Wooden Baren Printmaking - Back to the Roots

Printmaking Without the Press - the Wooden Baren

Gliding a Ritualis Press wooden baren over paper to take on the ink of a new linocut design evokes a special kind of feeling. There’s something both meditative and rewarding about affording the time and care to do everything by hand. It’s maybe the feel and the sound of the baren pressing ink between soft paper and linoleum. That, and that it requires only a small home studio space for hand printmaking. This makes it a handy on-the-go alternative to using a linocut press – for beginner to hobbyist and professional printmakers alike.

The following is my ode to printmaking without the press, hoping to reach fellow linocut printmakers specifically. Find a brief history of the baren in printmaking, different types of barens, and some of my favorite tools ahead.

The Roots of the Printmaking Baren

Hand printing using a baren is popular for linocut, woodcutting, wood engraving, relief printing and other monoprint techniques. Although, the roots of the printmaking baren are in traditional Japanese wood block printing, or mokuhanga.

In the Japanese tradition of block printing, the baren is a disc-shaped hand tool. It has a solid inner core consisting of layered heavy washi, which is coated with black lacquer and wrapped in bamboo leaf. The bamboo twists on one side to form a grip, while the tool itself is smooth, lightweight, and flexible. This allows artists to feel the movement of the baren over the block, and to adjust pressure for detail, texture, and absorbency.

There are also two types of the traditional mokuhanga baren: the daiyo baren with a heavier core, and the more expensive hon baren. The hon baren has a flat, coiled cord core, which is more lightweight and flexible for greater sensitivity.

Alternatively, modern hand printing barens for linocut and relief printing now often take advantage of solid wood or blown glass. The sturdier core and smooth surface area of these materials offer better support for applying even pressure over paper. Wood and glass grips can also fit comfortably in the palm of the hand, unlike barens with smaller handles.

Photo source: MAU Art & Design Glossary http://art-design-glossary.musabi.ac.jp/baren/

Different Types of Printmaking Baren

In addition to traditional Japanese block printing barens, there are several types of barens for relief press printing and linocut. For one, there are extremely inexpensive homemade approaches to the baren, like to burnish the back of paper with a wooden spoon or smooth plastic. This is great for beginners learning linocut, and for saving money by using on-hand household items.

Then, there are the artisan handcrafted wooden barens and glass-blown barens. The main advantage to these is the additional comfort and support when applying pressure for hand printing. That, and the artistry that goes into making each piece also a decoration to compliment the home studio or workshop space. Professional barens are also available in a range of designs and sizes for hand printing on small to large paper. The range of prices doesn’t have to break the bank either.

Types of Ink and Paper for Hand Printing

Usually, smoother lightweight papers are best for hand printing by wooden baren or glass baren. In this case, the ideal sizes are 60-120gsm (or under 150gsm Japanese washi) using either oil-based or water-based inks, with water-based inks being quicker to dry.

The same is true if using the back of a spoon or plastic to burnish paper. The lighter weight papers consistently print better results. They also require less effort in general to apply the print.

Although, it is important to protect the baren from ink stains, which is possible using a piece of greaseproof paper. Greaseproof paper can fit between the baren and the back of the print paper. This will still allow the baren to glide smoothly over the print, while protecting it from staining at the same time.

The Wooden Baren from Ritualis Press

To me as a bit of both a hobbyist and collector, less expensive and homemade barens never really did the trick. The bamboo barens felt too fragile, and I never felt comfortable using the back of a spoon or plastic from around the house. This is where I find the wooden printmaking baren from Ritualis Press offers both practicality and stylishness.

Each wooden baren features a one-of-a-kind design of polished oak and ash, available in three unique color combinations to match any studio space. The designs also feature a comfortable grip for control, with a smooth olive oil finish to enhance the wood’s natural beauty. At the same time, the heavier weight of the solid oak and ash wood promises easier, smoother relief printmaking on paper or fabric.

This is all on top of the added bonus of supporting the Czech woodmakers who ensure no two barens are alike. Each baren is wonderfully handcrafted, sanded, and polished with wonderful natural tones that look great on any shelf or workshop table.

More Printmaking Tools & Accessories

Beyond wooden barens and glass barens, Ritualis Press offers a whole line of studio tools and accessories for printmaking and linocut.

The Ritualis Press linocut presses for example serve as a professional quality alternative to hand printing by baren. They are available for A5, A4, and A3 size prints, with a range of accessories for any level printmaker. There are ink rollers, lino printing inks, cutting matts, felts, aprons, and all the goodies to make home studios complete.

Looking for inspiration for your next linocut design? Join other beginner to hobbyist and professional printmakers alike in the Ritualis Press Instagram Community. You’ll find clips from all the Ritualis Press printmakers and enthusiasts, together with design ideas, reviews, and more!

Written by Justin