We get this question a lot in our workshops. Together let us dive in to uncover the key factors you’ll want to consider when picking your perfect printmaking paper!
What type of printmaking are you doing?
Within the broad realm of printmaking, it makes sense that different printmaking techniques would require different types of paper.
Let’s break it down.
Relief Printing (woodcut or linocut):
Papers that are strong and can handle the pressure of the printing press;
- Japanese washi,
- Mulberry paper, or
- heavier-weight Western papers such as
- Stonehenge, Fabriano Rosaspina or BFK Rives.
- It’s good to note, that heavier paper does not necessarily mean stronger.
Intaglio (etching, engraving, drypoint):
Papers that can handle being soaked and pressed without tearing, such as;
- Hahnemühle,
- Velin Arches,
- BFK Rives, and
- Somerset.
Lithography:
Smooth papers that can hold fine details of the lithographic process. Good choices include;
- BFK Rives, and
- Somerset Satin.
Screen Printing:
Papers that are smooth and can handle multiple layers of ink such as;
- Stonehenge.
Paper Weight
The weight of the paper is measured in grams per square meter (gsm), or for our American friends, in pounds (lb).
Heavier papers (e.g., 250gsm and up)
are typically used for most printmaking techniques because they are very durable – be it in the printing process itself or during soaking.
Lighter papers
can be used for a variety of techniques like Japanese woodblock printing – where they may be used if you don’t have access to a press and are using a hand baren to print!
Thicker papers are like the heavyweight champions of the printmaking world, perfect for deep embossing and capturing every tiny detail from your relief blocks and intaglio plates.
Surface Texture
The texture of your paper can make a big difference in your final print. Smooth papers are perfect for capturing fine details and delicate lines, while textured papers can add interesting effects and depth to your artwork.
Colour and Tone
Printmaking papers come in a variety of colours and tints. White or off-white papers are the most versatile. The Hahnemühle papers, in Warm White, offer a gorgeous cream surface that will pick up extraordinary detail in intaglio prints. The Somerset range offers a White and Soft White option – the White is bright, similar to a true Titanium White, whereas the Soft White is smooth and warm like a light butter.
Coloured papers can be used creatively to add a different dimension to a print. Somerset offers a Black Velvet option. (Try printing a Silver on the Somerset Black!)
Paper Composition
Printmaking papers are typically made from 100% cotton or other high-quality fibres. Printmaking papers are generally acid-free and archival when stored appropriately ensuring that your prints will last without deteriorating over time.
Testing and Experimentation
If you’re a printmaking newbie or experimenting with a new technique, grab a variety pack of papers and have some fun testing how each one vibes with your process and plates. It’s like a paper-tasting party for your art!
The beauty of printmaking lies in its uniqueness and personal touch. Every printmaker wipes their plate a little differently and mixes their ink with just the right amount of black or my go-to favourite, Prussian blue. Each plate and ink combo will dance a bit differently with various paper stocks. So play my inky friends!
Here are some recommendations to get you started:
Somerset:
Excellent soft papers which are awesome for intaglio and relief printing. My top pick? Somerset papers! They’re not just great for bookbinding, but they also come in three fabulous textures: Satin, Velvet, and Textured. Seriously, they’re the MVPs of my paper stash!
Hahnemühle:
The only vegan-friendly art paper. Excellent for intaglio work, due to its strength and smooth surface. All Hahnemühle papers are sized with plant-based gelatin.
BFK Rives:
Paper royalty, and for good reason! With its smooth surface and versatility, it’s like the Swiss Army knife of printmaking papers, perfect for both intaglio and relief prints.
Velin Arches:
Versatile and strong, suitable for intaglio and lithography. The Velin Arches is the Soft White cousin of the BFK Rives.
Awagami Kitakata:
An exquisite Japanese paper available in two tones, the Warm (almost peachy cream) and the Cool (a sort of light mint green). These papers print woodcuts and woodblocks beautifully as well as being a great choice for Chine Collé.
With these tips up your sleeve, you’ll be a paper-picking pro in no time, making choices as unique as your art!
