Intaglio Printmaker

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Intaglio Printmaker Intaglio Printmaker - please contact us by email at [email protected] if you have an enquiry

In 1981 Intaglio Printmaker opened in London as a brave new venture for its Australian owners who had personal interests in the UK. Karyn White initially came over from Australia on behalf of the owners to set up the first shop in Newington Causeway SE1. Following a challenging year rebuilding a derelict warehouse and launching the shop, it was time to call in Christine Munton (the first Brit in the business!) to do the book-keeping and keep a check on the finances. In 1988, after a move to the Angel, Islington, Karyn and Christine bought the business from the Australian partners. Two moves later have returned us back to SE1 in Southwark.

We are pleased to share that .kosciewicz was chosen as this year’s winner at the 127th Annual Exhibition. Linda’s winni...
22/02/2026

We are pleased to share that .kosciewicz was chosen as this year’s winner at the 127th Annual Exhibition. Linda’s winning piece ‘Still Life with Eve and Diana’ was selected by , who curates and narrates DES talks podcast, celebrating creativity from We caught up with Linda to discover more about the inspiration behind her winning piece, and to find out more about her process - read more over on our latest blog post!

19/02/2026

Students at exploring mark-making and textures with our soft ground, on last year’s ‘Discover Printmaking’ course led by

The ground is melted onto the plates with the use of a hotplate, before being rolled out evenly. Students then create soft marks with pencils, needles and material textures and imprints. After etching and inking, the plates are then put through the press.

Soft ground is commonly used for making softer impressions and marks, whereas hard ground is better for holding strong etched lines and details.

⁣The latest addition to our paper room is this beautiful Mingeishi Sable paper by Awagami.⠀⠀Mingeishi is a lightweight (...
12/02/2026

⁣The latest addition to our paper room is this beautiful Mingeishi Sable paper by Awagami.⠀
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Mingeishi is a lightweight (48gsm) but surprisingly resilient paper made from a blend of alpha cellulose and kozo fibre. It has one smooth side and one slightly textured with four soft deckled edges. This is a versatile, acid-free paper suitable for most printmaking techniques, mostly relief print methods. It is a very light subtle green/grey colour, almost like a lighter coloured version of the Kitakata Green paper by Awagami - see the last image for colour comparison.⠀
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It’s also 970 x 640mm, so perfect for larger prints!

⁣The new issue of has arrived 📚⠀⠀Expect expansive, metaphor-rich landscapers alongside makers using traditional print t...
04/02/2026

⁣The new issue of has arrived 📚⠀
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Expect expansive, metaphor-rich landscapers alongside makers using traditional print techniques to craft imaginative picture books. There’s a thread of travel throughout, and how stepping into unfamiliar places can spark new ideas. Printmakers in this issue also share insightful thoughts on creativity as an ever-shifting journey.⠀
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Pick up your copy in store or add to your order online!

28/01/2026

⁣Ever wondered what the difference was between Manganese and Cobalt Driers?⠀
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Cobalt and manganese driers are metal salts added to oil-based inks to speed up their drying time by catalysing the oxidation and polymerization of drying oils.⠀
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Cobalt Driers⠀
-Surface drier, which dries the ink from the top down.⠀
-If you add too much, it will make the printed ink very glossy and shiny.⠀
-Best to use with thin layers of ink.⠀
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Manganese Driers⠀
-Body drier, promoting both surface and ‘through-drying’.⠀
-They are better for use with thicker layers of ink.⠀
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You only need a very small amount of either, about 2-3% by volume. If you use too much, it can have the opposite effect and delay the drying process. Take only 1-2 drops from the jar using one of our pipettes, add this to your ink, and then mix.

27/01/2026

⁣Watch our compressed lithography sponges go from flat to full as they soak! They are easy to use and work great with our Polyester Lithography Plates.⠀⠀
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Start by drawing your image directly onto the plate. You can use litho crayons or tusche, or everyday water-proof materials such as ballpoint pens and markers.⠀
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After drawing, use our litho sponge to clean the plate with a small amount of gum Arabic diluted in water.⠀
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Roll up an oil based ink (not a water washable oil based ink!), and pass this over your plate. ⠀
Go back over with the litho sponge and gently wipe the water solution across the plate and allow to dry for a few minutes before putting through your press (here we are using our bench top JM-25 press) or burnishing with a spoon.

We are delighted to announce that Kathleen Patterson .patterson0 was awarded our prize at the 2025 Festival of Print, th...
16/01/2026

We are delighted to announce that Kathleen Patterson .patterson0 was awarded our prize at the 2025 Festival of Print, the annual showcase presented by East London Printmakers at the Mile End Art Pavilion. Her winning work, ‘Untitled’, first caught our eye with what we assumed was the fluid richness of a lithograph, only to discover on closer inspection that it was, in fact, an etching. We loved the painterly depth and expressive sensitivity Kathleen achieved through this technique. Read more about Kathleen’s practice over on our blog.

14/01/2026

Push knives vs. filling knives - what’s the difference?

Push knives have a sturdier, rigid blade, while filling knives are much more flexible. Both can be used for mixing inks and pigments, so choosing between them often comes down to personal preference. Each has its own strengths:

Push Knives:
- Sturdy control for stiff inks
- Ideal for scraping or removing ink skins

Filling Knives:
- Flexible blade for smooth spreading
- Perfect for applying filler to woodcuts

Whether you prefer the firmness of a push knife or the glide of a filling knife, both are solid studio staples.

In this reel, we are using a push knife with our metallic bronze pigment and medium plate oil.

Have you tried our new agate pencil burnishers yet?We find they work beautifully on pre-mezzotinted copper plates.Each o...
12/01/2026

Have you tried our new agate pencil burnishers yet?

We find they work beautifully on pre-mezzotinted copper plates.

Each one is unique and has a different agate tip ✨

Boxwood is the traditional wood for engraving blocks, made from the slow growing Box tree. It was used throughout the 19...
05/01/2026

Boxwood is the traditional wood for engraving blocks, made from the slow growing Box tree. It was used throughout the 19th century for trade engraving blocks because of its ability to hold fine detail and its durability. Due to the small diameter of the logs, Boxwood blocks usually require multiple jointed sections. Honey coloured, sometimes with grey flecks.

Address

9 Playhouse Court 62 Southwark Bridge Road
London
SE10AT

Opening Hours

Monday 10am - 6pm
Tuesday 10am - 6pm
Wednesday 10am - 6pm
Thursday 10am - 6pm
Friday 10am - 6pm
Saturday 11am - 4pm

Telephone

+442079282633

Website

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