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Poetry of Departures - A Linocut by Gail Brodholt

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Orlando Weeks x Dulwich Picture Gallery: understanding Edward Bawden

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A bit of background

From Brillo boxes and black bean soup to portraits of films stars, Andy Warhol is famous for his bright and bold paintings and prints that celebrate 1960s popular culture. This style of art is called pop art.

Printmaking appealed to Warhol as it allowed him to repeat a basic image and create endless variations of it by using different colours or sometimes adding paint to the printed surface.

Isn't life a series of images that change as they repeat themselves?
Andy Warhol

In 1972, Warhol made a series of screenprints of Chairman Mao, the leader of communist China. Mao may seem an unlikely celebrity, but in the early 1970s America's president, Richard Nixon, visited Beijing and Mao's portrait was everywhere - making him something of a contemporary icon. Warhol used a photograph from the cover of the Little Red Book (a book of quotations by Chairman Mao) as the starting point for his portrait.

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From Brillo boxes and black bean soup to portraits of films stars, Andy Warhol is famous for his bright and bold paintings and prints that celebrate 1960s popular culture. This style of art is called pop art.

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Skip to content

Andy Warhol, Flowers, 1964-65. The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © The Andy Warhol Foundation for the Visual Arts, Inc.

Unit

This lesson is part of the Silkscreen Printing unit.

Grade Level

Middle School

High School

Subject

Arts

Art history

Social studies and history

This lesson walks students through Warhol's underpainting and photographic silkscreen printing process using their own source material and silkscreens.

Objectives

Students will discuss the advantages and disadvantages of using a mechanized process like silkscreening to produce works of art.

Students will demonstrate the proper steps of the photographic silkscreen printing process.

Students will apply Warhol's process of tracing and underpainting as a base layer for their final silkscreen print.

Image Gallery

Andy Warhol, two-sided collage; adapted from a Modern Photography magazine, June 1964, photographic spread of color transparencies by Patricia Caulfield; source for Flowers series by Andy Warhol, 1964.
The Andy Warhol Museum, Pittsburgh; Founding collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. T372

Image cut from a magazine take by photographer Patricia Caulfield and the source image for Warhol's Flowers series.

Andy Warhol, Flowers (unfinished), 1965. The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. T765

An example of Warhol's underpainted Flowers before the final silkscreen layer is added.

Andy Warhol, Flowers, 1964-65. The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © The Andy Warhol Foundation for the Visual Arts, Inc.

An example of the finished underpainting with the black silkscreen layer added.

About the Art

Andy Warhol turned to his most notable style-photographic silkscreen printing-in 1962. This commercial process allowed him to easily reproduce the images that he appropriated from popular culture. Warhol's Flowers series is a portfolio of ten screenprints and hundreds of paintings based off of photographs taken by Patricia Caulfield, which were featured in the June 1964 issue of Modern Photography magazine. After selecting the image, Warhol sent it to a commercial silkscreen maker with a note as to the desired dimensions of the screen and the number of colors to be printed. After the image was exposed and the screen was prepared for printing, it was returned to The Factory, Warhol's New York City studio. The photographic silkscreen printing process created a precise and defined image and allowed Warhol and his assistants to mass-produce a large number of prints with relative ease. While the flowers originate from realistic photographs, Warhol altered his versions of the flowers, by flattening, cropping, and increasing the contrast of the image, then painting them using vivid colors. Caulfield saw the initial prints and took legal action against Warhol. Warhol offered her a couple of prints in hopes of settling the dispute, but she declined the offer. They settled and in 1964 Warhol went on to exhibit his Flowers at the prominent Leo Castelli Gallery. While Warhol didn't invent the photographic silkscreen process, he developed his own technique by combining hand-painted backgrounds with photographic silkscreen printed images to create unique works of art.

The reason I'm painting this way is that I want to be a machine.

Andy Warhol, Art News, 1962

Points of View

I tried doing them by hand, but I find it easier to use a screen. This way, I don't have to work on my objects at all. One of my assistants or anyone else, for that matter, can reproduce the design as well as I could.

Andy Warhol, Andy Warhol, 1969.

Discussion Questions

Warhol developed the process of underpainting before adding the final photographic silkscreen print. What were the advantages of underpainting as opposed to making a multilayer print with multiple silkscreens?

Discuss this quote by Warhol as a class: "The reason I'm painting this way is that I want to be a machine."

What did Warhol mean by this?

What are the advantages and disadvantages of painting "like a machine"?

Procedure

Review the process video of Warhol's silkscreen printing technique and the Underpainting and Printing Powerpoint as a class.

Tracing: Make a tracing of the image from the film positive. This will serve as the guideline for the underpainting. Trace only the general shapes such as contours of hair, shoulders, eyes, nose, lips, etc.

Registering and transferring: Use your tracing to register or place the image onto the paper you will be printing on. The size of your paper depends on how much space you want as a border around your image. As an example, if you wanted to have a two inch border all the way around an 8 1/2″ x 11″ print, your paper size would be 12 1/2″ x 15″. Center the tracing onto the paper, then lightly tape it down to hold it in place. Slip a sheet of graphite paper underneath the tracing paper. Retrace the image to transfer it to the paper. Once this is complete you can begin the underpainting.

Underpainting: Paint the areas on the paper you have traced. As you begin to underpaint, keep the film positive handy so you have an idea about which areas will be printed and which will not. The areas that are black on the film positive will print with the color ink chosen. Know this might help you decide which areas to paint. Try not to leave any lumps of paint on your surface: if the painted surface is smooth it is easier to print. Once the paint is dry you are ready to print.

Registration: There are a number of ways to set up your screen when doing multiple prints. A very efficient way is to have the screen hinged to your work surface. This eliminates the need to have people holding the screen in place while printing. If you don't have a hinged screen, you can register your silkscreen and your paper together onto your printing surface using masking tape to mark the position (this will work if all the papers are the same size and the image is in the same place).

First you need to mark where your paper will be placed on the table. Use masking tape to mark the corners. Now each paper will be placed in the same spot on the table.

Second, register/line up your film positive onto the underpainted image. Lightly tape the film positive to the paper to hold it in place.

Third, register/line up your screen to the film positive. Lay the silkscreen (squeegee side up) on top of your paper. Look through the open areas on the silkscreen and use the film positive underneath to line up the image. Mark the spots where the corners of the silkscreen are on your printing surface with masking tape. Once you have marked your work surface, each time you print you will know where both paper and screen go.

Printing: The person who is printing will use the squeegee to push the ink through the screen. The squeegee should be held against the screen surface at an 80-90 degree angle as you make a pass. When the squeegee reaches the bottom of the image, scoop the excess ink up with the squeegee and return to the top of the image for a second pass if needed. Always press down on the squeegee firmly and move in a smooth continuous motion. If you do not have your screen secured with hinge clamps, have another person hold you screen down securely while printing.

Removing the screen from your print:

If the screen is on a hinge clamp, lift up the screen and prop it up. Remove the print and place another piece of paper down to begin again. Once you begin to print you need to work quickly because the ink can dry in the screen in a short period.

If you don't have hinge clamps, place the squeegee to one side of the screen and lift the screen off the print like you are opening a book. Take out the print and place another sheet of paper down in the registration marks and begin again.

Cleaning Screen: The ink on the screen will begin to dry and can ruin future prints of not cleaned promptly. To wash the screen, remove any excess ink with a plastic scraper, then spray with water. You can wash with a soft sponge and mild soap. Do not use any rough abrasive cleaners or scrub sponges on the screen. Let the screen dry before printing again.

Wrap-up

After the final silkscreen prints are dry, hang them up and conduct a class critique. One technique to try is the "Sandwich Critique," which consists of bread (compliment), meat (constructive criticism), and more bread (another compliment). This technique ensures a positive start and end to the critique while allowing suggestions for improvement. Here are a few questions that could help guide the critique:

Is the underpainting successful?

Color scheme: student considered color theory when choosing their colors (ex: warm or cool colors to convey a mood, complimentary colors to create contrast and balance, analogous colors for visual appeal, etc.)

Paint application: did the student leave any lumps of paint on the surface that interfered with the final print layer?

Is the final printed layer successful?

Registration: student carefully registered their print so that it lined up with the underpainting.

Printing: did the student apply too much or too little ink when silkscreening? Was a proper amount of pressure used when making a pass with the squeegee?

Extension

For the first layer, students could create a collage using torn or cut paper instead of paint. The finished product will have the look of Andy Warhol's Mick Jagger portraits.

Assessment

The following assessments can be used for this lesson using the downloadable assessment rubric.

Aesthetics 1

Communication 3

Creative process 1

Creative process 4

Creative process 5

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Lesson 4: Underpainting and Photographic Silkscreen Printing | The Andy Warhol Museum

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Skip to content This lesson is part of the Silkscreen Printing unit. Middle School High School Arts Art history Social studies and history This lesson walks students through Warhol's underpainting and photographic silkscreen printing process using their own source material and silkscreens.

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Woolwich Contemporary Print Fair | Explore, Discover & Collect

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The UK’s largest fair of its kind, WCPF offers affordable, limited edition original fine art prints curated from over 500 emerging artists & leading galleries.

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We speak to artists about their creative processes and passion for print. Expect inky fingers, creative workspaces, sketchbooks and prints made using all kinds of techniques and mediums.

* Released quarterly in January, April, July and October
* Print run of 4,500 copies - shipped and sold worldwide
* Available in print and digital editions

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We speak to artists about their creative processes and passion for print.

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Lemonade Press - Lithographic press, Bristol

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Lemonade Press - Lithographic press, Bristol

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Artist residencies are designed for artists who require studio access for a specific project or simply to spend time exploring ideas. The residency is fully customisable by the visiting artist, giving flexibility into the residency structure.

Choose a range of timeframes, from a week to a month and decide whether to have assistance from our master printer.

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The Lemonade Press - Lithographic Studio in Bristol

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Artist residencies are designed for artists who require studio access for a specific project or simply to spend time exploring ideas. The residency is fully customisable by the visiting artist, giving flexibility into the residency structure. Choose a range of timeframes, from a week to a month and decide whether to have assistance from our master printer.

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Letterpress Collective - letterpress printers, Bristol

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Letterpress Collective - letterpress printers, Bristol

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Thanks to Lily Watts for photography of Nick and Ellen some of the images in the printshop. And to Jonathan Cherry for the image of Nick and the printing bike. All other photography by Nick Hand.

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Bicep Press | Fine Art Screen Print Studio Bristol

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Bicep Press is a fine art print studio based in Bristol, UK. We specialise in creating limited edition silkscreen and digital prints for artists, galleries and publishers.

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16 Tonne Press - Riso and Screen printers, Bristol

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16 Tonne Press - Riso and Screen printers, Bristol

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I'm an Illustrator, Printmaker and Arts Educator based in Margate. I used to love drawing as child but it took a long time to find my way back to art, spending my twenties in a variety of unfulfilling jobs before studying Digital Design at the London College of Communication. After a few years of being an Artworker and Illustrator I stumbled into the seedy world of printmaking firstly via screenprinting at Print Club London before settling on linocut. For the past five years I've been teaching Illustration and Printmaking at the BRIT School in South London at the Saturday school BRIT Kids for 8-18 year olds.

Describe your printmaking process.
Fraught. Sketchbook studies become pen and ink illustrations sometimes with watercolours. Then these get transferred onto old school grey lino via rough pencils. Then I use Indian ink and dipping pen straight onto the lino. It's water resistant so withstands multiple block cleans although it does sometimes transfer onto lighter colours in the print process but it usually gets covered by subsequent darker layers. I use Ternes Burton registration tabs - I've tried some multiple block printing but it stresses me out and I don't get great results - so the registration tabs are a dream to use. I love carving lino and feel confident doing this part of the process. I can't say the same about the printing which is where everything tends to go wrong particularly now I'm using a bigger press at Hello Print studios and I'm basically winging everything.

How and where did you learn to print?
I'm self-taught for the most part. I did some linocut printing at college but the tools were bad, the inks were worse and the results were terrible. I didn't have any initial draw towards the medium. Fifteen years later my partner bought me a basic linocut set and I gradually got hooked. It was a lot of trial and error and bugging linocut artists on Twitter/Instagram about inks and tools etc. I'm still learning. I can get bored if I'm too comfortable with a process so I'm always looking to develop whether it be in scale or technique.

Why printmaking?
Initially I liked how I could recreate my illustrative linework quite closely in linocut prints. And the DIY inexpensive nature of the medium. Plus over the course of the last ten years I've become less and less content relying on computer techniques for finishing artwork. I find colouring and layering on a computer absolutely joyless. With linocut I can make a run of prints without even opening Photoshop. Which has also become prohibitively expensive so it's a win/win.

Where do you work?
I work between my home studio space and increasingly at Resort/Hello Print Studios in Margate where I share a deskspace and have access to the fantastic printmaking facilities there.
Describe a typical day in your studio.
Tea. Draw a bit. Fret about how much nice paper costs. More tea. Listen to a record. Cut some lino. Adam Buxton podcast. Tea. Crisps. Do some printing. Fret. Get Nick Morley aka Linocutboy to help me out of a horrendous print hole. Tea. Collapse.

How long have you been printmaking?
Screenprinting on and off for about ten years and linocut for about five years. I'm pretty much all linocut now.
What inspires you?
Too much. It means my work isn't always terribly cohesive but I'm into too many different things. Music is a big inspiration hence my Alphabet of Musicians series from 2018 where I did a two colour reduction print every fortnight for the entire year covering all my favourite musicians, singers, producers and rappers through A to Z. I also love folklore and myths. I self published a collection of illustrated folklore stories called FOLKGORE a few years ago with more effin' n' jeffin', blood n' guts and nudity. I'd love to go back to that but with linocuts. I curated an Instagram linocut witch themed folklore collection called Linocutcoven with some of my favourite printmakers. I'd love to do more of that and get an exhibition together of the wonderful work artists made. Plus I'm inspired by film, books, art, children's book, nature etc.

What is your favourite printmaking product?
Hmmm maybe Caligo safewash inks. They were a bit of a breakthrough after printing with water-based inks and getting poor quality prints. That said Ternes Burton registration tabs are probably the most irreplaceable element of my printing process.

What have you made that you are most proud of?
I have a mural on the High Street in Thornton Heath which evolved from a public art project with the local council. I led linocut workshops for the local residents on the theme of flora and fauna in the area and we created a series of prints. I then developed the prints into my own linocuts and went onto paint the artwork onto huge panels creating a map of the local area including Kayla the Eagle (representing my football team Crystal Palace).

More recently I did a six colour reduction print inspired by Joan of Arc that was technically very demanding and I'm really happy with how it turned out.
Where can we see your work? Where do you sell?
I'm on Instagram and I exhibit now and again, most recently in Whistable at the Horsebridge Arts Centre alongside the likes of Laura Boswell, Ben Dickson and Ieuan Edwards. I'd like to sell in galleries and shops more but I tend to underprice my work so by the time you factor in commission I'm better off selling online. I'm working on this though. I also currently sell on Etsy but they're turning into greedy rob-dogs so I may switch over to Big Cartel soon.

What will we be seeing from you next?
I'm halfway through a big tiger reduction linocut print based on a watercolour illustration I did last year; if it works it could be vying for proudest print achievement. Big IF though as quite a lot has gone wrong so far...
Do you have any advice for other printmakers and creatives?
Be patient. Make prints that draw on your loves rather trying to make work following trends. Be nice. Have a master printmaker on hand for when everything turns to shit.*

Website - www.matpringle.co.uk
Instagram - @MatPringle
Etsy - www.etsy.com/shop/MatPringle

* This may not be an option for many people but I highly recommend it.

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I'm an Illustrator, Printmaker and Arts Educator based in Margate. I used to love drawing as child but it took a long time to find my way back to art, spending my twenties in a variety of unfulfilling jobs before studying Digital Design at the London College of Communication.

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Tjantings (or cantings) are beautiful Javanese tools for applying wax to cloth when making a batik. They have a long handle and a little copper or brass pot with a spout from which melted wax is let out.

Tjantings can be tricky to use at first but don't be discouraged! Once you have got the hang of how to use them, they will enable you to draw fluid lines onto cloth, creating detailed and delicate batiks. Here are our top tips for using tjantings:

Tjantings are available in different types and sizes. Usually, tjanting sizes are numbered: a smaller number referring to a smaller sized spout. The larger the spout, the faster the wax will come out and the thicker the drawn line will appear. Smaller spouted tjantings will allow you to draw more slowly but will require more frequent dips into the wax pot to remain hot as the small spouts are quicker to cool and block.

Hold the tjanting in the palm of your hand, not like a pencil. This should give you more control over the tool and it is less likely to spill. You want to hold the centre of the handle: holding too close to the end will be wobbly, too close to the pot will be too hot.

In your other hand, hold a wad of kitchen roll or a folded rag. Use this to cup the tjanting each time it comes out of the wax pot. It will collect the excess wax from the outside of the tool, preventing it from dripping onto your work. It will also stop wax dripping from the spout of the tool until it has reached the cloth to make its first mark.

Make sure the tools stay hot. Warm each tool in the wax pot before use. We are using a Tixor Malam Wax Pot set at about 5 on the dial. This pot can accommodate several tools so place all the tjantings and brushes (natural fibres only!) you are going to need for the session to allow them to get warmed up.

Only remove a tool when you are ready to make a mark. Pick up the tjanting and place it immediately into the wad of kitchen roll or rag in your other hand. Be careful as the tool and wax will be very hot. Bring the tool to your work and place it confidently down onto the fabric. The spout of the tjanting should make contact with the cloth. Begin moving along the fabric straight away to avoid a large blob at the start of each line. As soon as you have finished a mark, pick up the tool, cup it in the rag once more and carry it back to the pot.

To achieve a smooth line, it can help to hold the tjanting with a very slight tilt to one side. A right-handed person may tip it slightly to the right. The enables the spout to glide along the fabric whilst allowing a little gap from which the wax can pour. Be careful not to tip it too much or the wax can spill!

Return to the wax pot frequently, after each long mark or collection of short marks. Don't wait for the tjanting pot to be empty - it is likely that the wax will cool down too much before that point.

If the wax in the tjanting becomes too cold it will begin to leave the spout more slowly before blocking it completely. The wax needs to appear darker that the fabric. Wax that is too cold looks pale on the fabric and won't penetrate all the fibres. This means that the dye will undermine the wax and your marks will disappear!

Take a look at the video below to see tjantings in action. For more information about making a batik including dye recipes, see our other batik blog posts here.

You can find a selection of tjantings and other batik tools here.

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Tjantings (or cantings) are beautiful Javanese tools for applying wax to cloth when making a batik. They have a long handle and a little copper or brass pot with a spout from which melted wax is let out. Tjantings can be tricky to use at first but don't be discouraged!

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Printmaking Tutorial. Woodcarving with Woodblock Tools. Intaglio Tricks and Techniques Demo

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Intaglio printmaking is a printmaking method using marks incised into a plate. Ink is worked into the recesses of the plate and is usually printed onto dampened paper through an etching press. Intaglio printmaking can create strong positive marks, interesting texture and tone - these results shouldn't be missed out on if you don't have access to a press! Read on for an at-home method for printing a tetra pak collagraph plate without a press.

You'll need to save a tetra pak from your recycling bin - UHT and plant milk cartons, juice cartons and passata packets are all examples of what can be used. Give them a good rinse and cut them to unfold into a flat plate.

The fold lines in the plate will usually affect the print so either avoid them or embrace them as part of the design for a quirk of the medium.

Use an etching needle to scratch into the plate. Any other tool sharp enough to score a mark without cutting the cardboard will do the trick - try a nail.

These scratched lines will hold ink and print as a positive mark. We can also create areas of dark tone by peeling away the wipe-clean plasticized surface to reveal the fluffy cardboard layer. Score the edges of a shape...

... and carefully peel the top layer from the card.

The intaglio printmaking method usually requires dampened paper. The damp paper helps to draw the ink from the plate. Damp paper is also softer and so can flex into the texture of the plate to reach the ink and create debossed plate marks. A thicker paper will handle being soaked without warping or falling apart. We're using Snowdon which is a 300gsm cartridge printmaking paper.

Before beginning inking, soak the paper in a tray of cold water. The time it takes to ink a plate is usually around the right time to soak the paper but you can experiment with different lengths of time.

Apply ink to the plate using a piece of mountboard or old store card. Scrape it onto the plate and into the lines. Intaglio ink is best for this process - this is Akua Intaglio Ink in Carbon Black.

Next, we need to work the ink into the lines and texture of the plate whilst removing excess ink from the surface. Scrim or tarlatan is best for this. If you don't have that, any gauze or netting can work - here we are using the mesh bag from a pack of onions!

Polish the excess ink from the surface using tissue paper. This piece came from some packaging. Absorbent tissue will not work as well as it can remove too much ink. We want most of the ink to be cleaned from the smooth surface of the plate. Any remaining ink will give the image some tone. Take care not to clean too much or the ink could be removed from the lines.

Remove the paper from the water bath and blot off the excess. We want the paper to be damp but not dripping wet. Blotting paper is best for this but a clean tea towel works well.

Finally, we are ready to take the print. An etching press would squeeze the paper against the plate. When taking a print without a press we need to try to keep the paper and plate from slipping. We don't have this problem with relief printing as there is more ink on the surface to stick the two together. Placing the plate down onto a clean tea towel (although not your favourite one as the back f the plate is likely to be dirty), helps to reduce the slippage.

Place the damp paper on top of the plate. Cover with a scrap of baking parchment. This will stop the damp paper from pilling or slipping. Use a spoon to press all over the print. Press firmly but be very careful not to move the pieces around. Use your other hand to hold them still.

Peel apart the paper and plate to reveal the print!

For this project you will need:

Tetra Pak

Scissors

Etching needle (or another sharp tool e.g. a nail)

Akua Intaglio Ink

Mountboard or store card

Scrim (or similar e.g. vegetable net)

Tissue paper

Paper in which to soak paper

Thick paper (we used Snowdon)

Blotting Paper (or tea towel)

Tea towel to rest plate onto

Baking parchment

Spoon

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Intaglio Printing Without a Press: Tetra Pak Collagraph

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Intaglio printmaking is a printmaking method using marks incised into a plate. Ink is worked into the recesses of the plate and is usually printed onto dampened paper through an etching press. Intaglio printmaking can create strong positive marks, interesting texture and tone - these results shouldn't be missed out on if you don't have access to a press!

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Rembrandt's printmaking process: 17th century etching

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How to make etching prints using Tetra Pak

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Experimental Collagraph Printmaking - (Part 1)

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My first introduction to linocuts was in grade school when I was 10 or so (I made a yin yang symbol for my Mom). But much later, while studying at Liminka School of Arts in Finland, part of the curriculum consisted of intaglio printmaking and woodcut.

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Like many others over the past year, I have been working on a lot of my printmaking projects at home. However, being limited on space doesn’t stop me from trying new things. In this blog post, I will be sharing how I exposed a screen at home in my tiny bedroom! You can adapt this method to expose yo…

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Using Drawing Fluid and Screen Filler to Print a Design onto Fabric

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Using Drawing Fluid and Screen Filler to Print a Design onto Fabric

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Using Drawing Fluid and Screen Filler can create a semi-permanent design on a screen, allowing you to print multiples of your design without stencils, over several sessions if you like. This is not a photographic technique so there’s no need for a light source, a computer or a dark space. This makes…

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Hi! my name is Sofia Salazar. I'm a textile designer from Argentina, and I've been living in Norwich for the past 8 years. I come from a family of makers and in my practice, I try to explore and experiment with almost every technique I learn about. Although at the beginning I used to work a lot more on textiles, mostly doing embroidery, in the last few years I've shifted almost completely to printmaking; Cyanotypes, linocut, woodcuts, screenprinting, pochoir and even kitchen litho.

Describe your printmaking process.
It depends on the printing technique I'll be using; some take more preparation and designing than others. For instance, I can sketch with charcoal on a big piece of MDF and just start carving the lines for a very expressive and rough print that will take me only a few hours. Or, on the other side completely, I can spend days or even weeks planning a reduction print on my Ipad before getting anywhere near my lino piece. For a reduction print, I'll first sketch a design on paper. Once I'm happy with it I'll start working on it on my Ipad, first considering where to apply colour and how many layers the design needs. Then I'll define the layers, decide the order in which they should be printed (because I use very strong colours I need to make sure the inks will cover each other completely) and once I'm finished I'll start trying different colours schemes and combinations. Only once I'm done with that I can start putting the tabs on my paper, transferring the first layer to the piece of lino and thinking about carving.

How and where did you learn to print?
Oh, we are 100% self-taught. I say "we" because my partner has been interested in the process from the beginning and many times he's the one insisting on trying something new. I've known about different printmaking techniques since I was a kid because at home prints were hanging from the walls, from the time my parents were students. I remember since then, paying a lot of attention every time I was in a museum, to see what techniques were used in the pieces I liked. So let's say I knew the names; I knew linocut was a thing, that etching was a thing, that lithography was a thing. Eventually, I started googling and watching YouTube videos, many times just buying the tools and giving it a try intuitively. We have printmaking books, we've read blogs, we've tried, failed and succeeded eventually too. We bought our first inks from Handprinted, in 2014 and from then on we've been trying almost everything in their catalogue! From my screenprinting screens to my ABIG press, it all came from them.

Why printmaking?
I've always liked the possibility of doing multiples without losing the handmade aspect. I like to be able to feel the texture of the inks, to see the colours blending, the uniqueness of the mistakes, to see the relief and marks left by the press. I like the feel of the paper and I love smelling the ink while prints dry around me. I like seeing something materialise in front of me, I like knowing that I've been involved in the making of each one of my prints and that you can tell by looking at them that a human made them. I like to think in terms of printing, dividing a design into layers, considering the order in which colours should be printed. I think I enjoy the process throughout.

Where do you work?
I work from home, I have my studio in the front room of our house, in Norwich, so I get to see a lot of passers-by and I love whenever someone stops to look at what I'm doing. I also like coming back from the shops or whatever I've been doing out and seeing from outside all my prints hanging on the walls, drying, and the tools on my table.

Describe a typical day in your studio.
Well, I try to take care first of what I like least... so I usually start my day tidying up, makings to-do lists, taking care of emails and preparing orders for shipping. That takes up more than half of my workday, but once I'm done I can "relax" and take care of re-stocking, printing or planning new work. Even though shipping is very time consuming and repetitive, there are advantages, like not needing to use my brain a lot and being able to re-watch films or listen to podcasts or things I can't really do when I need to focus a lot.

How long have you been printmaking?
I've attempted printing on a few occasions before but I've been doing it more seriously and non-stop since 2018.

What inspires you?
Other artists at work, either on Instagram, a museum or in a documentary. I love hunting for second-hand art books and seeing people's sketchbooks and studios. I love to study an artist or a subject in-depth until I hit something new I want to try or make. Wandering around a city just looking at buildings, watching films, people watching. Museums always have an effect on me, always make me want to go home and make something. Of course, I like art a lot and I'm inspired by the likes of Picasso, Matisse, Cocteau, Le Corbusier, Malevich, Arp, Calder, Miro, Picabia, Schiaparelli, Hepworth and Hockney.

What is your favourite printmaking product?
My Hawthorn Roller: I love a good and heavy roller. I find the Ternes Burton Registration Pins essential to my work.

What have you made that you are most proud of?
My partner and my father in law built a big press from scratch back home and with it, we managed to print our first large scale print. A print I'm still very proud of. Also, all my reduction prints take me so much time and effort that I always end up feeling proud even if it's only for finishing them. I think that's my favourite technique at the moment; I really enjoy how you carve away layer after layer until there's almost nothing left of your lino plate. And how there's no going back.

Where can we see your work? Where do you sell?
You can see my work and my process on Instagram and I sell on my website.

What will we be seeing from you next?
I'm working on some flat pieces for wooden sculptures that I want to try and print instead of paint, but I'm still sampling and trying out materials at the moment 🙂

Do you have any advice for other printmakers and creatives?
Well, I think a good piece of advice would be to follow your curiosity even when it feels like drifting away from your original goal. Exploring new tools, techniques and materials usually leads to new work and even to new styles, so that's always a good thing to try when you find yourself blocked. Lastly, it is always good to remember what you see on social media is only the best-curated version of ourselves and our work... you rarely see all the failed attempts so it is easy to think you're the only one making mistakes or not producing daily work that is museum ready!

To see more from Sofia follow her on Instagram.

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Hi! my name is Sofia Salazar. I'm a textile designer from Argentina, and I've been living in Norwich for the past 8 years. I come from a family of makers and in my practice, I try to explore and experiment with almost every technique I learn about.

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Choosing which Type of Lino is Right for You

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Oil-Based or Water-Based Relief Printing Inks?

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Oil-Based or Water-Based Relief Printing Inks?

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Hey, my name is Anna, I am 34 years old and from Germany. I started linocut printing in 2018 but my first printing experience was during my product design studies at University. I love bold and colourful illustration styles, tattoos and graphic design.

Describe your printmaking process.
I usually start with a vision of a new design. I try to put this on paper, usually in tiny little sketches that don't allow for much detail, but only the essentials. Once I'm satisfied with the sketch, I work it out digitally on the iPad. There I also plan the colours and layers. I print these layers mirror-inverted and transfer them separately to my linoleum blocks, which, printed on top of each other, form the whole design. I carve the first layer and print it. A few days later the process continues with the second layer and finally the third and last. Since I work with oil-based inks they take a few days, at best, to dry.

How and where did you learn to print?
I attended a lino printing class at uni in 2016, that's where I learned some basics that gave me an idea of what I would need to get started on my own. But then I learned step by step while making. I watched others on Instagram and saw what materials they were using, read blogs and just got started. My best influence was the desire to create and find solutions to problems.

Why printmaking?
I love illustration but found it a shame that many works just languish digitally as a file. I also wanted to create a product with my own hands and control the entire process. Linoleum printing was therefore the best of both worlds for me.

Where do you work?
I work from home. I have my own creative space that is all about printing.

Describe a typical day in your studio.
The most typical day probably consists of checking orders, printing, filming and editing. I love the bright midday hours to capture my process on film. Instagram is also an integral part of my day, so I usually put my film footage into my Stories. Later, I sit at my PC and create either a Reel from it or edit a photo or two. I am a bit unorganized still and tend to work from day to day.

How long have you been printmaking?
In the summer of 2018, I made the first steps at home and in October I created the first of my typical "girl designs". Discovering this design direction for myself was the best thing that could have happened. I prefer to work serially, that's what I took from my design studies. The fact that I found my style so quickly was a stroke of luck for me, it set everything in motion. I'm sure everyone is different, but for me, a certain framework helps me to be creative. My framework is the recurring structure of my girls, their themes are new.

What inspires you?
Especially illustration. Whether digital, traditional or as a tattoo. Colour compositions can also be totally inspiring. Movies, books, games - generally everything that is visual. But I wouldn't limit myself to that. Most of the time I don't have to make an effort to find an idea, they always come to me.

What is your favourite printmaking product?
I think it's the ink that I use. Mixing up the colours that I have planned digitally beforehand is a ton of fun. So my all-time favourite is the Caligo Safe Wash colours from Cranfield Colours. It was a game-changer for me to switch to (easily washable) oil-based inks and can only recommend it to everyone!

What have you made that you are most proud of?
If I leave out the jump into self-employment and I just focus on the prints, I would say the zodiac sign series. It was probably the most challenging because I had to actively do research, sometimes for a long time, to figure out the essence of a zodiac sign. My very favourite of those I created is Aquarius.

Where can we see your work? Where do you sell?
I sell my products on Etsy. Since I sell mainly abroad, this platform is still a great relief. On Instagram I am very active, there I show especially the creation process of my works!

What will we be seeing from you next?
I let my inspiration guide me very spontaneously, haha. But I'm trying to keep the number of new creations down a bit, on the one hand, to give more attention to the existing ones and on the other hand because I'm working on my own online course for lino printing beginners! There I will show the whole process structured and step by step. On Instagram, I already share many processes of my work but that of course is rather wild and spontaneous. My online course will be launching in the spring of 2022.

Do you have any advice for other printmakers and creatives?
Be sure to invest in good material if you are seriously interested. Nothing is more daunting (and dangerous) than having to work on old, hard linoleum plates with dull knives. You will lose motivation very quickly! Rather, acquire a few high-quality materials and expand your collection. I started with two cutting knives, unfortunately, chose the wrong sizes and had to reorder new ones directly. But of course, you learn the most from mistakes. Ask other artists what they recommend or use!

To see more from Anna follow her on Instagram and make sure to visit her Etsy shop and website. Feel free to join her waiting list so you don't miss any information about her upcoming online course for linocut beginners.

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Hey, my name is Anna, I am 34 years old and from Germany. I started linocut printing in 2018 but my first printing experience was during my product design studies at University. I love bold and colourful illustration styles, tattoos and graphic design. Describe your printmaking process.

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DRYPOINT: Step by Step Intaglio Printmaking for Beginners

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Another 3 Ways To Register Your Lino Ready For Printing

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Artist Demonstrating Ernst Ludwig Kirchner’s Color Woodcut Technique

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Artist Demonstrating Edvard Munch’s Jigsaw Woodcut Technique

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Artist Demonstrating Picasso’s Reduction Linocut Technique

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Linocut Printmaking in the Studio with Gail Brodholt RE

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We love the range of colours that are available in Schmincke water-based inks. We're creating a jigsaw linocut to allow us to use multiple colours of Schmincke ink in just one block!

We are using Easy Carve Blue as it's soft to cut up with a scalpel, making it ideal for a jigsaw linocut.

To prepare your block, apply a few drops of water and then sand all over with a sanding block. This will help the ink to adhere to the surface evenly.

Draw your design onto the block. We are using a permanent marker but you could transfer the design with tracing paper or red carbon paper.

We are creating a design that could be joined into a repeat pattern. To do this, we marked the easy carve along both edges at measured intervals.

We then joined the marks with our string design in permanent marker.

We then added the rest of our design.

Use cutting tools to carve out your design. We are going around all the edges of the design with the V tool from the Japanese Cutting Tool Set.

A fine 12/1 Pfeil Tool is ideal for fine detail.

Clear away unwanted areas of lino with a larger U tool. You may want to consider the direction in which the unwanted areas are carved out, as these parts are likely to pick up some ink and create 'noise' on the print. We have gone for a speedy haphazard approach!

When the design is carved, use a pen to mark where you would like the block to be split, allowing you to ink up in different colours. We are separating out all the rows of stars from the strings.

Use a scalpel to carefully cut along your new guidelines to divide the easy carve.

It is helpful to mark or number the pieces on the back so that it is easier to assemble later.

Before getting inky, make a registration sheet that shows you where each piece of easy carve will sit and where the paper will lay on top. This will allow you to print centrally and straight on the paper.

We are now ready to ink up our pieces.

We're choosing to ink up the stars in different colours so we need lots of small rollers. Squeeze out a little of each colour onto an inking plate. We are using Schmincke black, gold, copper, magenta and cyan. You can mix your own shades, add extender, retarder or gloss medium too!

Ink up each piece of easy carve in the colour of your choice.

Assemble the pieces on the registration sheet. We need to work quite quickly so the inks don't start to dry before we take our print.

Lay a sheet of printing paper (we are using Shoji) on top of the block and transfer the print using a baren (or a press or spoon). Greaseproof paper helps the baren to move smoothly without pilling up the paper.

Life the paper to reveal the print!

Schmincke inks can easily be washed up just with cold water and a rag or sponge! Wipe clean the blocks, rollers and inking plate ready to use another day.

For this project you will need:

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Using Schmincke Water-Based Inks to Create a Jigsaw Linocut

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We love the range of colours that are available in Schmincke water-based inks. We're creating a jigsaw linocut to allow us to use multiple colours of Schmincke ink in just one block! We are using Easy Carve Blue as it's soft to cut up with a scalpel, making it ideal for a jigsaw linocut.

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Scroll through the list below to find definitions and explanations of common printmaking terms:

Acid-free - refers to papers that are made with an alkaline pulp, usually with calcium carbonate added. Acids contribute to the deterioration of paper and therefore of prints.

Aisuki - a rounded, bevelled chisel tool used in Japanese Woodblock Printing, often used for clearing areas of wood. You can find Aisukis here.

A la poupée - an intaglio printmaking technique in which different coloured inks are applied to a plate with a wad of fabric.

Aquatint - an etching technique in which tones are achieved. Usually, a metal plate is given an acid-resistant coating before being placed in an acid bath. The acid bites into the plate, producing a surface that can hold ink for printing. Tonal variations are achieved by varying the length of time in the acid bath.

Artist's Proof (AP) - Artist's proof prints are made by the artist to check the print quality and design before printing an edition. Artist's Proof prints usually shouldn't exceed 10% of the overall number in the edition. They are usually identical to the edition but may sometimes include slightly flawed prints omitted from the edition. See our blog post on editioning prints for more information.

Baren - a disk-shaped printmaking tool used to hand burnish a print by rubbing it over the surface of the paper when it is in contact with the inked-up block. Find barens here.

Bed - refers to the flat surface of a printing press on which the block or plate is laid.

Bench hook - a tool that hooks onto a table with a stop to hold a block in place whilst it is being carved. Bench hooks can be found here.

Binder - (see medium) a clear substance to which pigment is added to create printmaking inks.

Bite - the action of an acid on a metal plate.

Blanket - used as cushions in printmaking presses between the roller and the paper.

Bleed - where ink appears outside the designed areas of a print. Digitally, bleed can also refer to the extension of the design beyond the cut or crop line to ensure the image runs to the edge of the print.

Blind emboss - an embossed impression in the paper, often made from a block without ink.

Block - the material into which a design is carved for relief printmaking, e.g. lino, ply etc.

Bon a tirer (BAT) - The first perfect print to come from the printing surface. This is usually made when the artist themselves is not printing the edition: a B.A.T print is used to show the print from which the whole edition should be matched. There is usually only one of these. See our blog post on editioning prints for more information.

Brayer - a roller used to apply ink to a printing surface. Rollers can be found here.

Burin - an engraving tool with a metal shaft and usually a sharp V gouge point.

Burr - in drypoint, the ridge of metal (or plastic) thrown up on either side of the needle as it scratches into the plate. In mezzotint, the surface created by the action of the rocker.

Carborundum - silicon carbide - a fine powder used in intaglio printmaking. When applied to a plate, carborundum creates a rough, even surface that holds a lot of ink. Carborundum can also be used for levelling the surface of a lithography stone. Fine carborundum here.

Chine Collé - a process in which ink is transferred onto a thin sheet of paper (such as archival tissue paper) whilst simultaneously sticking the thin sheet to a stronger, thicker sheet of paper. Traditionally used to enable fine, delicate prints, now more often used to add areas of coloured paper to a single colour print. See more here.

Chop - a small mark printed in the margins of a print to show the maker. Traditionally, a chop shows the printer or publisher but is now sometimes used to show the artist.

CMYK - cyan, magenta, yellow and black. This colour system is used in halftone screen printing, where each colour is created as its own halftone exposed screen and printed separately, giving the overall look of a full-colour print.

Collagraph - a print made from a plate that has been layered with various natural and found materials to a base and then usually varnished. These are often printed using the intaglio method but can also be printed in relief. See our collagraph blog post here.

Cutting tool - a tool used for carving into a block. These can be V gouges, U gouges, hangito knives etc. Cutting tools can be found here.

Cyanotype - an early form of photography that uses two solutions mixed together to create 'blueprints'. Read more about making cyanotypes here.

Dabber/dauber - a wad of cloth used to apply ink to a block or plate. Also used to apply grounds to etching plates.

Deckled edge - A rough, irregular edge on a piece of printmaking paper.

DPI - dots per inch - the number of pixels in one inch of an image. 300dpi is usually standard for high-quality printing.

Drypoint - an intaglio printmaking method where an image is scratched onto a plate creating a burr that holds ink. See how to make a drypoint print here.

Durometer - measures hardness, for example, the shore of squeegees. The higher the number, the harder the material.

Edition - a set of identical prints taken from the same matrix or matrices (printing surfaces). Editions can either be limited or open. Limited editions mean that no more of the same prints will be made. Read more about editioning in our blog post here.

Emboss - an impression in the paper, often made from a block without ink.

Emulsion - when mixed with sensitiser, a photo emulsion can be used to coat screens to create exposed images for screen printing. Find emulsion here.

Engraving - a printmaking technique in which lines are carved directly into a plate using a burin.

Etching - an intaglio technique in which a plate is prepared with resistant material before being exposed to an acid that bites into the remaining surface. When charged with ink, the bitten surface retains the ink, allowing the design to be printed. The term 'etching' is also used to refer to similar techniques such as 'drypoint etching' where no acid is used.

Exposure - in screen printing, where a screen coated with sensitised emulsion is exposed to a light source with a design on a transparency between the screen and the light. The light hardens the emulsion it can reach, leaving the areas of the design soft and washable. This results in a screen with areas of open mesh in the desired design.

Extender - a transparent modifier to add to ink. Adding extender can make the colour more transparent and can loosen the ink.

Giclée - an archival fine art digital printmaking process.

Gouge -A tool used to carve a block for relief printing. Can have a V or a U shaped end.

Halftone - The breakdown of an image into small dots to simulate the look of continuous tones. Greyscale images need to be broken down into halftones in order to be exposed onto screens for screen printing. More about halftones here.

Hand burnish - taking a print by hand or by using a baren instead of a press. Paper is placed over the inked up block and then rubbed over with a hand, baren, wooden spoon or similar to transfer the ink to the paper.

Hangito - a Japanese Woodblock Printing cutting tool that looks like an angled sharp knife with one bevelled edge. Find hangitos here.

Hardground - a substance added to the surface of an etching plate to resist acid. A hardground can be drawn into with a sharp tool to reveal areas of metal to the acid bath.

Honing - sharpening or maintaining a sharp edge on a cutting tool.

Intaglio - a printmaking method using an image that has been incised into a plate. Ink is worked into the recesses of the plate and is usually printed onto dampened paper through an etching press. Drypoints, etchings and collagraphs can all be printed intaglio.

Japanese Woodblock (Mokuhanga) - a type of relief printmaking in which brushes are used to ink up a woodblock with watercolour paint and nori paste. Images are printed onto dampened paper in layers, often registered using kento marks. Learn more about Japanese Woodblock here.

Key block - the key layer in a print that gives the main detail or outline of an image. Usually printed first or last in a multi-layered print.

Kento - Japanese Woodblock method of registration. Kento marks are cut into a block using a kento chisel. The corner of the paper slots into these marks so that the paper rests in the same place for each layer. Shop for kento chisels, kento stickers and kento boards.

Kitchen Lithography - a form of printmaking that uses the same principles as lithography but uses simple household materials such as aluminium foil and cola!

Letterpress - the practice of printing by hand setting (composition) of lead and wood type and printing using a number of different presses. Letterpress printing remained the primary way to print until the second half of the 20th century.

Lightfastness - usually refers to paper and inks. Change caused by exposure to light.

Limited edition - a set of identical prints taken from the same matrix or matrices (printing surfaces). Limited editions mean that no more of the same prints will be made. Read more about editioning here.

Lino - linoleum - a material made of cork dust and linseed oil with a hessian backing. Used to create relief prints when carved. Shop for lino here.

Linocut - a relief print made using a carved piece of lino. Learn to make a linocut on our blog post.

Lithography - a planographic printmaking process in which ink is applied to a grease-treated image on a flat surface. Moisture repels oil-based ink from the blank areas and the greasy areas attract ink.

Matrix - the printmaking surface - plate, block, stone etc. from which the image is taken.

Medium (printing medium) - a clear substance to which paint is added to create printmaking inks.

Mesh - the woven fabric stretched over a frame to make a silkscreen for screen printing.

Mezzotint - a printmaking technique in which a plate is textured with a rocker to create dark tone. The tonal areas are then polished back to a smooth surface that will not hold ink. The plate is printed intaglio.

Mokuhanga (Japanese Woodblock) - a type of relief printmaking in which brushes are used to ink up a woodblock with watercolour paint and nori paste. Images are printed onto dampened paper in layers, often registered using kento marks. (Moku = wood and Hanga = printmaking).
Learn more about Japanese Woodblock here.

Mokulito - a form of Japanese printmaking meaning 'wood lithography'. An image is drawn onto the block using greasy materials.

Monoprint - a print made using any printmaking technique from which only one print can be made. Monoprints can be made using and single or multiple printmaking techniques and usually is made using some form of matrix.

Monotype - like a monoprint, a monotype is a print that is one of a kind. Unlike monoprints, monotypes are not made using a matrix such as a cut block or plate.

Multi-Block - a relief print that is made using multiple blocks that print on top of one another to create a multi-coloured final print.

Noise - the marks left behind on a print from areas of a block that have been carved away and have picked up ink from the roller. Sometimes these marks are left to add character or movement to a print.

Nori - starch paste used in Japanese Woodblock Printing. Can also be used for chine collé printing. Shop for nori.

Offset - transferring ink from one surface to another.

Oil-based - inks that use oil as their vehicle (usually linseed oil). Traditionally these need to be cleaned up with solvents but alternatives can now be used: Zest-it can be used for clean up of oil-based inks. Cranfield also make an oil-based but water-washable ink called Caligo which can be washed up with soap and water.

Opaque - impenetrable by light, opposite of transparent, not see-through. Refers to inks that do not show any colour of the paper, fabric or previous print layers through.

Original print - original prints are prints in the medium the artist originally used e.g. linocuts, collagraphs, lithographs, etchings, screenprints etc. This is not the same as a reproduction which is usually digitally printed.

Overprinting - colours are printed over the top of one another.

Paper fingers - folded pieces of paper or card used to protect paper and blankets from finger marks.

Photo Emulsion - when mixed with sensitiser, a photo emulsion can be used to coat screens to create exposed images for screen printing. Find emulsion here.

Pigment - the coloured particles in an ink.

Planography - a printing process, such as lithography, that prints from a flat surface. The printing and non-printing areas exist n the same plane and rely on chemical properties to hold or repel ink.

Plate - a metal, card or plastic surface used to create an image, usually used when printing intaglio.

Platemark - The embossed mark left on a print made by the edges of the plate when printing through an etching press.

Plate tone - in intaglio printing, the faint tone printed from a plate by the residue of ink left on the plate after wiping.

Process colours - printmaker's primary colours. Process cyan, magenta and yellow inks can be mixed together to create a wide spectrum of colours. Process colours are often more transparent than other inks and allow for overprinting to create more colours that mix on the surface of a print.

Proof - Artist's proof prints are made by the artist to check the print quality and design before printing an edition. Artist's Proof prints usually shouldn't exceed 10% of the overall number in the edition. They are usually identical to the edition but may sometimes include slightly flawed prints omitted from the edition. See our blog post on editioning prints for more information.

Rainbow roll - When more than one adjacent colour is rolled out onto a plate and mixed in a gradient as the ink is rolled out. See the use of a rainbow roll here.

Reduction - a relief printing method in which the same block is carved into between each layer, leaving a smaller printing surface with each layer. See a reduction linocut here.

Registration - the lining up of print layers or a single print layer onto the substrate.

Registration marks - guides drawn or carved to aid in the proper positioning of matrix and substrate in the printing process.

Relief printing - a printmaking process where the unwanted areas of a block are carved away. The raised areas of the block are charged with ink (usually using a roller) and printed onto a substrate such as paper or fabric. E.g. linocut and woodcut.

Retarder - An ink modifier used to slow down the drying time of ink.

Screen (silkscreen) - Mesh is stretched over a frame to be used for screen printing. A stencil is created on the mesh with paper or by using Photo Emulsion.

Screen film - a transparency on which a design can be digitally printed or hand-drawn, used to expose an image onto a screen for screen printing.

Screenprint - a print made using a screen printing technique.

Screen printing - a printmaking technique that uses a squeegee to force ink through a mesh-stretched screen onto a substrate. Stencils made of paper or exposed onto the mesh using photo emulsion are used to create a design.

Scrim (tarlatan) - rough, loosely woven fabric used in intaglio printing to wipe ink from the plate. Buy scrim here.

Serigraphy - screen printing, referring to a fine art process rather than the commercial process.

Shellac - varnish made from lack resin dissolved in methylated spirits. used to seal collagraph plates.

Shore - hardness, durometer. Used when referring to screen printing squeegees.

Silkscreen - Mesh is stretched over a frame to be used for screen printing. A stencil is created on the mesh with paper or by using Photo Emulsion. Find screens here.

Sizing - a water-resistant coating added to paper.

Snap-off - the distance between a screen and the paper.

Softground - a substance added to the surface of an etching plate to resist acid. A softground can be pressed into with soft tools and objects to create subtle marks and textures before placing in the acid bath.

Solvent - a substance used to dissolve others, often used to clean up oil-based inks.

Spit-bite - an etching technique in which acid is applied to the plate with a brush and water or saliva.

Squeegee - a screen printing tool with a rubber blade fixed to a metal or wooden handle. The blade is used to force ink along the screen and through the mesh. Shop for squeegees.

Stop Out - an acid-resistant substance used in etching to protect an area of metal plate from an acid bath.

Sugarlift - an etching technique in which a sugary solution is painted onto a metal plate. The plate is covered with ground and then washed. The sugar dissolves, exposing areas of the metal which can then be etched in an acid bath.

Sumi - Chinese black ink. Find it here.

Tarlatan (scrim) - rough, loosely woven fabric used in intaglio printing to wipe ink from the plate. Buy scrim here.

Thermofax - a screen made using a carbon photocopy and a thermofax machine, printed with a squeegee in a similar way to screen printing. Get your own thermofaxes here.

Transparent Base - an ink modifier used particularly in screen printing to make ink more transparent.

Trap - the areas of overlap between layers in a print.

Tusche - a greasy drawing medium in the form of a stick or a liquid, used mainly in lithography.

Tympan - a greased plate on a lithographic press

Vinyl - a block that can be carved and printed in a similar way to lino.

Viscosity - the fluidity of an ink.

Viscosity printing - a method of using multiple colours from one plate by using inks of different viscosities.

Water-based - inks that use water as a vehicle. These can be cleaned up with water and tend to dry more quickly than oil-based inks.

Wet-on-dry - printing one colour over the top of another when the first layer has dried.

Wet-on-wet - printing one colour over the top of another whilst the first is still wet.

Whetstone - an abrasive stone used for sharpening tools.

Wiping - in intaglio printmaking where ink is removed from the surface of the plate.

Woodcut - a relief printing process where an image is cut from the plank side of the wood.

Wood Engraving - a printmaking technique in which lines are carved directly into the end grain of a piece of wood.

This glossary is gathered from a few sources including 'Printmaking: Traditional and Contemporary Techniques' by Ann D'Arcy Hughes and Hebe Vernon-Morris as well as https://www.annieday.com.au/glossary-printmaking-papermaking-terms

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Scroll through the list below to find definitions and explanations of common printmaking terms: Acid-free - refers to papers that are made with an alkaline pulp, usually with calcium carbonate added. Acids contribute to the deterioration of paper and therefore of prints.

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Traditional Printing Methods with Nick & Ellen | WFTP In the Studio

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Stone Lithography at Edinburgh Printmakers

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Please watch: "Little Angel Picture Book on iBooks with Movie" https://www.youtube.com/watch?v=9EMtJr5f4tc -~-~~-~~~-~~-~- How Stone Lithography Works. In this video I show you how I have made my first stone print and also explain the origins of stone lithography. Win one of the stone prints I have made by answering this question.

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Print Your Own Posters, T-Shirts and More // Screen Printing Basics

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Andy Warhol (; born Andrew Warhola Jr.; August 6, 1928 - February 22, 1987) was an American visual artist, film director, producer, and leading figure in the pop art movement. His works explore the relationship between artistic expression, advertising, and celebrity culture that flourished by the 1960s, and span a variety of media, including painting, silkscreening, photography, film, and sculpture. Some of his best-known works include the silkscreen paintings Campbell's Soup Cans (1962) and Marilyn Diptych (1962), the experimental films Empire (1964) and Chelsea Girls (1966), and the multimedia events known as the Exploding Plastic Inevitable (1966-67).

Born and raised in Pittsburgh, Warhol initially pursued a successful career as a commercial illustrator. After exhibiting his work in several galleries in the late 1950s, he began to receive recognition as an influential and controversial artist. His New York studio, The Factory, became a well-known gathering place that brought together distinguished intellectuals, drag queens, playwrights, Bohemian street people, Hollywood celebrities, and wealthy patrons. He promoted a collection of personalities known as Warhol superstars, and is credited with inspiring the widely used expression "15 minutes of fame".

In the late 1960s, he managed and produced the experimental rock band The Velvet Underground and founded Interview magazine. He authored numerous books, including The Philosophy of Andy Warhol and Popism: The Warhol Sixties. He lived openly as a gay man before the gay liberation movement. In June 1968, he was almost killed by radical feminist Valerie Solanas, who shot him inside his studio. After gallbladder surgery, Warhol died of cardiac arrhythmia in February 1987 at the age of 58 in New York City.

Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. The Andy Warhol Museum in his native city of Pittsburgh, which holds an extensive permanent collection of art and archives, is the largest museum in the United States dedicated to a single artist. Warhol has been described as the "bellwether of the art market". Many of his creations are very collectible and highly valuable. His works include some of the most expensive paintings ever sold. In 2013, a 1963 serigraph titled Silver Car Crash (Double Disaster) sold for $105 million. In 2022, Shot Sage Blue Marilyn (1964) sold for $195 million, which is the most expensive work of art sold at auction by an American artist.

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DIY Silk Screen | In The Studio with Steven Sabados | CBC Life

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Getting Started in Screen Printing. How it Works and What You Need!