Woodcut printing stands as the earliest known printmaking technique, a fascinating relief process that involves carving a design directly into a wooden block. This ancient method, rich in history and artistic expression, allows for the creation of striking images with bold lines and distinctive textures. In woodcut, the areas carved away from the block do not receive ink, and thus appear white in the final print, while the raised surfaces hold the ink and create the image.
A selection of woodcut tools including chisels, gouges, an ink ball, and a roller, essential for creating woodcut prints.
The creation of a woodcut begins with the careful selection and preparation of the woodblock. Pear wood is frequently favored for its fine grain and workability. The wood is sawn along the grain and meticulously planed to achieve a smooth surface. Seasoning the block is a crucial step, reducing moisture content to prevent warping or cracking under pressure and with age. The dimensions of the woodblock are dictated by the desired image size, limited by the capabilities of the printing press. Larger prints often necessitate the use of multiple blocks, printed individually and later assembled to form the complete artwork. Smaller blocks are preferred for their durability, being less susceptible to damage during the printing process. A block thickness of approximately one inch is considered ideal, providing both ease of handling and resistance to wear.
Once the woodblock is prepared, the design is transferred onto its surface. This can be achieved by drawing directly onto the block or by adhering a sketch to it. Another method involves transferring a design from paper using chalk or graphite. The back of the design sheet is coated with chalk, then positioned on the block, and the artist traces the design lines with a stylus. The pressure from the stylus transfers the chalk outline, effectively imprinting the design onto the wood surface.
An animation demonstrating the process of transferring a design onto a prepared woodblock for carving.
The task of carving the woodblock is often entrusted to skilled block cutters. Using specialized tools such as chisels, gouges, and knives, they meticulously remove sections of the woodblock that are intended to be white in the final print.
Animation showing the careful carving process of a woodblock, removing wood to create the design.
The remaining raised lines of the block form the image, standing in relief. This characteristic places woodcut within the category of relief printmaking techniques, where the ink sits on the raised areas.
A raking light photograph highlighting the carved relief surface of a woodblock, ready for inking.
Inking the woodblock is a delicate process. Ink is applied evenly using a dauber (ink ball) or a roller, ensuring that ink is only deposited on the raised surfaces and does not seep into the carved recesses.
An animated illustration of the inking process, evenly applying ink to the raised surface of the woodblock.
To create the print, the inked woodblock is placed on the bed of a printing press. A sheet of dampened paper is carefully laid over the inked surface. Printmakers may employ either a platen press or a roller press to apply even pressure. While early relief prints might have been made by hand-pressing, the press ensures consistent ink distribution and a clearer, more uniform print.
Animation showing a woodcut being printed in a press, transferring the inked image to paper.
The resulting woodcut print reveals a design that is a mirror image of the original carving on the block.
A comparison image showing a woodcut print next to the original carved woodblock, demonstrating the reversed image.
Liz Zanis (American, born 1980). Big Rocks, 2018. Woodcut and woodblock. Courtesy of the artist. Woodcut continues to be a vibrant and relevant art form today, practiced by contemporary artists worldwide.
Explore Woodcut Masterpieces
Diogenes, seated before his barrel, reading from a book, a plucked hen standing behind him at right
Two Women on the ShoreDiscover more woodcuts from the Museum’s Collection.
Marquee image: Christoffel Jegher (Flemish, 1596–1652/53), after Peter Paul Rubens (Flemish, 1577–1640). The March of Silenus (detail), ca. 1652. Woodcut. The Metropolitan Museum of Art, New York.
