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  • Using Pearl Ex Metallic Pigments to Enhance Screen Prints

    Using Pearl Ex Metallic Pigments to Enhance Screen Prints

    Pearl Ex Powdered Pigments are metallic pigments that can be mixed into printing inks, acrylics, oils, encaustics and loads more. As printmakers we were keen to see how they could be used in various printmaking applications. We've tested them for relief printing and had some love. . .
  • Drypoint - Which plate is right for my project?

    Drypoint - Which plate is right for my project?

    Drypoint is a fantastic intaglio technique as it requires limited equipment to create a plate. It's a great way of creating a printed drawing and is one of the printmaking techniques where the positive mark is the one that prints...

  • Preparing your paper and press for etching

    Preparing your paper and press for etching

    When you’ve created an aluminium or zinc plate etching, you’ll want to have a go at pulling your first print. To do this, you’ll need to learn how to prepare your paper and...
  • Toning Cyanotypes

    Toning Cyanotypes

    Did you know that Cyanotype prints don't always have to be blue? They can be toned and even bleached to alter their colour. The key is to use anything with a high tannin content. Tannins are commonly found in the bark of trees, leaves, buds, stems, fruits, seeds, roots, an. . .
  • Blind Embossing with Lino

    Blind Embossing with Lino

    Blind embossing is a beautiful way in which to add light and shadow to your prints. Embossing adds subtle texture and interest. Emboss prints ‘blind’ (without ink) or combine with inked lino for a complex final print. Prepare the design. These white pencils are brilliant for drawing designs onto traditional lino. The marks show up … Continue reading "Blind Embossing with Lino"
  • Introduction to Linocut Tools

    Introduction to Linocut Tools

    As printmakers, we know that having good tools can be a game changer when it comes to your printmaking practice. There are lots of lino and wood cutting tools to choose from so read on for a breakdown of the...

  • Choosing Printmaking Paper

    Choosing Printmaking Paper

    Choosing the paper for your printmaking project can have a significant impact on the way the print turns out. Changing the colour, thickness or tex. . . 

  • Glossary of Printmaking Terminology

    Glossary of Printmaking Terminology

    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 …
  • Mark Making - Using Resists

    Mark Making - Using Resists

    Using tools on your plate isn’t the only way you can create marks within an etching. You can also use resists to stop the mordant from reaching the surface of your plate. Resists can help achieve more subtle marks and washes, and they...
  • Designing a Repeat Block by Hand

    Designing a Repeat Block by Hand

    Visualising what your design will look like when printed can be the hardest thing about designing a repeat pattern. We have a good method for sketching out your initial design to see how it will work when it is printed. For this project, we. . .
  • Testing your Copper Sulphate Solution

    Testing your Copper Sulphate Solution

    When you’ve mixed a fresh batch of copper sulphate mordant, or if you have an old batch that you haven’t used for a few months, it’s good practice to test the strength of your solution. By creating some test strips for both line and tones, you’ll create yourself a reference point that you can use to help plan. . .

  • Pigment & Binder - Mixing colours for printing fabric

    Pigment & Binder - Mixing colours for printing fabric

    Using Pigment Colours and binder you can mix your own bespoke colours for screen printing and block printing. Experimenting with different amounts of binder to pigment can create some lovely...
  • Creating Cyanotypes using the Speedball UV Lamp

    Creating Cyanotypes using the Speedball UV Lamp

    Cyanotypes are made using a really old process that uses a light sensitive solution to create designs on fabric and paper. Prints are typically created using direct sunlight. Unfortunately, this is something we don't get. . .
  • Mark Marking - Using Etching Tools

    Mark Marking - Using Etching Tools

    When you’ve degreased and prepared your plate for etching, there are a variety of tools you can use to mark into the surface. Any marks made into the surface of the grounds will expose your plate to the mordant. When etched, these marks will...

  • Prepping your Plate for Etching

    Prepping your Plate for Etching

    For a successful etch, there is a little bit of care and attention you need to give to your metal plate first. There are surface impurities and grease pockets within the metal that will need to be removed before coating your p. . .
  • Should I use Caligo Extender or Opaque White?

    Should I use Caligo Extender or Opaque White?

    When mixing shades of ink, we have the choice to dilute the colour with either Opaque White ink or Extender. Both of these give us different results so which should we choose? We have performed a few experiments to show the difference between mixing with Opaque White and Extender. We have used Cranfield Caligo Safe …
  • Making a Copper Sulphate Mordant Solution

    Making a Copper Sulphate Mordant Solution

    Copper sulphate is a non-toxic mordant used to etch aluminium, zinc and steel plates for intaglio printmaking. Copper sulphate is a safer alternative to acids - and we always opt for safer solutions here at the Handprinted studio! Metal plates are traditionally etched using highly corrosive acids, which generate noxious gases and can cause burns if they touch your skin. Aci. . .

  • On The Course: Creating Life Drawing Mono Screen Prints

    On The Course: Creating Life Drawing Mono Screen Prints

    I (Bridget) was lucky enough to take part on last years Life-Drawing Monoscreen Printing workshop with Tricia Johnson. During the course, we worked with a life model to create painterly screen prints using the mono screen method. We used acrylic based screen printing inks and painted dire. . .
  • Transferring a Linocut to Inkjet Film using Adigraf Water Soluble Ink

    Transferring a Linocut to Inkjet Film using Adigraf Water Soluble Ink

    We have recently discovered that you can expose a screen with artwork made by transferring a linocut to inkjet film using a water based ink. Often when we want to convert our relief prints to screen prints we need to use some kind of digital programming to make this possible. With this technique there are no computers involved. . .

  • Sue Brown Paper Lithography Book Review

    Sue Brown Paper Lithography Book Review

    Our good friend Sue Brown has recently released her new book Paper Lithography! In this step-by-step guide Sue takes us through the process of making paper lithography prints using the humble photocopy as your plate. . .