Paper Sizing for Screenprints: Why It Matters

Most people buy paper by weight and finish. I spent years doing the same. Then I printed an edition on 300gsm Somerset and watched the first pass feather like I'd spilled tea on blotting paper.

The problem was sizing. Or the lack of it.

What Paper Sizing Actually Does

Sizing is the chemical treatment that controls absorbency. It stops ink from bleeding into the fibres like water into a sponge.

Internal sizing is mixed into the pulp during papermaking. External sizing is brushed or rolled onto the finished sheet.

For screenprinting, internal sizing gives you consistent ink hold across the sheet. External sizing can work, but it wears off if you handle the paper too much before printing.

No sizing means your ink sinks straight into the fibres. You get soft edges, colour shift, and a matte finish even with gloss inks.

Testing a Sheet Before You Commit

I always test new paper with a water droplet on the corner. If it beads up for a few seconds, there's decent sizing. If it vanishes instantly, I know I'll have bleed issues.

With a sample print, I squeegee a single pass and check the edges under a lamp. Clean lines mean good sizing. Fuzzy edges or colour creep into the white areas means the paper can't hold the ink.

This matters more with water-based inks. They're thinner than plastisol and will exploit any weakness in the sizing.

Papers I Use and Why

Arches 88 at 300gsm is my default for hand-pulled editions. It's internally sized, 100 percent cotton rag, and handles multiple layers without buckling.

Somerset Satin gives a smoother finish and slightly heavier sizing. I use it when I want sharper edges on geometric work or text-heavy designs.

Fabriano Rosaspina is softer and has moderate sizing. It's good for atmospheric prints where a bit of texture in the ink layer adds to the image.

I avoid anything under 250gsm unless it's specifically labelled for printmaking. Lighter sheets don't have enough body to handle the wet ink without warping, and the sizing is usually too light.

When Sizing Goes Wrong

I once printed a fifteen-layer edition on handmade paper from a mill in Wales. Beautiful deckled edges. Zero consistency in sizing from sheet to sheet.

The first five prints were perfect. The next ten had soft edges where the ink bled into the fibres. The rest were somewhere in between.

I ended up reprinting the whole edition on mould-made Somerset. Lesson learned: handmade papers are gorgeous, but unless the mill specifies consistent internal sizing, don't risk an edition on them.

Sizing and Ink Opacity

Under-sized paper soaks up more ink, so your opacity drops. A colour that should sit bright on the surface gets pulled into the fibres and looks duller.

This is especially visible with transparent base inks. If the paper has good sizing, the transparent layer sits on top and you get a clean glaze effect. If the sizing is weak, the ink sinks and you lose the transparency altogether.

I compensate by adding an extra pass if I'm printing on softer-sized sheets, but it's easier to just start with well-sized paper.

Where to Buy in the UK

I order Arches and Somerset from specialist printmaking suppliers. University print shops often stock these too, and the staff usually know which sheets are internally sized.

If you're ordering online, check the product description for "internally sized" or "printmaking grade". If it doesn't say, email and ask. Most suppliers will tell you.

Avoid generic "drawing paper" or "fine art paper" unless it's explicitly marketed for printmaking. The sizing is often too light for screenprinting, especially if you're using water-based inks.

Final Checks Before You Print an Edition

Run a full test print on a single sheet. Let it dry overnight, then check the edges in daylight. If the colours have bled or the ink looks soaked into the fibres, switch paper.

Check the paper against your ink system. Water-based inks need heavier sizing than plastisol. Oil-based inks sit somewhere in between.

If you're printing multiple layers, make sure the paper can handle the wet-on-wet process without the sizing breaking down. Some externally sized sheets lose their hold after the second or third pass.

Sizing is one of those details that doesn't matter until it ruins an edition. Once you've printed on badly sized paper, you'll never skip the water test again.

If you'd like to see the prints I'm currently making, visit olifowler.com. Every edition is strictly limited and hand-pulled. Once they're gone, they're gone.