Printing a linocut print with an etching press: Printing problems (And how to fix them)
Updated: 3 days ago
Although this blog focuses on relief printing with an etching press, some tips may help with other lino printing methods.
Printmaking is often a problem-solving exercise. I think that’s probably what I quite like about it. Past the basics of linocutting, there isn't a straightforward instruction manual. Many things have their problems and challenges.
At our monthly York Printmakers meeting, a few members of the group struggled with the same problem. I've also noticed it pop up a few times in the Facebook group Linocut Friends, too.
With that in mind, I thought I'd write this blog to share how I worked around my problems, hoping it will help solve some of your printing issues and reduce waste.
At the bottom of this blog, I've given an overview and explanation of the following:
Lino printing techniques: Some methods used to print lino prints.
Printing terms
Inking problem terms explained
Printing problems
In the past, I’ve had lots of problems with printing errors. In fact, there were many times when I was in my studio in tears about it. A whole morning’s printing could be wasted, with barely any crisp, sharp prints to show for it. The most frustrating part was how unpredictable it was.
At first I thought it was down to humidity and temperature. I recorded the temperature and humidity in my studio to see if I could find any patterns. I use oil-based inks, and these are more fluid on warmer days and stiffer on cooler days. I noticed that on some days, the print felt a little more stuck to the inked-up block after it went through the press. These were generally rainy and more humid days. On other days, it didn’t at all. These were the drier spells.
I thought I was the only one having this problem. As I dug deeper and asked for advice, I heard the terms slippage, drag, and creeping.
It turned out more people have this problem, but not many talk about it. They simply reject many prints and accept that as part of the process. Perhaps it’s something printmakers accept as part of the printmaking process.
I asked if anyone else in the Linocut Friends group on Facebook was having similar problems. The printmaking community is always so helpful and supportive.
“Having one of those days. Just can’t get any decent prints off the press. Anyone else use an etching press?
I’m doing the same as always, but I’ve got a slight shadow and ink filling in the details.
I tried tapping the jig I put my lino into onto the bed, tapping the paper as it goes through, adjusting pressure, adjusting the amount of ink, cleaning everything up, and starting again. So frustrated. Any ideas would be welcome. Thank you."
Have you had these problems?
Below are examples of the printing problems I experienced.
Lino printing slipping 1 Lino printing slipping 2 Lino printing slipping 3 Lino printing drag Lino printing slipping 4 Lino printing slipping 5 Lino printing slipping 6 Lino printing slipping 7
Solving the problem
Then someone I will be forever thankful for explained that, in the height of traditional relief printing, someone’s job was to hold the paper off the inked-up blocks until it went through the printing press.
That made perfect sense. With a roller press, the sideways movement could drag the paper across the inked-up block as it moved between the two rollers.
I’d nailed everything else down. The blocks were secure in a jig. I secured the jig to the etching press bed. I laid runners on the printing bed on each side of my lino block. When I’m printing multi-block or reduction lino prints, I use Ternes Burton pins and tabs to secure the paper at one end. See the notes below for more details.
The solution
I tried a few things out and came up with this solution.
Holding the paper up off the inked surface of the block until the very last minute prevents slippage and movement. I also lift the paper off the block as it comes out of the other side of the press. As you can imagine, that requires more hands than I have! My Hawthorn’s etching press has a handy hole on one side, right next to the roller. I bought a metal rod, cut it to size and threaded it through the hole. A cork on the end stops me poking myself in the eye accidentally.
Video - How to use an etching press for lino printing
In this video, I’ll show you how I now print with an etching or roller press.
I've been printing this way for over 12 months, and I no longer have any slippage or movement problems. I can't begin to tell you how much I enjoy printing now!
If you're printing a one-colour lino print and not using Ternes Burton pins and tabs, this method works equally well. Use a piece of masking tape to hold the top edge of the paper to your registration jig or press bed instead.
I originally used blankets on my press, but I haven’t seen any difference in print quality with or without them. When I did use blankets, I created a pulley system for them. I attached each side of my blanket to a nylon thread. I ran the thread through a metal pole bracket I attached to the ceiling, lifting the blankets up and down as I fed my print through the press. A little trickier to use, but it worked.
Printing using SoftCut or Easy Carve lino
When I’m not teaching linocut workshops, I use the traditional hessian-backed artist's lino. When I first started lino printing, I used SoftCut or Easy Carve lino. I had so many problems printing on an etching press that I switched to traditional lino. I was rejecting over half of the prints I made each time.
Plastic and synthetic lino and block printing materials are less stable. Under pressure in a roller press, they move and squish. The lino surface is smoother too, and I suspect that also makes a difference. Below are a few examples of lino prints made using SoftCut lino and printed with an etching press.
Back then I hadn’t come up with my new solution. However, I have test-printed a few linocut prints using this method, and it seems to work. Let me know if it works for you too.
Softcut lino slipping 3 Softcut lino slipping 2 Softcut lino slipping 1
Etching press setup for lino print
Lino printing techniques
Below is a brief explanation of some methods for printing lino prints.
Wooden spoon
When I first started making lino prints, I used my trusty wooden spoon to burnish my prints. Burnishing is rubbing the back of the paper laid over the inked block to transfer the ink. Imagine doing that for a whole edition of prints! A barren can also be used. See my tools and equipment blog for more info.
Etching or roller press
In July 2017 I invested in a Hawthorn Printmaker Supplies etching press. This is a roller press. A roller press exerts a horizontal pressure. By turning a handle, the press bed, inked lino block and paper slide between two metal rollers under pressure.
An etching press isn't necessarily the best type of press for relief printing. It’s used more for intaglio printmaking techniques, such as etching, drypoint and collagraph printing. That said, it’s versatile and can be used for relief and intaglio printmaking.
You can also print with die-cutting machines used for craft projects. They have 2 rollers and a flat bed that moves when you turn a handle. The Xcut Xpress die-cutting machine is an example that many beginners use for lino printing. Many YouTube tutorials show how to use one for this.
Book press
A book printing press, or screw press, exerts downward, vertical pressure, so there’s no side-to-side movement. Cast iron lever presses, such as the Albion press, were used for commercial book printing until the middle of the nineteenth century
Printmakers such as Laura Bowell are lucky enough to use these. Besides being hard to come by, they’re very expensive and, being made from cast iron, very heavy.
When I bought my etching press, there weren’t many alternatives on the market. More recently, companies like Pooki Presses have started innovating and making small tabletop book presses.
Printing terms
Registration device, guide or jig
Registration means correctly aligning printing blocks when printing multiple colours in one design. There are different ways of lining up your blocks and paper. In my online course, How to make a multi-block print, I explain different ways to make a registration device for hand printing or printing with a press.
Runners
These are long, thin strips of material used down the side of the bed of your press. They reduce the ‘bump’ as the roller meets the lino block. They should be the same height as the block you are printing from
Printing blankets
Printing blankets even out pressure and can give the paper a slightly embossed look. They may also push the paper down into the block's carved-away areas.
Ternes Burton pins
Pins and tabs used to register and align print layers.
Mounting blocks
This isn’t essential. I started doing it recently, mainly to keep the lino completely flat. This matters when using a roller press, as it can affect print quality.
Inking problem terms explained
Ink shadows
Caused by movement or drag of the paper across the inked-up block. More common when using a roller or etching press.
Smudged or blurred prints
Can be caused by moving the paper or lino block while burnishing it.
Under inking or not enough pressure
Light prints happen when you don't apply enough ink to the block or enough pressure when burnishing.
Over inking
Too much ink can fill the fine details when the cuts are shallow.
Let me know if that helps, or share any other top tips in the comments below.
I'd love to hear if this has helped you. Please leave a comment below and share it with others who might find it helpful.
Happy printing!
Michelle
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About Michelle
I’m Michelle Hughes, a North Yorkshire landscape artist and printmaker based in York. My original linocut prints are inspired by the Yorkshire Coast, Yorkshire Dales, North York Moors and the wider British countryside.
I gather ideas and take photographs while walking and cycling, then bring them back to my garden studio in York. I simplify my photographs into bold, stylised designs, carve them into lino blocks and hand-print each limited edition on my etching press using oil-based inks.
Michelle, you amazing human/genius! Thanks so much for this blog post. I think this is the solution to all my problems with print slippage. You've rescued an otherwise terrible day at the press!