Linocut printing is a relief printing technique, where an image is hand carved onto a piece of linoleum. Linoleum is made of rubber and linseed oil, backed with hessian. I draw a sketch and transfer it onto the linoleum. I use a selection of sharp tools to carve out my image. The tools I use are Pfiel and Flexcut. I use a roller to coat the linoleum block with good quality oil based ink. I take a test print by laying a piece of paper on top, and burnish it with a glass baren, applying an even pressure until the ink is transferred. For larger prints I use my hydraulic press from Lawrence Printmakers. I also use an antique Albion press in the Northern Print studio. The final prints are printed onto specialist paper. I use a selection, but predominantly Japanese Hosho paper, and Nepalese Lokta paper.
Screen printing is a technique of printmaking using a stencil and a fabric mesh screen (synthetic or silk) stretched tightly over a frame. The stencil blocks areas that are not to be printed. There are several methods of creating a stencil; by applying paper, painting using a screen blocking solution, or using light sensitive emulsion to develop a “positive” image onto the screen. Ink or dye is then forced through the screen with a squeegee onto the surface below. Colours are printed in separate layers, using different stencils to make up the final image.
Cyanotypes originated in the 1840s and was one of the first non silver techniques to create photographic images. It was later adopted as a copying technique, becoming known as “blue print”. It is a negative process, so where light does not hit the sensitised material it remains white. I mix a solution of chemicals and paint it on a heavyweight paper, or fabric, which is put in a dark place to dry (as the solution renders the material sensitive to UV light). I then place items on top of the paper which form the subject of my image. If making a wet cyanotype I spray it with cider vinegar or use soap bubbles as they react with the paper. I place glass on top and expose to sunshine, or on dark days you can use a UV lamp. Once happy with the exposure I wash the paper/material until all the residue is gone. As it dries it oxidises, turning blue.