Famous lino print artists list


  • Best linocut and woodcut artists to follow on Instagram
  • Lino Printing Process
  • Top Linocut artists to follow on Instagram
  • 5 Techniques of Printmaking as Fine Art
  • Pablo Picasso Linocuts: A Master of the Medium
  • Linocut Printing by Maarit Hanninen
  • Best linocut and woodcut artists to follow on Instagram

    Please check your inbox to activate your subscription Thank you! Etching is another method of intaglio printmaking. To create the plate, an artist will begin with a block of metal and cover it with a waxy, acid-resistant material. The artist will then scratch this waxy material off where desired and dip the block into an acid.

    The acid will eat away at the now exposed metal and cause indentations where the artist removed the wax. Once treated, the remaining wax is removed, the block is dipped in ink, and the ink will pool into new indentations.

    After wiping the rest of the plate clean, the block is pressed against the paper, leaving the image created in the relief lines. Etching can use a harder metal block than engraving since the indentations are made with chemicals instead of a burin. The sturdier metal can create many impressions using the same block. Daniel Hopfer of Augsburg, Germany applied etching which was, at the time, used for goldsmithing to prints between Given their rarity, these specific etchings are worth significantly more than some of his other works.

    Woodblock printing was widely used in East Asia. Its use dates back to antiquity where it was originally used to print patterns on textiles.

    Later, this same method was used to print on paper. Ukiyo-e Woodblock prints are the most well-known example of this printmaking method. In European art, Woodblock printing is referred to as Woodcut printing though there is no notable difference. Woodblock printing was used most often to create books before the invention of moveable type printing press. The Woodcut method is a relief style of printmaking and the opposite of intaglio.

    Woodcut prints begin with a woodblock and then the areas that the artist does not want inked are removed. What remains after an artist chips, sands or cuts the excess wood away is the image that will be inked, raised above the negative space. The block is then pushed against a piece of paper, inking the raised area.

    If multiple colors are needed, different blocks will be created for each color. Before that, Linocuts were used to print designs on wallpaper. Later, Pablo Picasso became the first artist to use multiple colors on a single linoleum plate. Linocut printing is a relief style of printmaking, very similar to Woodcuts. Artists cut into a piece of linoleum with a sharp knife or a gouge. After removing these pieces, a roller, or a brayer is used to apply ink to these raised areas before it is pressed onto a piece of paper or fabric.

    The act of pressing the linoleum block onto the surface can be done by hand or through the help of a printing press. Sometimes a linoleum sheet is put on a block of wood to create the printing block and other times it is just a full piece of linoleum. Angel Bay with a Bouquet of Roses by Marc Chagall, , color lithograph Lithography is a planographic style of printmaking that begins with a lithographic limestone plate as the block.

    An image is then drawn on the stone using a waxy material that will protect the limestone from acidic material. Next, the stone treated with acid, affecting the areas unprotected by the waxy material.

    After this the acid and wax are wiped off. The stone is then moistened, and the areas treated with acid retain the water. Oil based ink is then smeared on the stone and repelled from these wet areas. The ink sticks to the original image that was drawn on with the wax and is pressed onto paper.

    In modern times, a polymer mix is more often used as opposed to the waxy material. Artists such as Delacroix and Gericault made Lithographic prints in the s.

    Lino Printing Process

    Artists who were part of the expressionism movement challenged the existing reality and tried to emphasize phenomena that were exceptional, distorted and pathological. They presented deformed reality, which served as a vehicle for communicating their subjective perspective on what was around them. Besides malformed human figures they painted distorted landscapes, cities and deformed elements of nature. They also used symbols that were supposed to help the audience reflect on the dark realms of human subconsciousness.

    Later on they enriched their works with new points of reference, e. Their genre paintings usually had a warning or a moral hidden inside and the thinking behind the act of their creation was to find a purpose and experience moral revival. Common experiences, as well as exchange of thoughts and journeys on the other hand gave rise to new aesthetic inspirations.

    In other countries, where expressionism flourished later on, additional elements of the style were clearly visible. In Poland one such local addition was religious mysticism and omnipresent hope for regaining state independence. Stefan Szmaj, Self-portrait, , Linocut, paper; 16,9 x 13,8 cm A perfect example of a Polish artist who followed the principles of this movement and added the above-mentioned specific elements to his works was Stefan Szmaj.

    Currently his works can be seen at Olszewski Gallery in Warsaw. Stefan Szmaj was a graphic artist and a painter. In he created a series of expressionist linocuts. How much did he really know about expressionism? Was he in contact with expressionists in Germany? How did he become familiar with their works? Although he studied medicine, and art was by no means the purpose of his stay in Germany, the vibrant artistic community in both cities quickly drew him in.

    These graphics had an enormous impact on the young Stefan Szmaj and served as a stimulus for him to start creating graphic works as well. Stefan Szmaj was an entirely self-taught person when it comes to visual arts, so being noticed and appreciated by Przybyszewski meant the world to him.

    Another important source of inspiration was his relationships within the Bunt Artist Association. Szmaj was a member of the association since If we analyze his works created after this year, we would notice numerous similarities e. There was also an exhibition of works by artists from the Bunt association organized in Berlin. Stefan Szmaj, Kiss, linocut, papier; 17,4 x 15,7 cm DB: Why are works by Stefan Szmaj so exceptional and unique when compared to works by other expressionists in Poland and Germany?

    This is obviously a huge simplification because groups and artistic circles differed in many aspects. Nevertheless, many researchers emphasize that the international community of artists who reacted to current events in a similar way commenced at that time.

    Bunt association and, naturally, Stefan Szmaj as its member, was a part of this wider community, which was manifested through mutual relations, similar mode of operation focused on reaching the public through a journal, exhibitions and meetings, as well as similar topics elaborated on and stylistic techniques selected.

    Apart from the atrocities which cannot be adequately described, World War I brought hope for changes and a belief that it was possible to overthrow the existing political order. Szmaj and other artists from this association personally supported activities aimed at regaining freedom and presented this issue in their works. Works by Stefan Szmaj, for example Saint Francis presented at Olszewski Gallery or The Poplars series are also interpreted in reference to these aspects.

    Bunt association was by no means uniform and unanimous. It only existed for a short period of time, mostly due to differences in views and opinions among its members. He differed from his colleagues in terms of his attitude to nature, which was a crucial part of his numerous compositions. We can see it clearly in the cycle entitled The Poplars mentioned before , in which the artist shows unity between the world of humans and nature and presents how they both are affected by traumatic experiences of the world war.

    No other artist from the Bunt association studied his own image as much as Stefan Szmaj did in his numerous self-portraits created as years passed. In those portraits he thoroughly analyzed his physiognomy and psyche. This was an intentional choice made of inspiration with the German expressionism.

    DB: The selected graphic techniques emphasized the expression and dynamics of a composition. Thick lines, sharp cuts and angular lumps. Another asset was the possibility to duplicate elements created using these techniques and to reproduce the composition.

    Thanks to this, it was easier for the works to reach wider audience and this in turn made the art much more democratic. Szmaj mostly used linocut and not woodcut. What specifically did the technique he chose have to offer? This technique was actually a new phenomenon among various forms of print, but it gradually gained popularity in the late 19th and early 20th century.

    It quickly turned out that linocut can be a cheaper substitute for woodcut and the final effects of using both techniques are similar. Both of them allowed the artist to easily obtain contrasting combinations of black and white surfaces, dynamic cuts in a material visible in the print, thick lines defining contours of the image and simplification of presented forms, which were the effects that expressionists liked and were eager to use.

    In addition, it was significantly easier to cut a composition into linoleum than into wood, which was a much harder material. The matrix prepared in this way could be used to make prints both in a workshop and on a printing press next to a text to illustrate books, papers and magazines.

    Stefan Szmaj, Linocuts , The Regained Independence of Expression DB: It does not happen very often that an exhibition features not only graphic prints, but also sketches, matrices and calked final pictures which served as drawings for slightly altered graphics. Why is it so? Are the matrices not being preserved? Why are there so many matrices at this specific exhibition? UD: Indeed matrices are rarely presented at exhibitions and there are numerous reasons for this.

    A matrix is one of the tools needed to create the final work of art, i. It was only in recent decades that matrices started to be perceived as the final result of work by an artist and relevant activities aimed at presenting them as well took place. They allow us to better understand the creative process which culminated in the creation of an original print. If they are presented at an exhibition it is usually with this purpose in mind. There are not really a lot of graphic matrices preserved to this day.

    Most of them were destroyed during printing on the press due to the pressure force. If possible, in order to spare on material they were often used for the second time to create another matrix.

    It often happened that the creator of such matrices instructed others to destroy them after a certain number of prints were made, in order to limit the number of prints released. The preserved matrices are with us to this day thanks to people who appreciated their artistic value and saved them from destruction. Sometimes unauthorized prints were made by those people, whose value was much lower than the value of the authorized ones on the artworks market.

    The case of matrices by Stefan Szmaj is indeed exceptional. The preserved workshop has added replicas of those matrices, which the artist did not have at his disposal anymore for various reasons.

    Everything survived the passing of time as part of the family collection and is now extensively researched and frequently presented at exhibitions. Olszewski Gallery also decided to get involved in such a project, thanks to which we can enjoy this intriguing exhibition until 15 May

    Top Linocut artists to follow on Instagram

    Woodcut prints begin with a woodblock and then the areas that the artist does not want inked are removed. What remains after an artist chips, sands or cuts the excess wood away is the image that will be inked, raised above the negative space.

    The block is then pushed against a piece of paper, inking the raised area. If multiple colors are needed, different blocks will be created for each color. Before that, Linocuts were used to print designs on wallpaper. Later, Pablo Picasso became sex magazine telegram first artist to use multiple colors on a single linoleum plate.

    Linocut printing is a relief style of printmaking, very similar to Woodcuts. Artists cut into a piece of linoleum with a sharp knife or a gouge. After removing these pieces, a roller, or a brayer is used to apply ink to these raised areas before it is pressed onto a piece of paper or fabric.

    The act of pressing the linoleum block onto the surface can be done by hand or through the help of a printing press. Sometimes a linoleum sheet is put on a block of wood to create the printing block and other times it is just a full piece of linoleum. Angel Bay with a Bouquet of Roses by Marc Chagall,color lithograph Lithography is a planographic style of printmaking that begins with a lithographic limestone plate as the block.

    Nevertheless, many researchers emphasize that the international community of artists who reacted to current events in a similar way commenced at that time.

    Bunt association and, naturally, Stefan Szmaj as its member, was a part of this wider community, which was manifested through mutual relations, similar mode of operation focused on reaching the public through a journal, exhibitions and meetings, as well as similar topics elaborated on and stylistic techniques selected. Apart from the atrocities which cannot be adequately described, World War I brought hope for changes and a belief that it was possible to overthrow the existing political order.

    Szmaj and other artists from this association personally supported activities aimed at regaining freedom and presented this issue in their works. Works by Stefan Szmaj, for example Saint Francis presented at Olszewski Gallery or The Poplars series are also interpreted in reference to these aspects.

    Bunt association was by no means uniform and unanimous. It only existed for a short period of time, mostly due to differences in views and opinions among its members. He differed from his colleagues in terms of his attitude to nature, which was a crucial part of his numerous compositions.

    5 Techniques of Printmaking as Fine Art

    We can see it clearly in the cycle entitled The Poplars mentioned beforein which the artist shows unity between the world of humans and nature and presents how they both are affected by traumatic experiences of the world war. No other artist from the Bunt association studied his own image as much as Stefan Szmaj did in his numerous self-portraits created as years passed. In those portraits he thoroughly analyzed his physiognomy and psyche. This was an intentional choice made of inspiration with the German expressionism.

    DB: The selected graphic techniques emphasized the expression and dynamics of a composition. Thick lines, sharp cuts and angular lumps.

    Pablo Picasso Linocuts: A Master of the Medium

    Another asset was the possibility to duplicate elements created using these techniques and to reproduce the composition.

    Thanks to this, it was easier for the works to reach wider audience and this in turn made the art much more democratic. Szmaj mostly used linocut and not woodcut. What specifically did the technique he chose have to offer? This technique was actually a new phenomenon among various forms of print, but it gradually gained popularity in the late 19th and early 20th century.

    Linocut Printing by Maarit Hanninen

    It quickly turned out that linocut can be a cheaper substitute for woodcut and the final effects of using both techniques are similar. Both of them allowed the artist to easily obtain contrasting combinations of black and white surfaces, dynamic cuts in a material visible in the print, thick lines defining contours of the image and simplification of presented forms, which were the effects that expressionists liked and were eager to use.

    In addition, it was significantly easier to cut a composition into linoleum than into wood, which was a much harder material. Check Our Review of Lino For Printing Once you are happy with your design the next step is to transfer it onto the lino so that you can easily cut your design into the lino.

    Alternatively, you can draw directly onto the lino which saves time on transferring your design. Sketching over photo with graphite rubbed on back will produce an outline on Lino. Outlined design on Lino after drawing over image with graphite on back of paper. You can hand draw design onto Lino, lines are to help drawing to scale. Other methods include using carbon paper on the back of your design.


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