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Papers for Printmaking

For every printmaking method there are dozens of possible papers that the artist can use. For those techniques that use heavy amounts of ink or paint, a thick, absorbent paper is usually selected. For methods where the inks or paints are not applied thickly, thin, delicate papers can be utilized. Combinations of papers will give you different appearances and can lead to the discovery of a great new "feel" for your printmaking.

Thin papers such as synthetic fiber sheets, rice paper and other lacy and translucent sheets are the perfect basis for the light lines of some etchings and work very well for most woodcuts. The quantities of ink used in these printing techniques is low and, therefore, there is less likelihood of excessive paint disturbing the images created with them. Thin papers are most often absorbent and will accept and hold low quantities of ink without any loss of detail or design. Tests often show that there is little or no need for any additional paper bonding after the print is made.

But, if your paper choice is too thin for the prints you are trying to make and you are fond of the texture of that paper, consider adhering your decorative paper to a thicker paper for added structure. This combination will give you the surface tooth you want and the strength of the thicker paper. Adhere the top sheet to the lower one with an acid-free paste such as the wheat or rice starch used in book repair and preservation. Most art supply centers have a full line of archival, natural adhesives. They are not costly and make a lot of paste.

Use of this same technique is also good for the creation of a slightly crunchy surface. This heavier texture can be created by adhering crumpled acid-free paper to a heavier backing paper. The heavier the irregular top texture, the more ink or paint it can take. In this case, low ink techniques are less desirable.

Copperplate paper and other smooth-surfaced papers of all-rag or high-rag content are perfect selections for fine line etchings and engravings. The ability of these papers, once moistened, to "stretch" into even the most subtle depression on a master plate is essential to success. Whether you are using a metal plate or other material, such as acrylic sheeting, the lines you create will be well defined if the paper has little or no surface texture. Smooth, high-rag content gives the paper the strength to stand up to moist conditions and still renders a true image.

Drawing paper is crisp and not very flexible when it comes to using it as a printing base. You might use it for trials or with more primitive methods of printmaking. Wax cube carvings done with lino tools, pressings such as leaf prints or other flat shapes and textures do well on quality drawing paper. Test prints to determine color, registration and the like are often completed on lower quality paper such as drawing sheets before a run is made on higher quality materials.

Textured surfaces such as watercolor paper might yield an interesting look for some printing processes. The fiber content and strength plus flexibility make many watercolor papers very desirable for printmaking. Cold press papers are often used for monoprinting where more paint is applied to the master plate. Hot press, with its smooth surface, is also good for monoprints with greater small detail.

Handmade papers, especially those with interesting textures, can be useful for textural elements in printmaking. If collage-style works are your interest, testing and experimentation with rough textures can yield appealing results. For detailed work like etchings or other fine line printing processes, they may not give the anticipated results. But do not discount handmade papers on the whole because they do offer many opportunities. Fine textures created with natural papers such as grasses and flower petals work very well because the surface of these sheets is relatively smooth.

Sizing papers for printmaking can also be challenging. Cutting sheets with blades is fast, but the loss of deckle edges reduces some of the appeal of your prints. There are simple ways to mimic hand-deckled edges on papers so that you maintain that "handmade" or arty look. Repeated bending of the paper at the precise point you want to change the size of the paper is one method. This repeated bending first one way, then another, eventually wears through the sheet.

Another method is to gently fold the paper where you wish to size it and set a blunt edge in the fold. Carefully tear the paper against the blunt edge. The resulting controlled yet feathered edge is beautiful. Thicker papers work well with either of these methods. Thin papers can be dampened along the line on which you want to size the paper. This is done with a watercolor brush and a thin trail of clean water. Allow the water to soak into the paper for a few seconds and then gently pull apart.

Trial and error will help you find the perfect paper for your printmaking work. There are so many wonderful papers in every tone of white or pigmented with a rainbow of colors that one is sure to be perfect for you. And don't forget to consider metallic leaf. It adds drama and excitement to many styles of printmaking. Experiment!