We’ve had another brilliant year in the Handprinted Studio! We love seeing our customers get stuck into loads of different techniques both in our workshops
and during our open access days.
As well as Shirley and Holly teaching workshops every week we’ve been lucky enough to have guest tutors such as Ian Phillips, Sue Brown, Nick Morley, Sarah
Campbell, Hester Cox and Laura Boswell visiting to teach workshops and some even giving talks on their specialities. We’ve covered screen printing,
linocut, woodcut, thermofax printing, collagraph, drypoint etching, natural dyeing, batik, block printing onto fabric, lampshade making, mono-printing,
transfer printing, letterpress, shibori, Japanese woodblock and more!
Have a look through some of the amazing work made this year in our Handprinted Workshops:
Homemade decorations can be the best (and cheapest!) way to decorate for Christmas. These little birdies would make lovely presents too. Get the kids involved
with this easy project.
To make things even easier, we’ve made a printable template for you to use.
Print out a batch of templates. Each A4 template can be used to make two paper birds.
Start by dyeing the printed paper with Brusho Dye. Use any colours that you like. A little Brusho goes a long way – tap a few crystals into a palette or
jar and dilute with water until the desired shade is achieved.
Brush with dye all over the page. Mix and blend the colours as you go. Spritz and sprinkle the dye for different effects.
When the birds are made up, both sides of the paper will show so when one side is dry flip the paper and paint the other side.
Whilst the dye is drying, cut some stamps. MasterCut is easy to carve and cut into different shapes. Sketch some designs for a collection of stamps and
cut them out with a scalpel or craft knife. (This part is for adults only!)
Use a lino cutter to decorate the stamps. Simple lines will work very well for this project!
When the paper is dry fold it in half along the tail ends. Cut along this line to create two pairs of birds. Don’t cut along the birds’ bodies!
Fold along the birds’ bodies.
Use your stamps with Versacraft Ink Pads and decorate the birds.
Cut the folded birds out, leaving the fold along the body uncut.
Open the birds out and decorate the other side with stamps. Only the wings and tails of this side will show when the bird is made.
Fold the bird back in half. Fold one wing down.
Repeat with the other side.
Staple the two sides of the bird together at the head and the tail.
Use a needle and thread to hang up the birds. Roughly find the middle of each bird so that it will balance. You may need to press quite hard with the needle
if you’ve made the birds out of card so this is another adults-only job.
I work mainly in relief print, both Lino and woodcut, I actually use Marley vinyl floor tiles in place of Lino, I like the way it cuts and I can easily
jigsaw shapes together. I carve into lime wood blocks which is very easy to carve and I love the rasp it makes as I’m cutting it.
If I’m working with colour I often blend the colours on the plate using a range of different sized rollers. I also like to use coloured tissue and patterned
papers to incorporate chine colle.
I have a small Tofko relief press and a Hawthorn etching press for larger prints and printing fabric.
How and where did you learn to print?
My first printmaking was at college in Ambleside using a large Albion press.
Years later I started experimenting with print on clay using an ink made with oxides and fat oil, I later realised I could use Transparent ink instead
of fat oil, it was a lot less smelly!
Why printmaking?
I love the process of printmaking, unlike painting you are not starting with an intimidating blank canvas or sheet of paper.
Where do you work?
I have just moved into a small studio gallery with three other artists, which is perfect for me as I can work, chat to people and hopefully sell some work
at the same time. I didn’t enjoy working in isolation, it’s good to share ideas and experience.
Describe a typical day in your studio.
After opening up the gallery I make coffee and think about the jobs to be done that day. If I’m on duty I shall plan a non-messy activity such as woodcutting
or planning for a future project.
If I am planning to do some printing then I have to cut and prepare the paper and prepare my inking area carefully with the selected inks and rollers.
I always leave at least an hour to clean up and tidy away. There’s nothing worse than returning the next morning to a mess.
How long have you been printmaking?
I have been printmaking on a full-time basis for about 7 years, but have dabbled in print for a long time before.
What inspires you?
The very process of print inspires me, the marks, textures, tools and materials and of course other printmakers!
What is your favourite printmaking product?
I’ve recently discovered printing on fabric and am quite pleased with my lampshades.
What have you made that you are most proud of?
A hand printed alphabet book that I made for my grandchildren.
Where can we see your work? Where do you sell?
You can see my work online and in my gallery. At the moment my work is also in the Great Print Exhibition at Rheged near Penrith
What will we be seeing from you next?
Watch this space! A new series of woodcuts hopefully and more designs for lampshades and possibly blinds!
Do you have any advice for other printmakers and creatives?
Don’t be put off by what you sometimes perceive as failure, the more you explore and experiment the more the creative process blossoms.
This is a really fun way of making a big batch of Christmas cards. Making a screen with drawing fluid and filler maintains a hand-drawn look whilst giving
a flat professional finish that’s the same on every card. Here’s how:
Draw around a blank card onto a piece of paper. Draw your design in the space – make the drawing bold as we want to be able to see it through the screen.
Lay a screen over the top of the design. We are using an A4 90T screen which is perfect for printing onto paper. With the mesh flat against the design,
trace the drawing with a soft pencil.
Flip the screen over to the back so that the mesh is raised above the table. Use drawing fluid to paint in your design. You want to paint all the areas
that you want to print onto your card later.
Leave the drawing fluid to dry.
When the drawing fluid is dry, use parcel tape to create a rectangle around the edge of the design on the back of the screen. This saves screen filler
as less of the screen needs filling.
With the back of the screen facing up, use a spatula to place a line of screen filler on the parcel tape above the design.
Use a squeegee to drag the screen filler down the screen.
Scrape off the excess screen filler and leave it to dry. Once the filler is dry, rinse the screen with a shower or garden hose. The drawing fluid should
wash out, leaving the screen filler behind.
Once the screen is dry, extra screen filler can be added with a paintbrush for finer details and for touching up.
Once the screen is completely dry it is ready for printing. Use parcel tape to fill in any open areas of mesh around the design.
We are using a board with hinge clamps attached to the top. This will help to keep our screen in the same place for each print. We have attached a piece
of acetate to one side of the board that will fold back like a book page. This will help us to register the prints.
Place the acetate over the board. Place a line of ink at one end of the design. We are using acrylic paint mixed 50:50 with System 3 Acrylic Screen Printing
Medium. Hold the screen slightly away from the board and use a squeegee to flood the screen: drag the ink gently along the mesh without pressing hard.
Place the screen down on the board. Use the squeegee at a 45 degree angle to push the ink through the screen. You should hear a zip sound.
Lift up the screen to reveal the print on the acetate. Flood your screen to stop the ink from drying in the mesh. Slide a blank card under the acetate.
Position the card under the print. With the card still in place, fold back the acetate and mark the position of the card with masking tape corners.
Each card can now be placed in the same spot allowing all the prints to be in the right place.
Print each card with your squeegee at a 45 degree angle, adding more ink to the screen if necessary.
When finished printing, scrape away any excess ink from the screen. Use a soft damp sponge to wipe the screen clean and then rinse with cold water.
When the design is no longer needed the screen can be cleaned with Speed Clean. It is best to clean off the filler as soon as it’s no longer needed as
it can be tricky to remove after a long time.
Use a brush to coat both sides of the design with Speed Clean. Leave for five to eight minutes and then wash with hot water. You may need to repeat this
a couple of times to remove all the filler.
My name is Rob Luckins I’m a printmaker and commercial photographer. I make screen prints, letterpress and linocuts under the name Triffid. My inspiration
comes from 1950’s television shows and packaging. I love old tin toys, model kits and the 1950’s view of what the future would look like.
Describe your printmaking process.
My printmaking process is screen printing. The way I approach a piece is to create a very small sketch roughly the size of a small matchbox to work out
composition, I’ll then shade this to work out roughly where I want light, shadow and texture. I then scan this and drop it into Adobe Illustrator and
block out all of the shapes. From here the artwork goes into Adobe Photoshop where I texture it and create my final separations ready for printing.
How and where did you learn to print?
We had a 1-day introduction to screen printing at University, but it wasn’t until I saw the work of Peter Lloyd and his series Royal Rumble that I got
really excited about what could be achieved using the process.
Why printmaking?
There’s something deeply satisfying about the whole process that I’ve never gotten from painting. The ability to lay down perfectly flat colours and layer
something up is something that really appeals to me.
Where do you work?
I work and teach at Badger Press, which is an open access printmaking studio situated in Bishops Waltham in Hampshire. I also have a small set up at home.
Describe a typical day in your studio.
Get in early, get all of the screens coated, exposed and washed out, cut paper and mix up inks. All peppered with plenty of tea drinking.
How long have you been printmaking?
Since 2001 when I worked as a commercial screen printer, printing t-shirts.
What inspires you?
People who are passionate and proactive about what they do, people like Lord Lav, Curxes and Tom and Emily over at CreatureHut who are all friends of mine
and fit the above description perfectly.
What is your favourite printmaking product?
I would probably say well used wooden handled squeegees that are splattered with paint.
What have you made that you are most proud of?
Apart from my two boys, I would say my most recent piece featuring a 1980’s style gumball machine.
Where can we see your work? Where do you sell?
You can see my work over at my Etsy store www.etsy.com/uk/shop/TriffidPress where my work is also for sale. It is also available for sale at Aspex gallery in Gunwharf Portsmouth and on the wall of the Butchers Hook micro Brewery
in Southampton.
What will we be seeing from you next?
I am working on an A2 piece of a pinball machine and plan to produce a new series of letterpress prints.
Do you have any advice for other printmakers and creatives?
Don’t feel like you have to have access to expensive equipment in order to get started and if you’re unsure about a process, reach out to printmakers and
ask them questions. I would highly recommend attending courses and talks and don’t be afraid to get your hands dirty. It’s the best way to learn!
Our Christmas Makers’ Market is just around the corner! We have an amazing selection of makers selling a variety of handmade goods including prints, paintings,
glass, homewares, jewellery, cards and pottery. This is the perfect opportunity to shop local and support independent makers this Christmas.
The Makers’ Market will be open on Friday 30th November from 6-8.30pm and on Saturday 1st December from 10.30-4pm at Handprinted in Bognor Regis. Entrance
is free – please pop in. Here’s a sneak peek at who will be there:
Bobbie Print – A stylish selection of screen prints, riso prints, cards, notebooks and enamel pins.
Vicky Gomez – Mixed media prints, greetings cards and postcards, tote bags and notebooks with a sea life theme. Plus, some new Christmas
themed prints!
Lin Crompton – Bags, scarves and other handmade items.
Felix & Tabitha – Lots of arty, crafty loveliness: glass and textile gifts, cards, décor and jewellery with a whimsical twist. Handmade
by the sea in sunny Bognor.
Please come along to our Christmas Makers’ Market on Friday 30th November from 6 – 8.30pm and on Saturday 1st December from 10.30am – 4pm
at Handprinted, 22 Arun Business Park, Shripney Road, Bognor Regis, PO22 9SX.
Hi, I’m Katie Edwards and I’m a freelance illustrator and screen printer, I produce conceptual illustrations for a wide range of international clients
from editorial to advertising. I also sell screen prints online, in galleries and at art shows.
Describe your printmaking process.
Using traditional photographic and silkscreen printing techniques. Focusing on metaphors and symbolism, reflecting enjoyment for the natural world, evoking
thoughtfulness and humour.
How and where did you learn to print?
I first tried my hand at screen printing on my art foundation course, I’m pretty sure I loved the process from the get go. Then at University where I studied
Graphic Arts and Design, if I wasn’t in the printmaking studio I was in the darkroom developing my photos onto lith film to make my screen from. My
way of working came from a love of photography and screen printing.
Why printmaking?
I find all printmaking techniques extremely satisfying, that moment you reveal the print is very pleasing every time. Screen printing appealed to me because
it could be combined with placing photographs in unusual compositions and I enjoy the printing process, other techniques can be very laborious. The
planning and set up of screen printing can take some time, but once your ready to print it can be fairly quick and enjoyable, producing unique textures
every time.
Where do you work?
I work from my home studio in Newby Bridge, The Lake District.
Describe a typical day in your studio.
I don’t really have a typical day, it depends what project I’m working on and at what stage. It varies from generating ideas for a commission, creating
the design, planning the colours and layers. If I’m printing a limited edition print run, I’ll be exposing screens and printing. Or if I have an exhibition
coming up I’ll be preparing frames and mounting prints. Then there’s all the nitty gritty stuff, such as paperwork and packing online orders that need
doing in between and goes hand in hand with running a business.
How long have you been printmaking?
14 years
What inspires you?
Growing up in the Lake District and spending some time in Canada, I’ve been closely in touch with the outdoors, the countryside and animals. My screen
print illustrations reflect this appreciation for natural beauty, yet sometimes mixed this with familiar cityscapes. My style of illustration came
about from the juxtaposition of different objects to communicate a new idea. This way of working appealed to me in a way that I could create quite
imaginative pieces with quite ordinary photos. I didn’t consciously always include an animal or nature in my pieces, but this was what I was interested
in and so were the basis of my ideas. Animals also hold so many hidden meanings and so often create a symbolic image.
What is your favourite printmaking product?
My exposure unit, it’s not a full-size one: I can only fit up to an A2 screen, but it fits perfectly in the corner of my studio. It was a game changer
having to not go to a workshop to expose my screens and a must when I moved from the city back to the countryside.
What have you made that you are most proud of?
‘Joy’ was for a competition of the same title, which I struggled with an idea for a little while but when I thought of the horse escaping the carousel
it was a real ‘Aha’ moment. Also ‘Think Big’ is my biggest selling edition.
Where can we see your work? Where do you sell?
I sell on my website https://ktedwards.co.uk in galleries across the country and at Art Fairs.
What will we be seeing from you next?
This year I have been working with the Apartment Hotel chain Roomzzz and there’s lots more to come from this exciting partnership.
Do you have any advice for other printmakers and creatives?
My way of working came about in my final year of University, I think before then I’d tried too hard to create a style. When actually it should come naturally
by doing what you love, in my case combining photography and printmaking, my two passions. And enter competitions, they are great for getting noticed.
Choosing the right roller for your relief printing can get confusing. Different uses, budgets, sizes and preferences can dictate which roller is best for you. We’ve put together a guide to lino rollers to help you choose the best roller for you. This guide has now been updated to include all of the rollers we now offer.
There are several factors that decide how a roller will perform:
There are hard rollers and soft rollers – hard rollers will ink up less of the ‘noise’ n the carved areas but can leave roller marks at the edges, soft rollers can roll ink more evenly but can deposit more ink in the grooves. Soft rollers can be especially useful when the roller is narrower than the block.
The circumference of a roller can affect your inking – the larger the circumference, the more ink it can put down in one roll.
Rollers come in different widths – it can help to have a roller that is slightly wider than the block you are inking. This can help with even inking without roller marks. If printing in a rainbow roll, you’ll need a roller as wide as your gradient area. Smaller rollers can be useful for inking up small areas of lino or ‘free inking’ in a more painterly style.
There are also rollers that can be used for block printing onto fabric as they allow other inks to be used.
Read on for a comprehensive list of all our rollers…
These little rollers come in two sizes: 60mm wide with a circumference of 6.5cm and 90mm wide with a circumference of 10cm. The wire handle provides a stand to keep the roller off your inking plate. Although they may not be the best roller for inking up large-scale linocuts, these little wire handled rollers are a great addition to your lino kit. The rubber has a slight give in it, making it easier to roll without pecky roller marks.
They’re inexpensive, easy to clean and can hang neatly in on your workshop wall. Particularly good for small relief prints for cards or for free inking smaller sections of larger prints. They’re easy to move around curves and make great shaped rainbow rolls:
These red lino rollers are a classic. Many people’s first relief printing experience is with one of these rollers. They come in a variety of widths, from 50mm to 200mm and have a 10cm circumference.
They are inexpensive and are therefore a great entry-level roller. The roller is hard so will not deposit ink in the recesses of your block but may cause roller marks if the block is wider than your roller. They can be turned over to keep the roller off the inking plate.
This is the blue handled version of the roller above but the rubber is a lot softer. This can make it a little easier to use. There are several widths available: 50mm, 75mm, 100mm, 150mm and 200mm and they have a circumference of 11.5cm which is a little wider than their red-handled counterpart. Like the red rollers, they can be turned over so that the roller is kept away from the inking plate.
This black-handled roller is a heavier weight than the red and blue handled alternatives. It has a medium hard rubber but with a slightly rougher texture than the red and blue rollers, allowing for a more even distribution on ink. The rubber is thicker than the red and blue rollers above.
Available in two sizes 50mm and 100mm with a 12cm circumference.
This soft rubber roller by Speedball has a ‘pop in’ mechanism so the roller can be separated from the handle for cleaning. They are 10cm wide and have an 11cm circumference.
The roller is soft, allowing for even ink distribution but they can become a little sticky after being cleaned with solvents – this does not affect their use. When turned over, the rollers rest of their plastic stand and so the roller is held away from the inking plate.
This Deluxe Rubber Roller from Speedball comes in three widths: 1.5″, 4″ and 6″ and has a 10cm circumference.
The rubber is soft for even ink distribution but, like the Speedball Soft Rubber Roller, can become when sticky after being cleaned with solvents. Again, it doesn’t affect its use so is thankfully not an issue. Turn it over to keep the roller away from the inking plate.
The 1.5″ roller is particularly popular as it can be used for free inking for more painterly linocuts or small detail.
These wooden handled rollers are available in eight widths: 9mm, 15mm, 20mm, 25mm, 60mm, 120mm, 150mm and 200mm. They have a wide circumference of 16cm allowing ink to roll out more ink before the surface of the roller touches the block twice.
They are relatively inexpensive and are made from a thinner tube of rubber around an aluminium core. The rubber has a little give in it making them a pleasure to use.
The wide range of widths of these rollers makes them a unique addition to your printmaking kit. The more narrow rollers allow for very fine detailed inking and free inking whilst the large circumference spreads ink further.
The larger rollers can be turned upside down to rest on a stand, keeping the roller off the inking plate. The more narrow rollers do not have this feature.
This pin roller is a different style than the others – it has one handle on each end like a rolling pin. It’s 300mm (12 inches) wide with 5mm thick rubber and a circumference of 16cm.
It’s strong and hard-wearing and has an aluminium core that rotates through plastic bearings (handles rotate independently from roller allowing for easy inking). The price of this roller is extremely reasonable compared to other pin rollers on the market.
These Japanese Hard Rubber Rollers are lovely to work with. They are available in four widths: 30mm, 100mm, 165mm and 210mm. They have a wide circumference of 15cm allowing you to roll out your ink evenly over large areas. The hard surface of the rubber means that less noise is picked up from the background when inking. This is a high-quality roller, especially for the price.
These rollers have a plastic handle and metal frame. The rollers can be turned upside down to rest on the frame, keeping the roller off the inking plate. The rollers rock a little from side to side on their spool but this doesn’t affect their use.
The rollers come boxed separately from their handles (with the exception of the 30mm which comes ready-made) but are easy to put together.
These Japanese Soft Rubber Rollers are of equally high quality with thick rubber. Like the Japanese Hard Rollers, they are available in four widths: 30mm, 100mm, 165mm and 210mm. They have a wide circumference of 15cm allowing you to roll out your ink evenly over large areas. These rollers have a softer rubber surface, making it easier to roll evenly without roller marks. This is another high-quality roller, especially for the price.
The Soft Rubber Rollers have a wooden handle and metal frame. Unlink the Hard Rubber Rollers, they cannot be turned upside down to keep the roller off the inking plate but rather have a ‘leg’ to hold the handle out of the ink. The exception to this rule is the 30mm roller which has a red plastic handle, not a wooden one, and can be turned upside down to rest off the inking plate.
The rollers rock a little from side to side on their spool but this doesn’t affect their use.
The rollers come boxed separately from their handles (with the exception of the 30mm which comes ready-made) but are easy to put together.
This Hawthorn Inking Roller is a great all-rounder. It comes in 3 sizes: 3″, 6″ and 12″ wide, has an impressive circumference of 17cm and is reassuringly heavy. The rubber is soft and inks evenly. When turned over, it rests on a stand to keep the roller off the inking plate. This is a high-quality roller, especially for the price.
The frame features a stand to keep the roller off the inking plate when flipped. The stand can vary a little – some batches of rollers have a third leg at the base of the handle to hold the handle away from the inking plate too.
Sponge rollers are a really useful bit of kit when you’re wanting to print your lino designs onto fabric. They’re very inexpensive and refill sponge rollers can be fitted to the handle when they’re worn out or to swap to when the first is wet.
They’re roughly 10cm wide and have a circumference of 15cm. The smoothness of standard lino rollers means that only block printing inks will roll out evenly – other inks will cause the roller to slip. Using a sponge roller allows other inks and paints to be rolled out. For example, fabric screen printing inks can be easily rolled out with a sponge roller and then used to print lino blocks onto fabric.
These sponge rollers do soak up a lot of ink and can leave a bubbly texture on the blocks.
We have had this roller specially made to be perfect for block printing onto fabric. Like the sponge roller, it allows you to roll out slippery fabric screen printing inks but this roller creates a more even texture. The ink goes further as none is soaked up into the roller.
The Textile Roller is approximately 10cm wide and has a circumference of 10.5cm.
I’m Turid, I live in West Sussex. I’m a mum of three teenagers and owner of two cats and a nutty spaniel called Peggy. I was a teacher then children’s
counsellor, but gave that up a few years ago, and took the plunge with setting up a small business. Now I’m lucky enough to balance family life, and
a part-time job, with working from home drawing, designing and printing fabric, and hand making linen products.
Describe your printmaking process.
I’m a lover of pattern in nature and take lots of photos as I walk. So I generally start with a photo (normally something botanical), which I then sketch
in pencil, and then once I’m happy with it I draw over in ink. I scan this into my computer and do final adjustments in photoshop, and eventually print
it out on acetate. I coat a screen with photosensitive emulsion and once dry, expose the image (I simply use a 500W lamp with the glass removed) –
I wash the screen off and, assuming all is well, then it’s ready to print.
How and where did you learn to print
I’ve always been interested in lots of different forms of printmaking but only had a go at screen printing a few years ago – I was given a gift from my
husband of a short course at Inkspot Press in Brighton, with Jane Sampson. I instantly loved it, and have been playing around with it ever since!
Why printmaking?
It’s a lot of fun! I love that with screen printing you can print detail. I worked with stencils initially but was a bit frustrated by it, and found that
once I could in effect print my ink drawings I enjoyed it all the more. I’m excited at the prospect of learning loads of new techniques. I’m just at
the start but raring to go!
Where do you work?
I’m very lucky to have a studio in my garden where I work. It’s insulated but gets seriously chilly in the winter, so I tend to migrate to my kitchen when
it’s cold for the designing and sewing process, and just soldier on in the cold for the printing part! I expose the screens in a makeshift darkroom
that is my daughter’s bedroom (she is now at university, and it’s the smallest and darkest room in the house!) and my poor utility room is where I
coat and clean the screens (lots of evidence of this on the floor!).
Describe a typical day in your studio.
The only typical bit to my day is that I always go for an early dog walk, and make myself coffee and toast on my return. I have weeks when I’m designing
and screen creating – this can be a rather slow process as it’s often that it’s not til the screen is made and the first print produced that I know
if I’m happy with the design, so it may mean going back to the sketch and redrawing it and starting the whole process again. I am still learning about
what mesh count is best with what design and also with what fabric. Some of the finer detailed designs don’t print so well on the linen as the weave
is too coarse.. so I’m experimenting all the time. I have days when I’m mainly washing, drying, cutting or printing the fabric, heat setting the prints,
sewing the products, creating lampshades, or any combination of the above!
I’m largely self-taught, and so I’m still very much learning as I go along, so I’m often trying things out and making mistakes and trying again, so things
tend to develop rather slowly, but it’s very satisfying when things go well…
How long have you been printmaking?
I only began screen printing a few of years ago, and feel really excited about all I have still to learn. At the moment I mainly print simple monochrome
designs, but I’m keen to start introducing more colour and layers.
What inspires you?
I guess I’m mainly influenced by nature…Living at the foot of the South Downs, I’m surrounded by trees, fields and hills – it’s very inspiring and
it would be impossible not to be influenced by it! However, I’ve also spent a lot of time in Norway (my mum’s Norwegian) – and I think you can’t fail
to be influenced by Scandinavian style and design when you spend lots of time there.
What is your favourite printmaking product?
I think my favourite product at the moment isn’t strictly a printmaking product, but it is very important in the fabric printing process… it’s my
heat press. Before I got it, I spent so long neurotically ironing every print for far longer than was probably necessary, for fear of it vanishing
in its first wash… I can relax a little more now that I’m confident it will remain!
What have you made that you are most proud of?
I think this will be my Norwegian Forest design, simply because it was the first design that I printed on to fabric, created a cushion from, and was confident
enough to sell!
Where can we see your work? Where do you sell?
I sell in Lewes at the monthly Saturday craft market, and on my Etsy shop (kviladesign.etsy.com).
I also sell in the local Artist Open Studios and will be at a number of Winter and Christmas markets in Sussex. My website will be launched in the
near future (www.kviladesign.com ).
What will we be seeing from you next?
I’ve recently started printing fabric for lampshades, and I’m really excited about some new bold designs, these will be ready in time for Christmas!
Do you have any advice for other printmakers and creatives?
When transferring designs to a block, there are several factors to consider: can the design be seen on the block? Will it wash off? Will the design
be transferred to the print? In this project, we test two different carbon papers on six different relief blocks. We test them with three types of
ink: waterbased, water washable and oil based to see which combinations work the best.
Our first test is to see which carbon papers transfer onto which blocks.
Both the red and the blue carbon papers transfer well onto the ply and the grey lino.
Only the red carbon paper transfers onto the softcut, transparent block, easy carve and vinyl. The blue does not show on any of these blocks.
The next test is to see if the marks can be cleaned off. Often, especially when printing in the reduction method or proofing, we want to clean the ink
off our blocks without removing our drawing. Other times, we may want to clean the drawing off our block to start again, so it’s important to know
how our carbon papers will behave when cleaned.
When cleaned with water on a rag:
Softcut – the red lines smudged
Transparent Block – the red lines cleaned away
Ply – the red lines did not clean off, the blue lines did not clean off
Easy Carve – the red lines did not clean off
Lino – the red lines did not clean off, the blue lines cleaned away
Vinyl – the red lines did not clean off
When cleaned with oil on a rag:
Softcut – the red lines cleaned away
Transparent Block – the red lines cleaned away
Ply – the red lines smudged, the blue lines smudged
Easy Carve – the red lines cleaned away
Lino – the red lines did not clean off, the blue lines did not clean off
Vinyl – the red lines cleaned away
When cleaned with Zest It on a rag:
Softcut – the red lines cleaned away
Transparent Block – the red lines cleaned away
Ply – the red lines smudged, the blue lines smudged
Easy Carve – the red lines cleaned away
Lino – the red lines became paler but did not clean off, the blue lines cleaned away
Vinyl – the red lines cleaned away
It was worth noting that it was difficult to redraw on the block with carbon paper after they had been cleaned with Zest It.
Next, we want to test if the carbon lines will transfer when printed. We re-drew on all the blocks and printed with Cranfield Waterbased Relief Inks, Caligo
Safe Wash Inks and Hawthorn Stay Open Oil Based Inks.
The results from each ink can be seen in the prints below:
When printing with Caligo Safe Wash Inks:
Softcut – no transference
Transparent Block – transference from red carbon paper (blue carbon paper did not work on block)
Ply – no transference
Easy Carve – no transference
Lino – no transference
Vinyl – no transference
When printing with Hawthorn Oil Based Stay Open Inks:
Softcut – no transference
Transparent Block – transference from red carbon paper (blue carbon paper did not work on block)
Ply – no transference
Easy Carve – no transference
Lino – no transference
Vinyl – a tiny amount of transference from red carbon paper
When printing with Cranfield Water Based Inks:
Softcut – transference from red carbon paper (blue carbon paper did not work on the block)
Transparent Block – transference from red carbon paper (blue carbon paper did not work on the block)
Ply – a tiny amount of transference from red carbon paper, no transference from blue carbon paper
Easy Carve – a tiny amount of transference from red carbon paper
Lino – a little transference from blue carbon paper, no transference from red carbon paper
Vinyl – a tiny amount of transference from red carbon paper (blue carbon paper did not work on the block)
To conclude, we found that the Blue Carbon Paper only works on the traditional grey lino and ply, not on any of the other blocks. The red carbon paper works on every block. Zest-It cleans off both carbon papers off all of the blocks except red carbon paper on lino and ply and blue carbon paper on ply.
There is little transference on any of the prints apart from the red carbon paper on the transparent block.
The best combination seems to be Red Carbon Paper on grey Lino as there is no transference to prints and the marks are not removed with water or oil and are only made paler with Zest-It.
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