Printmaking: Traditional and Contemporary Techniques is an authoritative resource for printmakers, designers, artists, and students. This compilation of international work includes the most creative and diverse prints being produced today, revealing continuing developments in the field.

Ann d’Arcy Hughes has enjoyed an illustrious career in

printmaking. She assisted Anthony Gross at the Slade

School of Art in London, and worked with S. W. Hayter

at Atelier 17 in Paris before embarking on her lecturing

career at the University of Brighton in the UK. Ann was

the Regional Organizer with the Open College of the

Arts (OCA) for 10 years before cofounding Brighton

Independent Printmaking (BIP). Permanent collections

of her work include prints at Xerox headquarters, BBC,

and the Victoria & Albert Museum in London.

Hebe Vernon-Morris studied as a ceramicist and

metalworker before turning to printmaking. He now

specializes in lithography and woodcut.

TECHNIQUES

• Intaglio: etching, drypoint,

mezzotint, metal

engraving, collograph

• Relief: hard and soft woodcut,

linocut, wood engraving

• Lithography: stone, zinc

plate, polyester

• Screenprinting/seriography: stencil, photo

• Monotype/monoprint: oil- and

water-based inks

APPLICATIONS

• fine art prints• posters• cards• book and album covers• fashion and textile graphics• wallpapers

Ann d’Arcy Hughes

Hebe Vernon-Morris

£30.00E T C H I N G • M E T A L E N G R AV I N G • C O L L A G R A P H • W O O D C U T • C H I N E C O L L É

W O O D E N G R AV I N G • L I T H O G R A P H Y • S C R E E N P R I N T I N G • M O N O T Y P E

Hebe Vernon-Morris

Ann d’Arcy Hughes

Contemporary Traditional

& TechniquesTRADITIONAL AND

CONTEMPORARY TECHNIQUES

COVER CREDITS:

Cover design by Eoghan O’BrienBack cover photography by Simon Punter

contributing authorsEric BatesPhoto etching, pp. 72–74

Ian BrownScreenprinting, pp. 310–321

A brief history of stencils, pp. 323–324

Screenprinting process: photographic stencils, pp. 342–343

Step by step: photographic stencils, pp. 344–346

Jon CraneBlind embossing, p. 158

Screenprinting process: cut stencils, pp. 325

Terry GravettScreenprinting process: drawn and painted stencils, pp. 334–337

Tools and materials: drawn and painted stencil, p. 338–339

Step by Step: drawn and painted stencil, pp. 340–341

Julian Hayward Step by step: process for “Dark Sun,” pp. 120–121

Collage, pp. 159–161

Belinda KingPrinting “Fool Tries to Catch a Lover’s Dream,” pp. 214–215

Troy OhlsonGiclée prints, pp. 288–289

Jane SampsonScreenprinting process: direct stencils, pp. 331–333

featured artists in step by stepsPat BennettStep by step: monotype printing, pp. 380–381

Ann d’Arcy HughesLinocut, pp. 198–201

Ray DennisMezzotint, pp. 101–105

Juliet KacStep by step: stone lithography, pp. 260–265

Colin KennedyWood engraving, pp. 229–230

Andrew MockettHardwood woodcut, pp. 174–177

Reduction print, p. 206

Heike RoeselStep by step: zinc plate lithography, pp. 272–277

Hebe Vernon-MorrisStep by step: printing a single block with a simple blend, pp. 243–245

Multiple block cut with jigsaw, pp. 246–247

Acknowledgments 4Introduction 9

1 intaglio Introduction to intaglio 14 Etching 16 Metalengraving 80 Collagraph 110 Printingtheintaglioimage 126

2 relief Introduction to relief 166 Woodcut 168 Linocut 194 Chinecollé 214 Woodengraving 226 Printingthereliefimage 238

3 lithography Introduction to lithography 252 Stonelithography 254 Zincplatelithography 270 Polyesterplatelithography 282 Printingthelithographicimage 290

4 screenprinting Introduction to screenprinting 310 Equipmentandmaterials 312 Stencils 322 Printingthescreenprintimage 352

5 monotype Introduction to monotype 368 Colorseparation 370 Additionalmonotypemethods 378

6 resources Workshops 396 Workshoplistings 402 Artistcontacts 403 Suppliers 404 Bibliography 406 Glossary 408 Index 412 Picturecredits 416

contents

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Below: Ann d’Arcy HughesThree-dimensional etching on zinc.

The aim of this book is to excite, enthuse, and inform the reader. It is

a compilation of some of the most creative and diverse prints being

produced by contemporary artist–printmakers. It is intended both as an

inspirational source book and a compelling insight into the lives and work

of artists who are fascinated by printmaking processes and in developing

their personal imagery through the production of original prints. The

brief overview that we give to each medium offers only a glimpse into

what is possible, leaving the reader to research more fully their personal

area of interest.

This book in no way attempts to make a definitive statement concerning

any area of printmaking, as there are numerous routes by which to

arrive at a similar destination. The explanations on process are led by the

imagery, informing the viewer of the choices and decisions made by the

artist, explaining why this approach was taken, and how it was achieved.

It is a common, and healthy, practice, that artists, master printers, and

workshops continually develop personal printmaking procedures that

are individual and specifically tailored to their needs. This point is further

illustrated by observing the different work being produced in the various

print workshops, artist studios, and university departments.

A print, however it is produced, is considered an original artwork (albeit

in multiple form) if it has been conceived by the artist for the chosen

medium. It can be derived from a painting or drawing using the artwork

as source material, and can still be considered an original. However, if the

work is directly transposed onto a screen, block, or plate by photographic,

or other means, solely in order to produce it in duplicate form, then this is

not considered an original print but a reproduction, and should be labeled

and sold as such.

If a work is printed by a master printer, the image must be first created

by the artist and then printed under their supervision if it is still to be

considered an original artwork. The usual practice is to decide on the

number to be printed, which the artist will then sign and number in pencil.

Smaller editions can command higher prices than very large numbers. In

days gone by, the early numbers were considered more desirable as the

image would be sharper, the plate or block being less worn down by wiping

or pressure. However, while it is now possible to steel-face softer plates to

prolong their life, most artists who print their own work generally prefer to

move on to their next image before the plate or block deteriorates.

In the latter half of the twentieth century there were three developments

that affected the practice of printmaking. First was the arrival of computer

graphics. Because of its instant results, many artists were seduced into

feeling that the traditional methods were by comparison too slow and

expensive. However, we think it is now generally recognized that the

computer is a hugely important, and exciting, complement to many forms

of printmaking. For example, screenprinting, polyester lithography, and

photo etch would not have developed in the same way without the use

of computer technology. That said, it is important that the tradition of

hands-on printmaking, with its unique qualities, continues to be passed on

to future generations, as it can never be replicated or replaced.

The second development concerns health and safety issues. Obviously,

concern for safety is paramount; therefore, it may be necessary to adapt

procedures and practices that have been carried out for centuries to ensure

they are safe for use today. In most cases adaptation is preferable to radical

change, which may not be much safer in the long run, and may not retain

the qualities gained through the original techniques. To use etching as an

example, in some areas a new procedure called “safe etching” has been

introduction

developed, and gained in popularity. Printmaking in all areas is far from

being an outdated visual language and art form. It is an up-to-the minute

method of expression for fine artists in the twenty-first century.

This is an image-led resource book to introduce the reader to the

printmaking medium. The aim of the book is to inspire through the

imagery, by offering examples of the rich and diverse work being created

by contemporary printmakers. The work speaks for itself, presented as a

testament to the possibilities inherent in the printmaking medium.

The book is split into six sections. The first five cover the five main areas of

printmaking: Intaglio, Relief, Lithography, Screenprinting, and Monotype.

The sixth section is devoted to Resources.

Each of the five sections opens with a brief history—not intended as an

in-depth discussion of each genre, but to give the reader some context as to

the development of the process and of the artists who have gone before.

The chapters within each section focus on the varying techniques within

each genre. To use the Intaglio section as an example: Step-by-step

photographs and text explain the stages of preparing a plate, drawing an

image, illustrate a variety of different ways in which to create tone and

texture, and conclude with a chapter dedicated to the printing of the

intaglio image. Within these stages, a number of processes are presented—

metal engraving, drypoint, mezzotint, and collagraph—to provide the

reader with an awareness of the diversity and potential of the intaglio

image. Interspersed with the practical steps are images from international

introduction

10/11

adopted, but the results are different than those achieved by traditional

etching, which is the practice generally presented in this book.

The third development is the decline, due to stretched financial resources,

of vocational and part-time classes in universities and colleges, and

the practice of modular teaching on degree courses. Modules allow

students only a taste of each subject but no time to establish any in-depth

relationship with the medium. Without allowing practicing artists and

students to develop their skills to a high standard, there will not be new

teachers to hand down the essential skills to new generations, who are just

as interested and talented as any of those who went before them.

A network of privately run workshops has emerged to address the need

for the provision of facilities and expertise in teaching—to cite the UK

as an example, such workshops exist in Aberdeen, Edinburgh, Brighton,

Bristol, Leicester, and London, to name a few. These workshops and studios

attempt to bridge the gap by providing experienced tutors and access to

specialist facilities. Unfortunately, the difficulty of obtaining any financial

support in the form of grants for teaching means that many individuals

have to work as unpaid volunteers. They face the constant pressure of

trying to cover overheads, resulting in an uncertain future for this resource.

While printmaking today is respected as a fine-art medium, in the past

prints were used to provide information to a wider public, passing on

matters of news, religion, or instruction. As communication techniques

developed, and as artists discovered the potential of making prints, the

practice has more than survived the passing years and has matured,

Wendy Morosoff Smith (Canadian)The Whispering of the Grasses18 x 25in (46 x 63cm) Carborundum print; Daniel Smith etching ink on Rives BFK White 280gsm paper Edition of 10 printed by the artist on a Glen Alps press at Malaspina Printmakers Studio, Vancouver, Canada

artists that serve to reinforce the techniques explained, enabling the reader

to see how these aspects are used within the creative process.

The aim is to provide a general understanding and awareness of what each

technique involves. This book is by no means a comprehensive “do-it-

yourself” manual. Printmaking is a living art, and within the boundaries

of each technique the individual refines the process to develop their own

working practice. The information and imagery is presented to allow the

reader a sense of each genre and to understand the potential of the printed

image before beginning their own educational route within an educational

establishment or a studio workshop.

This book is truly international in scope. Within the sections there are

examples of work and profiles featuring artists from the United States,

Canada, South America, Europe, Asia, Australia, and Africa. Within these

texts the reader is privileged to obtain an insight into how these artists view

their work, their inspiration, their artistic process, and to understand what

printmaking means to them as individuals. Art is created for many reasons,

but what is clear from the profiles is that, to the artists, the work becomes

an entity in its own right. The images exist separately from the artist once

created, but remain at the same time inextricably linked.

This book has been created to share the enjoyment and fascination of

printmaking. We hope to enthuse the reader with examples of the infinite

possibilities of the printed image and to inspire with the vast range of

styles evident in the images. The book is an introduction into what is a

magical combination of tradition, innovation, process, and imagination.

Ann d’Arcy Hughes(British)From Root to Crown8 x 13in (20 x 33cm)Etching—multiple plate printed à la poupée; T. N. Lawrence oil-based etching inks; Fabriano Artistico paperEdition of 50 printed by the artistat Brighton Independent Printmaking, UK

introduction

section 1 : intaglio

36/37

Gary Goodman(British)Break Through the Silence I6 x 7in (15 x 18cm)Etching with softgroundArtist’s proof, printed by the artist

etching process: softground

Softground is a nondrying, acid-resist surface that allows textures to be transferred to the plate. Soft lines can also be produced by drawing through paper. Softground contains approximately 60 percent grease and will therefore not dry to a hard surface but remains tacky. The use of this ground is to take impressions of soft objects, or it can be used to draw directly with a pencil onto the surface through paper. Due to the high content of grease, it is unnecessary to degrease the plate before use. The ground is not smoked after application, as this would harden the surface and defeat the intended purpose.

1.1.8

chapter 1: etching

Gary Goodman(British)Once I Had Mountains II6 x 10in (15 x 25cm)Etching with softgroundArtist’s proof, printed by the artist

38/39

step by step: softground etching

section 1 : intaglio

3 Place a sheet of waxed paper over the

entire plate to prevent the excess ground

from marking the blankets, and run the plate

through the press.

4 Initially a corner of the fabric is lifted to

access the impression, which should be

clearly visible. Where the metal can be seen

the acid will bite, thereby creating a groove

that will hold ink and print. If there is no

impression, run the plate through the press

again with increased pressure.

2 To obtain a good impression, the

materials used to create the texture need

to be soft enough to put through the press; for

example, fabric, wool, string, lace, gauze, dried

leaves, and net. The pieces are placed on the

plate; it is not necessary to cut the exact shape

required as stop-out varnish can be applied to

the surface before it is bitten in the acid.

1 The application should produce a deep,

rich brown color. If the ground is too

thin this will cause foul biting through the

protected areas, but if it is too thick the

texture will not remove sufficient ground to

allow the acid to bite.

If the plate has already been bitten, first

push the ground into the incised lines with

a ball of tissue as a protection, then finish

rolling the top surface substance, and use a

firm roller to apply the ground evenly.

5 Stop-out varnish is used as a resist

against the acid. This confines the

texture to the required area, and it must be

completely dry before being placed in the

acid bath.

The ground can be applied to zinc, copper,

or steel. The metal should be prepared in the

normal manner: file and scrape the edges,

remove any surface scratches, and polish to

the required finish. A hotplate is necessary

to melt the substance, and a firm roller to

apply the ground evenly.

1.1.9

chapter 1: etching

7 New lines and marks can be made using

a pencil dragged across the surface, a

cotton bud or rag dipped in mineral spirit,

or a wire brush. The plate can then be

returned to the acid for further biting.

8 With softground it is especially

advisable to check the depth of line

with a needle, and then take only a small

area of ground off the image before cleaning

the entire plate. The impression may

have left a residue of ground, which will

prevent the acid from biting initially and

therefore the plate may require longer in

the acid than expected. If tape is used to

protect the back of the plate it must be

removed before printing, as the heat will

melt it, producing lumps. Primer car spray

is an easier option, as it does not need to

be removed. The intaglio plate is inked

up and wiped off with gauze and tissue

in the normal way. After the first proof a

hardground or aquatint may be applied to

the plate to build up a complete image.

6 Before the plate is put in the acid,

the back is protected. The tape is

overlapped to prevent the acid seeping

underneath. An extra piece can be left on

either side to provide a handle for easy

removal from the acid bath. Primer car spray

or straw-hat varnish can also be used as an

acid resist.

A softground zinc plate is generally placed in

a relatively slow mix of 1 part nitric acid to

10 parts water. A fine line could be achieved

in around 6 minutes, but an average line takes

15–20 minutes. The plate can be removed

from the bath at intervals and areas stopped

out before it is returned to the bath; this

produces a variance in the depth of mark.

The longer in the acid, the deeper the mark

and therefore the darker the print. A feather

is not used to remove the acid bubbles as it

could scratch the softground.