Tools and materials are, by far, the most popular questions we get each day. Below, you’ll find a list of everything used most regularly in the Rise + Wander studio. These opinions are based on personal experience, and it’s important to remember that experimenting on your own is crucial. Your personal preferences might vary wildly, and it’s up to you to determine what works best for your technique and style.
As you scroll through, please note that if you order through the links below Rise + Wander can earn a small commission from the seller’s affiliate program. This in no way influences the items shared here, but is a way to make it easier for you to shop, while also helping to compensate for time, research, etc. Win/win!
And, on that note, here’s the fine print: Rise + Wander is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites. We also participate in Blick's affiliate program. This said, the following opinions are based solely on real experience and preferences, written with no regard to the affiliate programs.
The Basics to Get Started
When you’re just starting out, the wide variety of printmaking supplies on the market can feel overwhelming - especially if you’re creating on a budget. This first list is a pared down collection that lets you start printing right away with quality supplies that will last you quite a while, and also give you great results without breaking the bank.
Speedball's lino-cutter has an interchangeable head that lets you try out multiple gouges, so you’ll know where to invest when you’re ready.
Speedball Speedy Carve is a great rubber to start with, as it’s smooth, yet firm. The Tan Linoleum is another great option, but a little harder to carve into for beginners. Both are durable and last without crumbling.
Speedball’s Professional Ink is oil-based, but with very easy clean-up. I always recommend starting here, even though it’s more expensive than the water-based inks, because it’ll give you amazing results right away and give you a great printing experience.
Speedball Soft Rubber Brayer is an easy go-to. Just remember to get a size that matches the block sizes you’ll plan to work on (not too small, not too big).
Arnhem 1618 or Legion’s Stonehenge cotton rag papers are both great options for paper, and come in different pre-cut sizes or full sheets.
A bench hook or an acrylic sheet are great options for rolling ink out, but aren’t necessary items. Many people start out using flat-bottomed glass dishes (I know I did).
Speedball Baren isn’t a necessity, as you can easily use your hands or the back of a wooden spoon, but it can make getting clean prints a little easier sometimes.
The Full Printmaking List
Gouges
I spent my first years of printmaking using Speedball's lino-cutter, which comes with interchangeable heads and a comfortable plastic handle. Replacement heads are easy and inexpensive. I highly, highly recommend it to anyone looking to start printing, as it’s highly affordable, extremely easy to use and care for, and can last you many years. This is also the best way for you to explore different gouge shapes without breaking the bank.
Most recently, I primarily use Flexcut’s palm tools with comfortable wooden handles and sharp, sharp blades. I find them to be the most comfortable tools I’ve tried yet! These require sharpening, but luckily Flexcut also has a really easy-to-use sharpening kit for maintenance.
The first tools I upgraded to, and a close second behind Flexcut, are the ones in Pfeil’s set C. I chose Set C because it included all the gouges I use most often, but it’s important to really consider what you personally will need. A little pricey, but worth it. Keep in mind these require sharpening.
Carving Blocks
I alternate between both rubber and linoleum blocks, depending on the project. Each has its benefits, as well as its quirks. I buy all three different types from Blick.
Battleship Gray Linoleum is wonderfully inexpensive and can be found in extremely large sizes (24"x36" mounted). It tends to be a slower process, as the material is harder and more prone to cracking if you're not careful. The blocks can also harden over time if not properly cared for, especially with frequent use. I like to buy the pre-mounted blocks, as a personal preference; the mounting makes them really easy to handle while printing and stay perfectly flat.
Blick makes a two-toned rubber called Ready-Cut that's a bit more expensive, but still very reasonable. It also comes in a variety of sizes, with its largest being 12"x18". It carves smoothly and easily, with only a little snagging here and there if your tools aren’t sharpened properly. It has become my preference lately.
Speedball makes a pink rubber called Speedy Carve, which is the smoothest to carve, extremely durable, (you can come back after years and years, without any quality difference in printing), and just a dream to work with. It's a little pricier to buy, but really worth it. Unfortunately, they're a little more limited on sizes, with the largest being right around 12"x12". Also, don't be confused by their similarly named materials (they are worth trying, but not the same thing); remember to look for the pink rubber!
There are so many different options available, and this is one area it’s especially important to experiment for yourself to determine what you enjoy carving and what will print best for you. You want to ensure you enjoy the experience from start to finish!
Ink
I use Speedball's Professional line of water-miscible, oil-based relief printing ink the most often, as it provides excellent coverage and is ridiculously easy to clean up (just as easy as water-soluble). You spray some Windex on to the block, brayer, and inking plate, and it washes off in seconds. I kind of think they’ve created magic over there at Speedball.
But, if you’re just starting out with printmaking, I definitely recommend buying either Speedball’s water-soluble ink or the Blick version. They are a little cheaper and will work great as you experiment and explore. Speedball has a lovely water-soluble ink starter set with multiple colors to try out - and have fun mixing!
Please understand that for many projects, you’re completely fine to use water-soluble ink - and if you’re doing anything with kids it’s probably preferable (and less expensive when the kiddos invariably waste it). There is a bit of a misconception that oil-based is automatically better. Water-miscible works really, really well with great coverage and viscosity. That said, oil-based is especially important for mixed-media projects, like adding watercolor, as the ink won't bleed. It’s also important for creating beautiful highly-pigmented archival pieces.
Next to material, I find inks to be one of the most finicky elements of printmaking - one printmaker might swear by a certain brand, while another has nothing nice to say about it. This is an area I really encourage you to branch out and experiment before settling on a favorite. All sorts of factors can affect what works for you personally, from your style to your climate.
Brayer
I have many Speedball brayers, and have used both hard and soft rubbers. The general rule is that hard brayers are better to keep ultra-fine details in tact, as soft brayers are more likely to bring ink into those fine carving lines. If you’re using softer rubber on fine detail, it’s important to build up light layers of ink to avoid flooding the image. I like to keep a variety of sizes on hand to use according to the block size.
Baren
Right around when I upgraded my gouges, I decided to buy a Speedball Baren for Block Printing. I'd been using my hands exclusively for a year (that old wooden spoon trick never did much for me) and wanted to be able to apply firmer, but still even pressure. I bought the simple Speedball baren, and it has definitely helped. I don't know why I waited!
Paper
This is the item that took the longest to find something that really worked for me. I tried many brands and types, with different results. I was often smitten with the beautifully textured papers or those with all the interesting details… but in the end, I love 100% cotton rag that’s velvety soft and smooth. For most projects, I use some variety of Legion Paper’s Stonehenge line or Speedball’s Arnhem 1618. Along with ink, I think paper can be one of the biggest variations between artists. It really depends on an individual's preferences and vision for the work.
Painting Preferences
Brushes
Paints
Full disclosure, I’m the opposite of a brush snob. I once purchased a bundle of ten used brushes at an antique shop for $1 and fell in love with them. I typically use palette knives for many of my acrylic works, but my go-to brushes tend to be the Utrecht Manglon Synthetic Brushes. They’re reasonably priced, are comfortable to use and work well, hold up to a fair bit of abuse, and generally last quite a while.
Now, if I’m totally honest, though, I do have favorites. Escoda brushes. I have a good handful of these in different shapes and sizes, some for watercolors and some for acrylics. These are a bit pricier (for good reason, they’re amazing!) and I treat them like little bristled divas to ensure they last me forever.
I love Golden’s acrylic paints. Full stop. Period. Mic drop. Enough said.
Except, of course, I’ll say more. I use the heavy body line most often, as it’s buttery smooth and rich in pigment. The colors are beautiful and they lend themselves well to my heavy paint swipes. They’re beautiful and dry quite quickly. There’s a nice starter kit you can purchase to try them out.
But as much as I love the heavy body line, I also love the slow-drying OPEN line for landscapes, when I want to manipulate the paint longer. They also have a softer texture.
And, finally, the fluid line has its place in my work and I do enjoy the nice and easy flow for some aspects of projects.
Clearly there are a number of options just within one brand, so be sure to check out these, but also try out others. Walk into an art store (with coupons, obviously) and select a few different brands and types to try. Don’t commit and buy all your favorite colors until you’re positive this is the paint you love.