Real (usually hessian/burlap backed) lino is traditional product made from natural renewable raw materials and unlike many of the alternatives, is CO2 neutral. It also cuts and carves in a completely different way to any plastic or vinyl.
Most printmakers will be familiar with the commonest real version available - ordinary grey ‘artists’ lino. Incidentally I don’t believe it should really be called ‘Battleship’ (just because it's grey?). That name was I think given to the original brown stuff, once briefly used to cover warship decks and still occasionally available.
In the past 10 years I have often discussed my own preference for using modern industrial real linoleum products and up until last year I most often used a commercial hessian backed flooring product called Marmoleum made by Forbo.
The main, in fact the only, disadvantage of Marmoleum was the need to prepare the surface. As supplied, it has a sealed hard surface with a very slight texture. This had to be removed by careful, even sanding; an electric ‘random orbital’ sander being almost essential.
Last year I came across another Forbo product called 'Furniture Linoleum'. It is designed for use on high-end furniture designs such as desks, chairs, displays etc. It is made from the same natural ingredients: flax seed oil, rosin binders, wood flour, limestone, etc. but has a plain paper backing sheet rather than the usual hessian/burlap. It is only 2mm thick, but for normal relief printing this is irrelevant, particularly if it is mounted. Most exciting of all, although the surface is finished only with a light water-based acrylic coat. This is almost matte, so Furniture Linoleum is pretty much ready for printmaking use right off the roll! It also comes in a range of pale, off white colours. I liked the one called 'Vapour'.
Most printmakers will be familiar with the commonest real version available - ordinary grey ‘artists’ lino. Incidentally I don’t believe it should really be called ‘Battleship’ (just because it's grey?). That name was I think given to the original brown stuff, once briefly used to cover warship decks and still occasionally available.
In the past 10 years I have often discussed my own preference for using modern industrial real linoleum products and up until last year I most often used a commercial hessian backed flooring product called Marmoleum made by Forbo.
The main, in fact the only, disadvantage of Marmoleum was the need to prepare the surface. As supplied, it has a sealed hard surface with a very slight texture. This had to be removed by careful, even sanding; an electric ‘random orbital’ sander being almost essential.
Last year I came across another Forbo product called 'Furniture Linoleum'. It is designed for use on high-end furniture designs such as desks, chairs, displays etc. It is made from the same natural ingredients: flax seed oil, rosin binders, wood flour, limestone, etc. but has a plain paper backing sheet rather than the usual hessian/burlap. It is only 2mm thick, but for normal relief printing this is irrelevant, particularly if it is mounted. Most exciting of all, although the surface is finished only with a light water-based acrylic coat. This is almost matte, so Furniture Linoleum is pretty much ready for printmaking use right off the roll! It also comes in a range of pale, off white colours. I liked the one called 'Vapour'.
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Industrial real linos are firmer and less crumbly than the artists versions. The furniture version has a very smooth almost creamy texture and is very easy to carve with sharp tools when warm, whilst still allowing the useful ‘break and flick’ detail carving techniques. (see video)
But most importantly it is firm enough to take high pressure printing and frequent cleaning on the finest details.
Forbo products are available in just about every country in the world. Local carpet and flooring suppliers will usually be able to order it for you. Or you can order online from flooring specialists. Forbo will also send useful sized sample pieces free!
But most importantly it is firm enough to take high pressure printing and frequent cleaning on the finest details.
Forbo products are available in just about every country in the world. Local carpet and flooring suppliers will usually be able to order it for you. Or you can order online from flooring specialists. Forbo will also send useful sized sample pieces free!
You do have to be prepared to buy ‘in bulk’ as the rolls are 2m wide and there may well be a minimum order length. I buy 3m (giving me 6 square metres) at a time. It has to be cut into suitable sized pieces and then stored flat and protected from drying out until needed.
As I said, it is also relatively thin and only paper backed, so carpet spray glue mounting on to sheets of 4-6m MDF or Masonite gives one solid block to carve and register. This also means however that you I can entirely remove whole non printing areas.
You do have to be prepared to buy ‘in bulk’ as the rolls are 2m wide and there may well be a minimum order length. I buy 3m (giving me 6 square metres) at a time. It has to be cut into suitable sized pieces and then stored flat and protected from drying out until needed.
As I said, it is also relatively thin and only paper backed, so carpet spray glue mounting on to sheets of 4-6m MDF or Masonite gives one solid block to carve and register. This also means however that you I can entirely remove whole non printing areas.
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Footnote
Another question I am asked all the time on social media when posting images like this is: “What do you stain the surface with?”
At the moment I use acrylic screen print ink; simply because I have it always to hand in the studio and it is water based and highly pigmented. Any good acrylic paint or ink will do.
I dampen the lino surface, rub in a layer of the ink/paint, then wipe off with a damp cloth to leave a nice even solid colour stain - not an actual layer as such. I use red because I can see my drawing and tracings etc yet have a good contrast to see where I’m carving.
This stain is usually cleaned off during the first proofing of the block or it is liable to affect the first prints; especially if using pale extended water based inks. One day I will experiment with alternative stains (which might also act as a sealer for a key drawing).
Another question I am asked all the time on social media when posting images like this is: “What do you stain the surface with?”
At the moment I use acrylic screen print ink; simply because I have it always to hand in the studio and it is water based and highly pigmented. Any good acrylic paint or ink will do.
I dampen the lino surface, rub in a layer of the ink/paint, then wipe off with a damp cloth to leave a nice even solid colour stain - not an actual layer as such. I use red because I can see my drawing and tracings etc yet have a good contrast to see where I’m carving.
This stain is usually cleaned off during the first proofing of the block or it is liable to affect the first prints; especially if using pale extended water based inks. One day I will experiment with alternative stains (which might also act as a sealer for a key drawing).
| | A short example of carving a stained and mounted Furniture Linoleum block, showing the detail possible and the break and flick technique. Gouge used is a Pfeil 12/1 V |
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