Screenprinting
Screenprinting, also known as serigraphy, is a printmaking process where ink is pushed through a fine mesh screen onto a surface such as paper or fabric. A stencil is used to block certain areas of the screen, so the ink only passes through where the image is meant to appear.
To create a screenprint, a design is separated into layers, with each colour printed one at a time. A stencil—either cut from paper or created using a photographic process—is placed on the screen. Ink is then pulled across the surface using a squeegee, transferring the image onto the material below. By repeating this process with different stencils and colours, a final layered image is built up.
Screenprinting is known for its bold colours, strong graphic quality, and versatility. It can be used not only for posters and fine art prints, but also for printing onto textiles such as t-shirts, tote bags, and other fabrics.
In our workshops, students will explore a range of screenprinting techniques, including:
Paper stencils – a simple and direct method, ideal for beginners and quick experimentation
Photographic stencils – using light-sensitive emulsion to create more detailed and precise images
Layering and overprinting – building up colours to create depth, transparency, and new colour combinations
CMYK printing – using four colours (cyan, magenta, yellow, and black) to create full-colour images
Bitmap and halftone techniques – breaking images into dots to create tone and photographic effects
Screenprinting is very student-friendly as it encourages experimentation with colour, layering, and composition. It’s a hands-on and rewarding process that allows students to produce bold, professional-looking prints while learning key printmaking skills.
Intaglio
Intaglio is a printmaking process where the image is created by incising lines or textures into a plate, usually made of metal such as copper or zinc. Unlike relief printing, where ink sits on the surface, in intaglio the ink is held below the surface in the engraved or etched lines.
To make an intaglio print, ink is worked into all the lines and marks on the plate. The surface is then carefully wiped clean, leaving ink only in the recessed areas. Damp paper is placed on top of the plate and run through an etching press. The high pressure of the press pushes the paper down into the grooves, allowing it to pick up the ink and transfer the image. This creates prints with rich lines, fine detail, and a distinctive embossed surface.
There are several traditional intaglio techniques, each producing a different look and quality of line:
Drypoint – lines are scratched directly into the plate, creating soft, slightly blurred lines with a rich, velvety quality
Etching – lines are drawn through a protective coating and then bitten into the plate using acid, allowing for more fluid, drawn marks
Engraving – lines are cut directly into the plate with a sharp tool, resulting in clean, precise, and controlled lines
Aquatint – uses a fine resin to create tonal areas, allowing for washes and shading rather than just line
Intaglio is a great process for students to explore detailed drawing, mark-making, and tone. While it can be more technical than other print methods, it offers a wide range of expressive possibilities. We offer both beginner sessions to introduce the basics, and masterclasses for those who want to develop more advanced skills and techniques.
Collagraph
Collagraph is a printmaking technique that gets its name from the Greek words “colla” (meaning glue) and “graph”(meaning to draw). It involves building up a textured surface by sticking different materials onto a base such as card, mountboard, or wood.
In this process, students create a “plate” by gluing a variety of materials, such as fabric, string, leaves, cardboard shapes, or textured papers, onto the surface. These materials create raised and recessed areas, which will hold and transfer ink in different ways. Once the plate is dry, it can be sealed (often with varnish or glue) to make it more durable.
Ink is then applied to the plate. This can be done in different ways:
Relief inking (rolling ink over the raised surfaces)
Intaglio inking (pushing ink into the lower areas and wiping the surface)
Or a combination of both for more complex results
The plate is then run through a printing press, or hand-burnished, to transfer the image onto paper. The result is a rich, textured print with lots of depth and detail.
Collagraph is very student-friendly because it uses inexpensive, easy-to-find materials and encourages creativity and experimentation. It’s a great way to explore texture, layering, and composition, while also introducing key printmaking ideas like surface, pressure, and ink transfer.
Monoprinting
Monoprinting is a printmaking process that produces a one-off image, meaning each print is unique rather than part of an edition. It is often one of the most accessible forms of printmaking, making it especially suitable for students and beginners.
There are two main approaches to monoprinting. The first is known as the subtractive or “trace” method. In this process, a surface such as a plate or sheet (often acrylic or glass) is rolled with a thin layer of ink. A piece of paper is then placed on top, and the artist draws or presses onto the back of the paper. This transfers the ink in varying amounts, creating soft, expressive lines and tonal areas when the paper is lifted.
The second method is additive. Here, the artist applies ink directly onto the plate using brushes, rollers, or other tools, essentially “painting” the image. The plate is then run through a press (or hand-burnished), transferring the image onto paper. This method allows for more control over composition, colour, and texture.
Monoprinting is valued in teaching because it encourages experimentation, spontaneity, and mark-making without the pressure of producing perfect or repeatable results. Students can explore layering, texture, positive and negative space, and a wide range of tools and materials. It also introduces key printmaking concepts, such as transfer, pressure, and reversal of images, while remaining quick, low-cost, and highly engaging..
Cyanotype
The cyanotype process is a photographic printing technique that makes paper light-sensitive by coating it with a solution of ferric ammonium citrate and potassium ferricyanide. Once dry, objects or negatives can be placed on the surface and exposed to UV light (such as sunlight).
During exposure, the light causes a chemical reaction: the ferric (iron III) salts are reduced to ferrous (iron II) salts, and the ferricyanide reacts to form a pale blue image of ferrous ferrocyanide in the exposed areas.
After exposure, the print is washed in water. This removes any unexposed and soluble chemicals, leaving behind the insoluble image. As the print dries and oxidises, the image deepens into the characteristic rich Prussian blue, formed from ferric ferrocyanide compounds.
Cyanotype prints are generally very stable and permanent, although they can fade slightly over time and are sensitive to alkaline conditions.
A wide range of materials can be used for cyanotype printing, including most papers, as long as they are not alkaline-buffered. Untreated fabrics and canvas also work particularly well.
Photopolymer Process
Photopolymer printmaking, also known as solar plate etching, is a modern and more environmentally friendly form of intaglio printing. It uses a light-sensitive plate instead of traditional acids to create detailed images.
In this process, an image is placed on top of the plate. This could be a hand drawing on transparent paper, a printed image on acetate, or a digitally created design. The plate is then exposed to UV light (either in a light unit or sunlight). The light hardens the areas it reaches, while the areas blocked by the image remain soft.
After exposure, the plate is developed using water. The soft, unexposed areas gently wash away, leaving behind a textured surface that holds the image. The plate is then dried and is ready for printing.
Like traditional intaglio, ink is worked into the recessed areas of the plate and the surface is wiped clean. Damp paper is placed on top, and the plate is run through an etching press. The pressure pushes the paper into the textured areas, allowing it to pick up the ink and reveal the final image.
Photopolymer is very student-friendly because it is safer and less toxic than traditional etching methods, as it does not require harsh chemicals or acids. It also allows for a wide range of imagery—from detailed drawings to photographic and digital images—making it a versatile and accessible process for both beginners and more advanced students.
Relief
Relief printing is a printmaking process where the image is created from the raised surface of a plate. The areas you want to print are left standing, while the non-image areas are cut or carved away.
To make a relief print, ink is rolled onto the surface of the plate using a roller (brayer). Because only the raised areas receive ink, these are the parts that will transfer onto the paper. The plate is then pressed onto paper either by hand (using tools like a baren) or with a printing press, creating a clear and direct impression.
This process is often compared to a stamp: whatever is raised will print, and whatever is cut away will not.
There are several types of relief printing, each with its own character:
Lino cut – carved into linoleum, which is smooth and easy to cut, making it great for beginners
Woodcut – carved into wood, often showing the natural grain for a more textured effect
Wood engraving – uses fine tools on hardwood to create highly detailed images
Relief etching – combines elements of etching with relief printing techniques
Collagraph (relief method) – when textured materials are built up and inked on the surface
