A Linocut is a relief print that is produced like a woodcut but that uses a lino as the surface from which the design is cut, carved as a template that is used for the printing

Making a Linocut basically your taking your design and using the negative space to paint the same picture over and over. It is a very easy and effective method to use. However, the main drawback is unless you make a number of different templates, you are stuck with one design and eventually, the lino may become unusable.

There are two methods:

1) Single block. Here an initial cut pattern is printed for the whole (generally very limited) edition as the first part of the required image, and then the same block is further cut and printed again, registered with the original first printing. This may be repeated a number of times. The final required image is therefore built up and the edition is limited to the number of prints made at the start and the subsequent cuttings since a constituent part of the image is lost each time. Picasso is known for using this method.

2) Multiblock. This is a more common technique, used by many artists. A separate block (commonly 3 to 5) is cut for the different colours in the required image and printed sequentially. A downside is that there has to be careful registration of the blocks at each stage and consideration of any colour upon a previously laid colour might change the overall effect. Another issue is that there might be some slight changes in colours, even within the same edition, due to differential inking effects. This can still occur in the Single block method but generally to a lesser extent. Proof checking is critical but some slight variation, even within the same edition, is acceptable and might be considered desirable by some people by getting a unique (ish) copy. A major benefit of Multiblock is that many different colour versions of the same image can be made and account for all tastes.

Silkscreen Prints

The process for creating Silkscreen prints is similar to creating a stencil. Inks are forced through a mesh (called a silkscreen) onto a printed surface. This enables certain areas of the screen template to be impervious to the printing ink (AKA the stencil or masked effect). The ink that is able to pass through the screen forms the printed image on the artwork.


Giclee Prints

Giclee prints.  Essentially the process is similar to that of inkjet printers for photographs but with one big difference…the type of inks used. Standard inkjet prints are made using dye-based inks. However, these do not come anywhere near the high quality required for Artist prints. The Giclee (pronounced “Glee say” or “Ge-clee”) technique uses pigment-based inks. By the nature of the process, specialist equipment is necessary.

Pigment-based inks used in Giclee prints are made from pigments originating from organic synthesis, these are then encapsulated with a type of synthetic resin and suspended in a liquid. The corresponding molecules are much larger than for the dye-based inks and this provides a far better finish of the standard expected of an Artist’s print.

Giclée name is derived from the French verb “gicler” meaning to sprey, when adopting the giclee process the printer produces a fine spray of many different-sized droplets. When sprayed (Squirted) the application of overlapping dots of ink mix together, forming additional colour combinations. The inks applied to the print in this giclee printing process are so fine that there are no discernible dots or droplets on the final print.

Artist Print Paper Grades & Quality

Quality Of Paper Grades Used – At Doug Kemp Gallery, we are dedicated to providing our customers with high-quality art prints that will stand the test of time. That’s why we use only the best paper grades, such as Platinum Etching heavy-weight paper. This paper is renowned for its exceptional quality, durability, and ability to showcase even the most intricate details of a print.

High-quality and rather heavy two-sided coated printing paper with a smooth surface. The reproduction of fine single and multi-colour pictures (“art on paper”) requires paper that has an even, well-closed surface and uniform ink absorption. A standard sheet from the size of Dougie prints is approximately 36 x 29 inches / approximately 91 x 74 cm. Image size will vary depending on the particular piece but there has been some standardisation in the later works,

he grammage varies from 100 to 230 g/m2.  These paper grades are triple coated with 20–40 g/m2/side and have a matte or glossy finish. Higher qualities often contain cotton.

Delivery & Packaging

We want to ensure that your art print arrives in perfect condition. That’s why we use recorded delivery services and package our prints carefully in tubular or triangular roles. These types of packaging help to protect the print during transit and ensure that it arrives at your doorstep in pristine condition. Additionally, we use high-quality packaging materials to ensure that the print is not damaged during the delivery process.

Framing Guides

When selecting a frame for your print, we recommend that you choose a style and colour that complements the artwork. This will enhance the overall aesthetic and make the print truly stand out. We also recommend using acid-free matting to protect the print and prevent damage over time. If you have any questions about framing, please don’t hesitate to contact us, and we will be happy to assist you.

The choice of the frame for the prints can enhance the overall effect of the image and even contribute to it. Doug’s use of comic book-style black lines within the image is also extended as a border to the entire image in some works. An impressive format to further enhance the effect, and that is recommended (although personal taste is accepted, of course), is a proportionally sized, off-white or pale cream-coloured card mount and an approximately one-inch wide simple black beading supporting the glass. The narrow printed black border and black frame complement each other and add to the aesthetic effect.

Paintings will normally really only need simple beading as a frame to “tidy” and protect the edges. The colour and form of the beading will, again, depend on personal taste but the image content, and particularly the dominant colours towards the edges may well also influence choice – basically, the choice is whatever is aesthetically pleasing with the particular piece of work. Again, black often works well as a useful neutral option for the different (and later possibly differing) colour and decor schemes of where the work is hung.

Well hung. The Trollo Technique. A personally perfected technique for single-handedly hanging Dougie-sized paintings, when one can’t see or reach the hook on the wall – or even the wall very well. This involves putting a Trollo, end-on between the back of the painting and a hanging cord to make the cord stand out and allow it to catch the hook. The Trollo then just falls away once hung. The Trollo can be readily torn down to shorten it, as necessary, or two may be taped together to lengthen. The high tension of the cord is not necessary and will not allow excessive pressure on the canvas.

To find the relevant definition of Trollo, it appears it is necessary to search “What is the cardboard tube in toilet paper called?” and refer to the site called Answers. This is because other sites just give the answer Core or Tube. Other references to Trollo found include being in a title of an advert for a semi-circular shower cubicle and a Czech rolled cake – the latter, at least, has a similar appearance to a cardboard Trollo and suspect it tastes better!

Returns Policy

We understand that sometimes things don’t go as planned, and you may need to return an art print. That’s why we offer a standard UK returns policy for all purchases made through our website. If for any reason you are not satisfied with your print, please contact us within 14 days of receiving it to arrange a return or exchange. The print must be returned in its original condition and packaging, and we will issue a refund or exchange once we have received and inspected the item.

When we dispatch Doug Kemps limited edition prints by mail – All artwork is photographed prior to dispatch to ensure the best quality and to insure against accidental damage by 3rd parties during transportation. Prints will be sent rolled and in a secure tube.

This enables you to have the peace of mind that we want you to have a Doug Kemp painting or print as its very best quality and to take pride of place in your workspace or home.

Our returns policy is quite simple

  • 14 x days from dispatch date, full refund less the initial cost of postage and packaging
  • 15 to 40 x days 90% refund plus the initial cost of postage and packaging
  • 40+ days from dispatch date – No further refunds.

What is DCW?

On a few prints (Mostly Linocuts) we have DCW (Different Colour Ways) options to choose the colour option that best suits your space and personal taste.  If you’re interested in a DCW print, please check the product description for more information.

Care Instructions for Your Artist Print

To ensure the longevity and beauty of your artwork, we recommend following some basic care instructions. Avoid direct sunlight, spotlights, or exposure to extreme temperatures, as this can cause fading or damage to the artwork. When handling the print, be sure to clean and dry your hands before you start and handle the print with care. If you need to clean the print, use a soft, dry cloth and avoid using any harsh chemicals or cleaning agents.

Display Advice

When it comes to displaying framed, wall-mounted artwork, it’s important to keep in mind that weight can be a factor, especially when using glass. To ensure that your artwork is securely and safely mounted, we recommend using professional hanging hardware and selecting a sturdy wall that can accommodate the weight.

Limited Edition Vs Standard Edition What Is The Difference?

Many of our prints are limited editions, meaning that only a certain number of copies have been made. These prints are hand-signed by the artist and come with a certificate of authenticity, making them a valuable and unique addition to any art collection.

In contrast, standard edition prints are not limited in number and are not signed by the artist. However, they are still high-quality reproductions of the original artwork and are an excellent way to enjoy the artist’s work at an affordable price.