The Printmaking Process

 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.

 Linocut is a relief printing technique, where an image is 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 Pfiel tools to carve out my image. I currently only produce mono block prints, but you can also make multi block prints or reduction prints. When happy with my image I use a roller to coat the linoleum with oil based ink. I take a test print by laying a piece of paper on top of the linoleum, and rub it with an even pressure until the image is transferred. For larger prints I use a hydraulic press. The final prints are printed onto archival paper. I use Japanese Hosho paper, which is very lightweight but exceptionally strong and takes ink well.