Workshop

Volcanic Editions

The workshop was founded in 2010 with a view to creating a space dedicated to offering high quality resources for screenprinting, and a range of etching press processes.

Quad Crown Vacuum Bed
Quad Crown 30" x 40" Vacuum Bed

Screenprinting

On the first floor we print with a quad crown Marler Elite Vacuum Bed (30 x 40 inch vacuum area) with adjacent 60x40 inch racks and a complete set of Aqua Jet water based inks. I am also building up a range of Lascaux acrylics, the ultimate in colour but also the most expensive. We stock extender base to create transparent colours and have a range of metallic inks, fluorescent inks, flock and diamond dust for specialist use.

Each artist is given a dedicated planchest drawer and two screens to keep for the block of time they book. We use standard screens at a mesh count of 90T to print full out 56 x 80 cms and large screens to print full out 85 x 103 cms. Squeegies of all sizes, green and orange with some dual core give the best of both worlds.

On the ground floor screens are exposed with a free standing vacuum unit and an 800 watt UV lamp. This gives noticeably sharper screen stencils than the boxed in Graphoscreens familiar in most University Print Rooms.

Screenprinting normally runs with 3 artists a day although the space can be hired for one to one use if you prefer.


Intaglio & Monotype

Photopolymer Etching (Solar Plate)
Carborundum Etching
Drypoint
Collagraph
Monotype

Rochat Etching Press
Rochat Etching Press 32" x 54"

On the ground floor we print with an unusual and rare, medium sized Harry Rochat etching press. The roller is 32 inches (81cms) wide and the bed 54 inches (137cms) long. This enables printing full out on paper to a maximum 63x103cms using a plate larger than the paper. Rochat is the top editioning press, highly geared and a delight to work with.

Photopolymer Etching A1 plates stocked, cut down in A sizes down to A6. We hold the complete range of the Lawrence French 88 oil based etching inks and the Intaglio cyan, magenta and yellow to deliver the four colour process.

Prints up to the maximum paper size are dried and flattened at the end of each session and can usually be collected the following week.

Carborundum Etching can be experimented with (although doillies and leaves are banned!) using perspex as the plate and a range of carborundum powders mixed with resin for mark making.

Drypoint is usually executed on card, metal or plastic plates with a full range of drypoint tools.

Monotypes can be created using thick acetate sheets or other substrates and can be made by working positively on the plate or by rolling up a flat colour and drawing subtractively out of it. Multiple plates can be printed wet on wet.

All these process above can be very effectively layered on the same print.