Printmaking processes are defined by:
The methods used to make the image
This can involve drawing, cutting, collaging, cutting stencils, making transparencies – finding a way that matches the way you work is important
The way the ink is applied
Inking up a surface with a roller, squeegeeing through a screen, putting ink into deeply etched lines all give different finished effects to a handmade print print
The method used to transfer the ink to paper
This usually involves a press of some sort, but it is not always neccesary
There are a huge number of different processes and new ones being developed all the time. The definitions below are offered in their simplest form as a general guide to anyone less familiar with printmaking. Recommended books that we hold in the studio for reference are listed below and on each of the specialist pages of print processes.
Relief Printing is a generic term which covers linocuts, woodcuts, wood engraving and printing from modern materials like mdf and plastic.
It also includes letterpress or printing from type or wooden blocks.
Intaglio Processes include etchings, aquatints, photoetch , drypoint and collagraphs.
All these processes are defined by the great pressure required. Ink is deposited into the lines and textures of the plate or block and the surface ink is wiped away. The extreme pressure of the press pushes dampened paper into these lower areas and picks up the ink. Heavily etched plates and some collagraphs have an almost embossed effect in the finished print.
Screenprinting
is essentially a stencil process. The stencil is supported by a fine mesh stretched on a frame. Ink is pushed through the mesh with a rubber squeegee. Stencils can be simple cut paper or made using a photoemulsion or plastic film.
Cyanotype
The process involves mixing two chemicals to produce a light-sensitive solution. This is then used to coat paper, wood or textiles. A negative or an object can be used to create a photographic image when exposed to sunlight or an ultraviolet light source.
Monoprint
Monoprinting combines printmaking, drawing and painting techniques. A single image developed on a flat surface with oil or water-based ink is transferred to paper by means of a printing press or by hand burnishing.
The workshop is designed to function as a solvent-free, safe and non-toxic area. This is achieved by using either water-based techniques in place of traditional solvent-based processes or by substituting vegetable oil for the white spirit when cleaning up oil-based inks. Many of the printmaking techniques that we employ have been developed by Edinburgh Printmakers.
People of all ages and abilities are catered for both in and outside the workshop so our commitment to solvent-free, safe and non-toxic printmaking is very important.