ArtThropology

Art. Culture. Ideas.

Category: Creative

  • What are the Best Lino Cutting Tools?

    What are the Best Lino Cutting Tools?

    Visit maryiscontrary.com for more information on printmaking at home. For some great Linocut Process information, Mary has a very resourceful section on her site here LINOCUT PROCESS.

    Starting out with linocut printmaking can be both fun and daunting especially when you look into the large variety of tools you can purchase for linocut.

    When I first started out carving with linoleum I had to learn a lot about the different kinds of tools out there. Honestly, there are a lot that will probably get the job done and do an amazing job.

    BEST LINO CUTTING TOOLS

    To save  you some time right away and let you know what the best lino cutting tools are.  By the way, I have not used every tool out there and these are strictly my opinions. However, the tools I am about to tell you about are amazing and I think you’ll be happy with the results.  

    This post contains affiliate links, which generates some small commissions at no extra cost to you. This commission helps keep this blog and shop running. Thank you for your support. See my disclosure form for more information.

    The best Lino Cutting tools are Pfeil Swiss Made. This is Palm set B to be exact. This company sells a variety of tools, but this set specifically is amazing for working with lino cutting.

    The handles are specifically made to fit in your palms and to prevent rolling off tables. This customization really shows the craftsmanship of these tools.

    The reason why this tool set is so amazing is the dimensions of the gouges. The smallest v gouge opening measures 1mm !!! This is amazing for fine details.

    I own this set and can tell you from personal experience that the tools are so beautiful. They are strong, well crafted and definitely worth the money.

    This set B in particular comes together in this set of 6 carving tools. However you can purchase them separately. This is great in case your v gouge wears down after time.

    Pfeil’s tools are so nice. They are what you may consider to be heritage tools. The type of tool you pass on to descendants of yours.

    WHAT IS THE DIFFERENCE BETWEEN A V GOUGE AND A U GOUGE?

    When I was first learning about these kinds of tools I heard new terms like V gouge and U gouge. I had never heard of these terms or knew what they were referring to except the general shape of the tools themselves.

    V GOUGE  DEFINED

    A V gouge known especially because of the V shape at the tip of the tool is used for fine outlines and details in carving.  The shape it carves out is great for outlining or for defining an edge.

    The V gouge that comes with the Pfeil set previously mentioned is perfect for very small details. Although, there are many different sized v gouges out there. The difference in the sizes can give you a large range of carved results.

    U GOUGE DEFINED

    A U gouge can have a couple of different purposes. The smaller U gouge sold in the pfeil set mentioned is called a veiner. It can expand the opening in the carved out portion that the small v gouge carved out.

    The larger U gouges are used for clearing out sections of the linoleum. This can make it simpler for removing large sections where you may not want ink.

    In carving out these large sections these U gouges can leave behind “Noise” is what I have heard it called. It is the small wavy lines that catch ink when you print. The wider the U gouge used the less of this Noise you will have left on  your linoleum.

    It’s definitely the artists preference whether or not to keep the noise sections or to carve it out a bit deeper. I like the noise in some of my projects, but have tried to avoid it when I am making something a bit more technical.

    ARE THESE TOOLS ONLY GOOD FOR LINO CUTTING?

    These Pfeil carving tools are not only excellent at carving linoleum, but they can also be used with rubber, or most commonly when carving wood.

    Wood cut is another form of relief printmaking using wood instead of linoleum. The tool used for this are interchangeably used between linoleum and woodcut printmaking.

    When I first got into linocut printmaking my Dad gave me an old set of wood carving tools we had used years prior in a wood carving class.

    They worked fantastically, however I opted for the Pfeil tools not too long after because they had smaller gouges for fine detail.

    HOW TO CARE FOR LINO CUTTING TOOLS?

    Pfeil tools will need proper care of its handles. A little linseed oil every now and again on the wood will help to condition the wood. In especially dry areas you may need to do this more frequently. You will start to notice the handles lighten and drying out.

    You will not need a lot of oil, just a bit dabbed onto a rag will do the trick. Use the dry side of the towel or rag to wipe off any excess oil.

    PLASTIC OR VARNISHED HANDLES

    Some of the other kinds of lino cutting tools you can purchase may have plastic handles or varnished wooden handles.

    If this is the case, oil will not be necessary for preservation. However, keeping the tools from exposure to heat will be important.

    Keep all of them out of reach from any heat source like a sunny window. They will still last quite a long time even if kept in these environments, but there may be some cracking of the plastic handles or even some blistering of the varnished wooden handles.

    HOW TO SHARPEN LINO CUTTING TOOLS?

    Pfeil has a guide about how to sharpen their cutting tools.  They suggest using a sharpening stone with a 100-120 grit.

    For a guide from Pfeil about their specific sharpening stones they carry click here.  (not an affiliate link, just for your information only).

    I have personally not gone this route for sharpening the Pfeil tools. Instead, I use a Slipstrop which is a wooden and leather combination. This tool does not sharpen the tools, but it deburrs the inside of the gouges.

    While carving the linoleum, I have had to use the Slipstrop a few times. It definitely helps keep the tools at their best especially to avoid injury.

    HOW WILL I KNOW WHEN TO SHARPEN LINO CUTTING TOOLS?

    You will be able to tell when it is time to deburr  your lino cutting tools once you have started carving a bit and the tools do not smoothly cut away the linoleum and it requires more force.

    Sharpening with a sharpening stone can be done less often and may not be needed for a few years of use.

    It is best to use the slipstrop often during carving to avoid injury. After you have worked with your tools a bit and get used to deburring them or even sharpening them, you will get a feel for your tools and know when they need sharpening.

    HOW LONG WILL LINO CUTTING TOOLS LAST?

    With proper storage and maintenance your tools could last decades. They are like most tools, the better you take care of them, the longer they will last and work properly.

    WHAT ARE SOME  MORE AFFORDABLE  LINO CUTTING TOOLS?

    If you do not want to invest in your lino cutting tools you can get some really good options for less of an investment.

    I still sometimes use my Speedball lino cutting tool for the larger v gouges or the Xacto blade.

    Other options can include using a dremel for textured effects, or an Xacto blade, and even a small punch drill bit I found in a hobby store.

    The fun part of making art can be the tools as well. If you get creative enough, you can make all sorts marks on your linoleum which can have some interesting results.  
    —
    Mary VasquezMaryisContrary.com

  • How to recognize the authors of paintings

    How to recognize the authors of paintings

    How to recognize the authors of paintings

    If the images have a dark background and everyone has tortured expressions on their faces, it’s Titian.

    If everyone in the paintings has enormous asses, then it’s Rubens.

    If all the men look like cow-eyed curly-haired women, it’s Caravaggio.

    If the paintings have tons of little people in them but otherwise seem normal, it’s Bruegel.

    If the paintings have lots of little people in them but also have a ton of crazy bullshit, it’s Bosch.

    If everyone looks like hobos illuminated only by a dim streetlamp, it’s Rembrandt.

    If the painting could easily have a few chubby Cupids or sheep added (or already has them), it’s Boucher.

    If everyone is beautiful, naked, and stacked, it’s Michelangelo.

    If you see a ballerina, it’s Degas.

    If everything is highly-contrasted and sharp, sort of bluish, and everyone has gaunt bearded faces, it’s El Greco.

    If everyone – including the women – looks like Putin, then it’s van Eyck.

    If Everybody Has Some Sort Of Body Malfunction, Then It’s Picasso

    Lord Of The Rings Landscapes With Weird Blue Mist And The Same Wavy-Haired Aristocratic-Nose Madonna, It’s Da Vinci

    Dappled Light And Unhappy Party-Time People, Then It’s Manet

    Dappled Light But No Figures, It’s Monet

    Dappled Light And Happy Party-Time People, It’s Renoir

    Excel Sheet With Coloured Squares, It’s Mondrian

    If Every Painting Is The Face Of A Uni-Browed Woman, It’s Frida

  • The Underestimated Virtue Of Drawing: A Renaissance Of Learning Through Pencil And Paper

    The Underestimated Virtue Of Drawing: A Renaissance Of Learning Through Pencil And Paper

    In the contemporary era, marked by the rapid progression of technology and the allure of digital immediacy, the timeless practice of drawing with a pencil on paper often finds itself marginalized, misunderstood, and demoted to the narrow confines of artistic endeavor. Yet, this perception overlooks the profound and multifaceted role drawing plays in cognitive development, problem-solving, and the holistic understanding of the world around us. Echoing the insightful arguments presented by design historian D.B. Dowd in his seminal work “Stick Figures: Drawing as a Human Practice,” this exploration seeks to illuminate and advocate for the reimagining of drawing. Far from a mere artistic skill, drawing emerges as a fundamental, universally accessible tool for learning, exploration, and personal growth.

    At the heart of Dowd’s thesis is the contention that society has misclassified drawing, undervaluing its potential by confining it to the realm of professional artistry. This misconception is epitomized by the common lament, “I just can’t draw,” a phrase that resonates with many adults who, somewhere along their journey, have internalized the belief that drawing necessitates a high degree of technical skill. However, Dowd challenges this notion, arguing that such beliefs severely limit our appreciation and utilization of drawing as an innate human capacity. In redefining drawing as a form of “symbolic mark-making,” Dowd liberates this activity, placing it alongside writing and speaking as essential, natural methods of expression and discovery.

    The perpetuation of the myth that drawing is exclusively an art form begins early in our educational journeys. An excessive emphasis on realism and technical proficiency can stifle creativity and engagement, producing a sense of inadequacy and disconnection from the medium. However, by broadening our understanding of what it means to draw—to encompass everything from doodles and diagrams to abstract sketches—we recognize that drawing is not just for the “talented” few but a valuable tool for all, facilitating a deeper engagement with the material world and enhancing our capacity for comprehension and analysis.

    Drawing’s true value lies in its versatility and efficacy as a cognitive and problem-solving tool. It enables the visualization of concepts, simplifies the communication of complex ideas, and aids in the iterative process of exploration and understanding. This capacity for visual thinking is not confined to artists or designers but is beneficial across a broad spectrum of disciplines, including science, mathematics, and engineering, where drawing serves as a bridge between the abstract and the tangible.

    In stark contrast to the passive and ephemeral nature of digital information consumption, drawing demands engagement, immersion, and active participation. Dowd critiques the prevailing over-reliance on digital technologies for quick answers, arguing that this reliance undermines our ability to engage deeply and thoughtfully with information. Drawing, by necessity, slows us down, compelling us to observe more closely and to process what we see with greater care and consideration. This engaged learning process not only counteracts the superficiality of digital consumption but also reconnects us with our sensory environment, tapping into the evolutionary benefits of our manual dexterity and spatial intelligence.

    Beyond its cognitive benefits, drawing also plays a vital role in personal and social development. It fosters humility, as the act of drawing confronts us with the limits of our knowledge and capabilities. It teaches patience and respect through the disciplined observation required to capture the essence of our subjects. Moreover, Dowd posits that drawing can significantly enhance our sense of citizenship. By encouraging us to question, to observe critically, and to engage with the world thoughtfully, drawing becomes a tool for informed and reflective participation in society.

    Drawing, therefore, is not merely a skill to be mastered but a practice to be embraced for its capacity to enrich our understanding, to sharpen our minds, and to deepen our connection to the world. The act of drawing, in its most inclusive definition, becomes a journey of discovery—a way to see more clearly, to think more deeply, and to communicate more effectively.

    In advocating for a renaissance of drawing in our educational systems and daily lives, we acknowledge the untapped potential of this simple yet profound tool. By encouraging a culture where drawing is recognized and valued for its role in learning and exploration, we open the door to a more engaged, observant, and thoughtful society. It is time to shed the constraints of narrow definitions and to embrace the pencil and paper not just as instruments of art, but as essential tools in our collective quest for knowledge, understanding, and connection. Let us, therefore, dust off our sketchbooks and pencils—not in pursuit of artistic mastery, but as explorers and learners, eager to unlock the full spectrum of benefits that drawing has to offer.