What is printmaking?

Printmaking is a generic term that encompasses a variety of different hand printing techniques, where an artistic image is transferred by hand from one surface to another. The process often leads to editions of prints, where a number of prints are created with the same original image. Due to the nature of printmaking, there are often small variances between each print, which add to their character.

The process of printmaking is often long, with a high degree of skill involved, as well as artistry. Each print is a work of art, and the paper used to print is an important choice to get the best looking print for the edition.

What paper should be used for printmaking?

There are a variety of specialist printmaking papers available for artists, and also general papers that it is possible to print on, however there is a lot to consider to get the optimum performance out of a paper. The Somerset® series of printmaking papers have been engineered to provide the very best paper possible for a wide variety of printmaking techniques.

Going through some of the considerations when choosing the perfect paper for a print:

Best composition of a printmaking paper

Cotton is probably the best fibre for a printmaking paper. The fibres are naturally docile and flexible. The cotton used for printmaking papers is generally cotton ‘linters’, these are the cotton seed hairs, and a by-product of the textile industry.

A dimensionally stable paper for multicolour printing

Dimensionally stable paper is a significant consideration. ‘Mould Made’ paper creates a sheet with fibres that are more randomly distributed, so when the paper is dampened it expands in BOTH directions making it more dimensionally stable. Paper effectively needs to retain its shape during and after printing, which is especially important for multicolour prints. Standard papers are created using a Fourdrinier machine on a continuous wire belt (excellent for making paper fast), but unfortunately the fibres tend to align in one direction, leading to the paper being more prone to cockling (buckling) which is both unsightly and also more difficult to gain print registration.

The best weight for printmaking paper

This depends on what you are using the paper for. A heavier weight sheet will naturally be more dimensionally stable, which aids print registration and is generally more docile. A heavier, thus bulkier, paper should also be considered for anything requiring the effect of having a plate or type pressed into the surface to give an embossed or debossed effect. Explore a 300gsm, 330gsm or even a 500gsm sheet. Heavier papers are also more expensive, so a lighter 250gsm maybe a cost effective option, if it is heavy enough for the print requirements. For relief printing where the ink is transferred by hand rubbing with a barren, a light weight sheet is preferable to aid the ink transfer process.

A strong paper that is also soft is best for printmaking

This sounds like a conflict, but a necessary requirement for a printmaking paper. The paper will need to remain strong after dampening and not fall apart when being handled multiple times. It needs to withstand sticky ink trying to pick at the surface, as tacky ink can be responsible for lifting the paper’s fibres. It also has to be soft, malleable and conform readily into a plate, especially essential for intaglio techniques, embossing and letterpress, where it is important the surface doesn’t crack when pressure is applied, when sinking a plate into the paper.

A attractive looking surface is desirable for printmaking

With prints, the paper is often on show. The surface texture shows through the print and any unprinted areas are on full display, making it important to select a surface you like the look of, as it will become an intrinsically part of the finished print. Different surface textures will give different looking results once printed, for example colours printed on a textured surface can give a more diffused look, as colours look less bright than when printed on smoother papers. Texture can add character, interest and depth, where the ink pickup can lead to natural variations between prints. A smooth surface can capture fine details and delicate lines.

Choose a printmaking paper that readily accepts ink

Ideally a printmaking paper should be slightly absorbent, to readily accept the transfer of ink easily and uniformly. This is called ‘soft sizing’ where the ink penetrates the surface of the paper. This is in contrast to watercolour paper, which is designed to be less absorbent, so the paint can stay on the surface for the colours to be manipulated. When using papers not engineered for printmaking this factor needs to be taken into consideration when printing.

Find the right colour printmaking paper

There are a lot of shades of printmaking papers available, with numerous shades of white, with each of these whites offering the printmaker different possibilities. A bright ‘Radiant White’ will give a lot of contrast with cool black inks, whilst a warmer ‘Soft White’ looks great with browner blacks. In addition there are other neutral tone papers that look fabulous printed, with ‘Newsprint Grey’, ‘Buff’ and ‘Antique’ in the Somerset® range. Look for a paper whose shade is lightfast and created with pigments to ensure the base colour of the finished print doesn’t fade or yellow over time.

Archival papers for editions

Handmade original prints are works of art and deserve an archival quality paper so they will last. Archival grade papers are made with high quality raw materials that have a high alpha cellulose content (cotton for example is 89-99% alpha cellulose) and acid free. Having an alkaline pH from a calcium carbonate buffering is preferable, so the paper has a reserve to combat atmospheric acids that could degrade the print over time.

Consistent quality for editions

Printing is tricky, so it is important to select a paper you know will be consistent in how it performs. Also editions don’t necessarily need to be printed in one session, and can be printed over months or indeed years. For professional looking limited editions, the same paper should be used throughout, but when printing over extended times, it is likely to be using different packets of paper, that can easily be from different batches. Therefore it is important to select a paper from a manufacturer that produces paper with a consistent quality for performance and intrinsically looks the same batch to batch.

Do different print techniques require different properties?

Different print techniques demand slightly different requirements from a paper. Below is a roundup, but not exhaustive points. These are in addition to them all requiring a sheet to be being archival, have a consistent quality, be fade resistant and be dimensionally stable to remain flat:

Relief printmaking paper requirements

A relief is made from a raised surface with methods including woodcuts, wood engravings, linocuts (block printing), collographs, stamp prints, plaster relief prints, cardboard prints and letterpress.
For printing fine detail, often a smoother surface is often preferred. A dimensionally stable sheet is necessary for registering multicolour printing. Using a heavier bulkier paper will aid embossing, debossing or letterpress for the desirable ‘squash’. Printing on a paper with a strong surface will stop the surface from being pulled due to the tackiness of the ink.

The transfer of ink can be obtained via a press or by hand rubbing the surface using a barren. For printing with a barren, a lighter weight paper will be easier, but if using a press, heavier more robust papers are likely to be preferable.

Intaglio printmaking paper requirements

Intaglio is a method of printing from an incised surface (a line carved into the surface). Among the intaglio techniques are engraving, etching, drypoint, aquatint, and mezzotint. The paper needs to allow dampening and remain strong when being handled without falling apart, plus have the strength to withstand the pull of the plate without the surface being picked. The squash of an etching plate demands a paper that is pliable and won’t crack along the edges, as the plate is compressed into the surface. Heavier bulkier papers have the ability to be squashed for a deeper ‘plate mark’. It is important the paper is slightly soft sized to draw the ink into the surface of the sheet from the incised lines, with a paper that naturally picks up fine detail. Choosing a paper that retains is shape and is dimensionally stable is very important for print registration.

Silkscreen printing paper requirements

Serigraphy, screen printing or silkscreen are different terms to describe the same print process that are a form of stencil printing. A smoother surface is often preferred by screen printers, that is also resistant to imperfections whilst being handling. Silkscreen prints can receive a large number of passes to achieve exceptional colours, making it essential to have a dimensionally stable sheet that retains its shape. Inks used for silkscreen can be vibrant, so having a paper capable of excellent colour reproduction is necessary to showcase the bright colourful pigments. It is important the surface of the paper is strong, so tacky ink does not lift the fibres of the sheet. Plus using a ‘soft sized’ sheet will nicely absorb the ink into the surface.

Hand lithography printmaking paper requirements

Lithographic printing is a planographic process based on the antipathy of oil and water, using a stone or plate. The paper needs a good porosity for the print process, should be free from any additives that could disrupt the litho process and be acid free. The sheet needs to have a flatness with minimal curling, so having a paper with good dimensional stability is essential. A strong surface to the paper is essential to resist the surface from picking with sticky ink.

About Somerset® printmaking paper

Somerset® is designed primarily to withstand the rigours of printmaking to give a paper that is perfect for different printmaking techniques.

Can you print on any paper?

In theory yes, if you’re skilled enough, but it won’t necessarily give the best result for the hours taken to create the image. Things to look out for are: the surface picking, difficult print registration, difficult ink transfer, the paper showing signs of aging, cracking, becoming fragile after dampening, the list goes on. With the Somerset® series of papers they have been specially engineered for printmakers to give the best printing performance.

Experiment using different papers

The best way to learn how different papers react, to gain knowledge of how different papers can positively influence prints is hands on experimentation using differed surfaces, shades, weights.

To experiment, St Cuthberts Mill have a limited number of Somerset® swatches which can be offered to printmakers. To request a swatch please email info@stcuthbertsmill.com (UK only - for overseas enquiries, your details will be shared with the appropriate distributor in your country)

For more information on the Somerset® series of papers, explore
www.stcuthbertsmill.com/st-cuthberts-mill-paper/somerset-printmaking

For learn more about different print processes and how Somerset® can benefit the printmaker
https://www.stcuthbertsmill.com/userfiles/files/Somerset%20Application%20Brochure%20(For%20Website%20or%20Email).pdf
 

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