Whether you’re a beginner or simply curious, I hope to inspire you to explore the captivating world of etching.

What is Etching?

Etching is a type of intaglio printmaking that involves using acid to create designs on a metal plate. The artist coats the plate with a waxy, acid-resistant ground and then uses an etching needle to draw their design, exposing the metal. The plate is then submerged in an acid bath, which etches the exposed metal, creating grooves that hold ink. When inked and pressed onto paper, these grooves transfer the design, resulting in a print.

Essential Materials for Etching

Selecting the right materials is crucial for successful etching. Here’s a breakdown of the key materials you’ll need:

a. Metal Plates

• Copper: Copper is the traditional choice for etching because it etches evenly, holds fine details, and doesn’t alter ink color. However, it can be expensive.
• Zinc: Zinc is a more affordable option and easier to work with, making it suitable for beginners. However, it doesn’t bite as cleanly as copper and can affect the ink’s color.
• Steel: Steel is a durable option that is gaining popularity. It offers a good balance between detail and longevity but can be harder to work with than copper or zinc.

b. Etching Grounds

• Hard Ground: This acid-resistant coating is applied to the metal plate before etching. It’s typically made from wax, resin, or a combination of both. It’s essential to ensure an even application to avoid uneven etching.
• Soft Ground: Similar to hard ground but softer and stickier, allowing for textural effects and the transfer of patterns or objects onto the plate.

c. Etching Needles and Tools

• Etching Needles: These are used to draw the design onto the plate by scratching through the ground to expose the metal. Different needle sizes allow for varied line thicknesses.
• Roulette Tools: These create dotted or textured lines and are rolled over the plate to add different effects.
• Scrapers and Burnishers: These tools are used for correcting mistakes and refining the plate. A scraper removes burrs, while a burnisher smooths the surface.

d. Acid Baths

• Nitric Acid: Commonly used for zinc plates, this acid is strong and fast-acting. It requires careful handling and safety precautions.
• Ferric Chloride: Often used for copper plates, this acid is safer and slower acting, giving more control over the etching process.

e. Inks and Wiping Materials

• Etching Inks: These are highly pigmented and designed to stick to the etched grooves. They come in oil-based and water-soluble varieties. Choose according to your preference and the effect you wish to achieve.
• Tarlatan: This is a heavily starched cheesecloth used to wipe excess ink from the plate, leaving ink only in the grooves.

f. Printing Press

• Etching Press: A traditional press uses heavy rollers to apply pressure evenly across the plate and paper. Tabletop models like Fome etching presses are suitable for small-scale works, while handheld options like the Sláma Press offer portability and ease of use.

g. Paper

Etching Paper: Heavyweight papers like Somerset or Fabriano Rosapina are ideal. These papers are durable, absorb ink well, and can withstand the pressure of the press. Hahnemühle papers, made from 100% alpha cellulose, are also a great choice for their sensitivity to detail.

Step-by-Step Etching Process

Now that you’re familiar with the materials, let’s dive into the etching process:

a. Preparing the Plate

1. Polish the Plate: The first step in the etching process is to prepare the metal plate. This involves carefully polishing the surface to remove any imperfections, ensuring a smooth and even base for the artist’s design. Once polished, the plate is coated evenly with a protective layer called the ground, which is essential for resisting the acid and protecting the areas that should not be etched. Additionally, it’s advisable to polish the edges of the metal plate at a 45° angle to prevent the paper from tearing during the printing process.
2. Apply the Ground: With the ground applied, the artist can begin scratching the design onto the plate using an etching needle. This needle is a blunt stylus that allows for precise control, enabling the artist to create intricate details. The design can vary in complexity, from simple lines to elaborate compositions.

b. Creating the Design

3. Draw with Etching Needle: Use an etching needle to scratch your design into the ground, exposing the metal beneath.
4. Add Textures: Utilize roulettes or other tools to add textures and effects to your design.

c. Etching the Plate

5. Acid Bath: After the design is etched into the ground, the plate is ready for the acid bath. The type and strength of the acid, as well as the duration of the bath, are carefully controlled to achieve the desired effect. The acid eats away at the exposed metal, creating recesses that will later hold the ink. To achieve different tonal values, some areas of the plate can be bathed in acid multiple times, while others are protected by reapplying ground.
6. Rinse and Clean: After achieving the desired depth, remove the plate from the acid, rinse it with water, and clean off the remaining ground with a solvent.

d. Inking and Printing

7. Inking the Plate: Apply etching ink over the entire plate, ensuring it fills the grooves.
8. Wipe the Surface: Use tarlatan to wipe away excess ink, leaving ink only in the etched lines.
9. Printing: Place the inked plate on the press bed, cover it with dampened paper, and run it through the press.

e. Final Steps

Inspect and Repeat: Check the print for any imperfections. You can re-etch or re-ink the plate as needed to achieve your desired result.

The Historical Context of Etching

Etching has a rich history, dating back to the late Middle Ages. It was initially used by metalworkers to decorate armor and other items before artists like Daniel Hopfer of Augsburg began using it for printmaking. Over time, etching became a popular medium among artists across Europe, with masters like Rembrandt and Francisco Goya pushing the technique to new heights.

The use of copper plates, which became common in Italy, allowed for greater detail and finer lines, helping etching to rival engraving as a printmaking method. While engraving requires specialized skill with a burin, etching is more accessible to artists trained in drawing, as it involves drawing the design into a ground rather than directly into metal.

My Experience with Etching

My first experience with etching in Dresden was eye-opening. The process, though meticulous and time-consuming, was incredibly rewarding. Seeing the first print emerge from the press was a moment of pure satisfaction. The ability to create multiple impressions from a single plate opened up new possibilities for my work, allowing me to experiment with variations in tone and composition.

Conclusion

Etching is more than just a printmaking technique; it’s a journey that requires patience, skill, and a deep understanding of materials. My journey with etching, from a curious student to a practicing artist, has been filled with discovery and growth. Whether you’re an artist looking to explore new techniques or an art lover curious about the process behind the prints, etching offers a fascinating glimpse into the world of printmaking.

As a foreign student in France, participating in the Erasmus program was not obligatory for me. However, my curiosity and the inspiration I received from my teacher, Rainer Oldendorf, at ISBA drove me to explore this opportunity. With a deep admiration for German Expressionism, I chose to apply to the Academy of Fine Arts Dresden (HfBK). The academy’s rich history, combined with the enchanting images of Dresden I found online, solidified my decision. From October 2020 to March 2021, I embarked on a six-month journey that would become one of the most joyful and transformative periods of my life.

Navigating the Challenges of a Pandemic

Upon arrival, I worked under the guidance of sculptor Carl Emanuel Wolff, diving into theoretical courses on Romantic art and German Expressionism. This period was marked by the challenges posed by the COVID-19 pandemic, which led to the cancellation of many courses and exhibitions. Despite these setbacks, I found solace and camaraderie among the international students in my accommodation, sharing experiences and forging lifelong friendships.

A City of Inspiration

Dresden, with its stunning architecture and rich cultural heritage, offered me endless inspiration. I visited numerous museums and castles, immersing myself in the works of German masters, particularly the mesmerizing landscapes of Caspar David Friedrich. The city itself felt like an open-air museum, a perfect blend of history and art.

Meeting Local Artists: Hanif Lehmann and Christine Wahl

One of the most memorable aspects of my time in Dresden was meeting local artists Hanif Lehmann and Christine Wahl. Hanif, in particular, played a significant role in my artistic development. Born in Rochlitz, Saxony, in 1971, Hanif studied painting and graphics at HfBK Dresden under esteemed artists like Siegfried Klotz and Claus Weidensdorfer. Since 1998, he has been a freelance artist, running his own printing workshop, the Widukind-Presse Dresden.

A Studio of Warmth and Creativity

Hanif’s warm hospitality, despite the language barrier, made me feel at home. He often invited me to his studio, where we shared cups of warm coffee, and he introduced me to printmaking and typography techniques. I had never tried etching before, but Hanif’s encouragement and expertise opened a new world for me. His studio was a haven during the pandemic, a place where creativity thrived despite the closed doors of the city.

Exploring Hanif’s Artistic World

Hanif’s work is characterized by his unique style, often focusing on still life, train stations, and social issues. He has also created numerous portraits of people from around the world. His participation in book fairs and residency programs across the globe has enriched his artistic perspective. The 36th Leipzig Graphic Arts Fair, which features over 100 artists and explores the theme of “hortus secretus,” highlights Hanif’s commitment to the art of printmaking. His contributions to the fair, along with other artists from Saxony, Saxony-Anhalt, and Thuringia, showcase a diverse range of interpretations, from concrete garden scenes to fantastical creations.

The Value of Friendship and Mentorship

Despite the challenges of the pandemic, my time in Dresden was invaluable. Hanif’s generosity extended beyond art; he became a friend and mentor. His fluent English and keen interest in music and history made our conversations enlightening and enjoyable. The opportunity to work with him, especially in his printing workshop, was a highlight of my Erasmus experience. We explored various printmaking techniques and experimented with mixed forms, even practicing bookbinding when academy courses were unavailable.

A Journey of Cultural Immersion

This experience in Dresden was more than an academic exchange; it was a profound cultural immersion. I discovered the nuances of German Expressionism and Romanticism, learned new artistic techniques, and, most importantly, formed lasting connections with people who enriched my journey. The friendships I made, the art I explored, and the challenges I overcame made this Erasmus adventure unforgettable. It reminded me of the beauty of stepping out of one’s comfort zone and the joy of embracing new experiences.

A Journey into Local Art

During my internship, I was immersed in various tasks, from curatorial duties to engaging with museum visitors. This hands-on experience provided invaluable insights into museum operations and the intricacies of art preservation. However, the most profound learning came from the museum’s extensive collection of local art, particularly the works of Pierre Bichet.

Pierre Bichet, born on November 29, 1922, in Pontarlier and passed away on February 18, 2008, in the same town, was a multifaceted artist. Renowned for his snowy landscapes, especially those of the Jura mountains, Bichet was also a filmmaker and speleologist. His collaborations with the famous volcanologist Haroun Tazieff, spanning nearly forty years, highlight his adventurous spirit and diverse talents.

The Life and Legacy of Pierre Bichet

Pierre Bichet’s life was as rich and varied as his artistic oeuvre. His early years in Pontarlier and Morteau were filled with influences that steered him towards art. A chance encounter with four young artists at an exhibition across from his family home ignited his passion for painting. This early exposure led him to pursue formal art education, even as World War II interrupted his studies and forced him into a tumultuous period of resistance and survival.

After the war, Bichet resumed his art studies and embarked on a journey that would see him becoming an integral part of the Pontarlier art community. His marriage to Suzanne Duval, with whom he had five children, anchored his personal life while his professional life flourished. Bichet’s works, especially his lithographs, became iconic representations of Jura’s landscapes.

The Exhibition: Honoring Pierre Bichet

In July 2023, the Pontarlier Museum organized a special exhibition to honor Pierre Bichet, featuring artworks donated by his family. This event was not just a tribute to his artistic genius but also a celebration of his contributions to the local community. Bichet’s landscapes, particularly his “grandes neiges” series, captured the serene beauty and harsh realities of Jura’s winters with unmatched emotional depth and technical skill.

Bichet’s Artistic Evolution

Bichet’s artistic journey is marked by an evolution from early figurative works to later abstract landscapes. His early paintings often featured allegorical and religious themes, as well as scenes from everyday life in Haut-Doubs. However, from the 1960s onwards, his focus shifted predominantly to landscapes, capturing the silence, cold, and light of winter with a unique cinematic scope.

The 1980s were a particularly challenging period for Bichet, marked by personal tragedies. Despite these hardships, his work continued to evolve, with his palette simplifying and his compositions becoming more profound and introspective. His late works, especially those depicting vast snowy landscapes, remain some of the most evocative portrayals of Jura’s natural beauty.

Discovering Bichet’s Lithographs

One of the most exciting aspects of my internship was the opportunity to explore Bichet’s lithographs. These works, often characterized by their elongated formats and intricate details, offer a different perspective on Jura’s landscapes. Bichet’s lithographs, influenced by his travels to Japan and his collaborations with other artists, are a testament to his versatility and mastery of different media.

Visiting Bichet’s house and studio in Pontarlier was a highlight of my internship. It was here that I truly appreciated the depth of his connection to Jura and his dedication to portraying its essence. Almost every family in the region has a piece of his artwork, a testament to his impact on the local culture.

Conclusion

My internship at the Pontarlier Municipal Museum was a transformative experience that deepened my appreciation for local art and history. Discovering the work of Pierre Bichet was particularly significant, offering insights into the life and legacy of an artist who profoundly shaped the cultural landscape of Jura. Bichet’s art, especially his lithographs, continues to inspire and resonate, capturing the timeless beauty of his beloved Jura.