The Sunlit will make a good edition to any studio.  It is a handy relatively cheap machine that works well as a small press and is easy to transport. 

We have used it to print waterless lithograph, etching and drypoint plates and it works very well each time.

Somewhere in the back of a kitchen cupboard is a pasta machine you purchased years ago when you thought you would like to make your own pasta.  Now you have a use for it! The pasta machine makes a good little press with a couple of adjustments and it works even better if you build a base to hold it sideways.

Make your own Gelatine/Gelli plate and get the shape and size you need. This plate is used for creating Gouache or acrylic monotypes, Chine Colle and making decorative papers without a press.

We take you step by step through her process to achieve hand coloured Chine-collé print without a press. This technique is suitable technique for waterless lithographic, relief, lino & woodcut plates

Less-than-perfect polymer plates can be readily rectified

by modifying the plate surface using acrylic media.

Monotype is the most painterly technique of all the printmaking methods. When creating monotypes the artist works on a clean, un-etched plate Perspex, acrylic, metal etc. Although images can be similar, no two are alike. The translucency of the ink and spontaneity of the method makes for interesting painterly prints. Ink can be added to the plate with rollers & brushes or taken away – subtractive method – using a cloth, eraser, stick, brushes or any other implement to obtain the final image.

Successful inking, wiping back and printing

You can get excellent results inking photopolymer plates,

the plates hold ink well and are hardwearing.

Pochoir is the French term for stencil. In the Art Nouveau and Art Deco eras, the colour application process of the stencil was rejuvenated by the French, to great effect when combined with key images of lithographs, woodcuts and etchings, turning a decorative technique into fine art. Stencilling traces its roots back to Egyptian times. During the reign of Henry III stencilled patterns were often created with gold powders and William Morris used stencils in his interiors.