Brian Britton - Artist and Printmaker
Demonstration - "Printmaking without a Press"
Tuesday 13th May 2025, 2.00 - 4.00pm, in the Pavilion
Our Chairman, Brian Britton, gave a demonstration which covered monotype versus monoprint, oil based inks versus water based inks and the use of a gel plate. Many members will know Brian and be familiar with his work but, for the benefit of newer members and as a refresher for others, there is some background at the foot of this page.
Short Report
Around 25 members enjoyed this fast-paced and competent demonstration which covered several techniques for printing without a press. Brian talked throughout explaining the process, materials, environmental impact, advantages, disadvantages, options and, of course, pitfalls. The processes are too complicated to explain fully here but Brian will be leading a workshop (probably on 12th June) so, if are interested and want to try it yourself, sign up for it by sending an email to Gill Cox, Workshops Coordinator.
Brian's first demonstration was a trace monoprint using black oil-based ink. This was spread sparingly on an acrylic sheet and rolled out evenly over the area required. A mask (cardboard frame) was aligned and place on top so that the print would have clean edges. White cartridge paper (120 pound) was then aligned and placed over the frame. Finally the image (in this case traced onto transparent film) is then aligned on top and then transferred to the paper with a pencil using firm pressure. If shading or gradation is required, either use pencil strokes or finger pressure or a combination of these to get the desired effect.
All of it looked straightforward in principle but remember that Brian has a lifetime of experience! Do not forget to reverse the image (turn it over) to get the correct orientation on the print.
The next demonstration showed how a colour print could be produced using the same technique and materials. One method would be to repeat the above process (allowing each ink layer to dry first) and add colour to selected lines or areas, typically up to 4-6 times. Specific colours may need to be mixed on the acrylic sheet because the linseed oil based offset litho inks do not come in a wide range of colours.
This is a lengthy process (because of the drying time) so Brian demonstrated a faster technique applying four colours (yellow, white, blue and red) to the acrylic sheet at the same time and in the required places; for example, blue sky at the top, green trees left and right, house in the centre, garden at the bottom etc. He then mixed them with a small roller to a thin even layer. This looked tricky and will require some practice. One (or more) prints is then taken to get the best result which will be unique and would typically form the background for a black image (something similar to the monoprint above) to be printed on top. Let the background dry first! Brian prefers to mix his own black ink because a commercial black ink will give a shiny print when dry.
The break for refreshments followed and there were plenty of questions and much discussion.
Brian then demonstrated the use of a Gelli Plate, a clever US-manufactured product costing around £30 for size 8 by 10 inches up to £300 for A2 size. It comes with a protective paper cover on both sides and can be used many hundreds of times. Firstly he showed how an image traced with a black charcoal stick can be transferred to the gel plate using firm hand pressure. Once transferred, the image on the gel plate will not smudge. Cartridge paper is then placed (with a frame if clean edges are required) on the gel plate and firm smoothing hand pressure applied to transfer the image to the paper. Normal (chalk) pastels can also be used on the gel plate with colours and shading as required. The gel plate can be cleaned between prints with water and it is then ready to use again.
Brian then demonstrated use of the gel plate with normal water-based acrylic paint (in tubes, any brand or quality). The paint is placed and mixed on the gel plate in the areas required and spread evenly with a small roller. Paper is placed on top and the colours transferred by firm hand pressure. Acrylic dries very quickly so multiple layers can be done in one session but the gel plate, roller and all tools must be cleaned with water promptly to keep them usable.
This is a lengthy process (because of the drying time) so Brian demonstrated a faster technique applying four colours (yellow, white, blue and red) to the acrylic sheet at the same time and in the required places; for example, blue sky at the top, green trees left and right, house in the centre, garden at the bottom etc. He then mixed them with a small roller to a thin even layer. This looked tricky and will require some practice. One (or more) prints is then taken to get the best result which will be unique and would typically form the background for a black image (something similar to the monoprint above) to be printed on top. Let the background dry first! Brian prefers to mix his own black ink because a commercial black ink will give a shiny print when dry.
The break for refreshments followed and there were plenty of questions and much discussion.
Brian then demonstrated the use of a Gelli Plate, a clever US-manufactured product costing around £30 for size 8 by 10 inches up to £300 for A2 size. It comes with a protective paper cover on both sides and can be used many hundreds of times. Firstly he showed how an image traced with a black charcoal stick can be transferred to the gel plate using firm hand pressure. Once transferred, the image on the gel plate will not smudge. Cartridge paper is then placed (with a frame if clean edges are required) on the gel plate and firm smoothing hand pressure applied to transfer the image to the paper. Normal (chalk) pastels can also be used on the gel plate with colours and shading as required. The gel plate can be cleaned between prints with water and it is then ready to use again.
Brian then demonstrated use of the gel plate with normal water-based acrylic paint (in tubes, any brand or quality). The paint is placed and mixed on the gel plate in the areas required and spread evenly with a small roller. Paper is placed on top and the colours transferred by firm hand pressure. Acrylic dries very quickly so multiple layers can be done in one session but the gel plate, roller and all tools must be cleaned with water promptly to keep them usable.
Finally Brian showed how natural leaves can be placed between the gel plate and paper to create wonderful veined images in a blend of colours.
A very good demonstration; sign up for the workshop!
Report by Martyn Worman
Some photographs of the demonstration follow.
A very good demonstration; sign up for the workshop!
Report by Martyn Worman
Some photographs of the demonstration follow.
From Brian's website:
I have been involved in art and design all my life. Firstly as an enthusiastic beginner, then through my junior and secondary school in Bristol, and later by specialist art training in Bath and Bristol.
Following my degree in Art and Design, and teacher training, I worked in schools in Wiltshire teaching art and was seconded to Wiltshire Advisory Service in the mid-eighties. I have also worked for one of the leading examination boards as a senior examiner for both GCSE and A level art and design. For a number of years, I was a visiting lecturer at both Reading and Bath Universities on their post-graduate courses in Art and Design.
Since retirement from full-time teaching, I have been involved in running classes for both adults and children. I also run sessions for sixth form students and offer printmaking classes to adults and individuals.
I am fortunate in having both a Columbian and an Albion printing press in my own purpose-built studio and spend much of my time experimenting with abstract images in the pursuit of resolving harmonious balances of colour, form, and line. I relish the technical challenge of producing realistic images, often being influenced by my local rural surroundings here in Gloucestershire.
See more of Brian's work on his gallery page and on his own website