Speedball Drawing Fluid and Screen Filler are a fantastic combination for artists looking to create expressive and lively screen prints. This technique allows for gestural marks and a unique painterly quality in printmaking. However, even with reliable materials, unexpected issues can arise. Recently, while teaching screen printing, I encountered a problem with contaminated drawing fluid. Instead of simply assigning blame, this situation became an opportunity to investigate and find solutions. The drawing fluid’s altered chemistry, indicated by a suspicious color change reminiscent of added diazo powder, caused it to malfunction. This unexpected failure during a demonstration to a group of teenagers spurred a deeper dive into the nature of drawing fluid and potential alternatives.
This experience led me to consider whether readily available household materials could replicate the properties of commercial drawing fluid. Sugar lift solution, with its similar consistency, seemed like a logical starting point. Inspired by the historical use of starch resists in fabric printing across various cultures, I also decided to explore starch-based options. What are the essential characteristics of a good drawing fluid? It needs to be non-toxic, affordable, and easily washable with cold water. To test these criteria, I experimented with a range of materials I had on hand: homemade sugar lift solution*, Elmer’s School Glue, gum Arabic, Nori paste (rice flour-based), wheat paste (both raw and cooked), corn starch, Maskoid (a watercolor resist), olive oil, and mucilage**.
Some materials were quickly ruled out. Maskoid proved too difficult to remove from the screen mesh, and olive oil simply didn’t work as a resist. Wheat paste was not very effective. However, cornstarch mixed with water showed promising results. Interestingly, gum Arabic, Elmer’s school glue, mucilage, and the homemade sugar lift solution all performed comparably to the commercial drawing fluid.
Screen print test screen
These tests revealed that effective drawing fluids for screen printing don’t necessarily require specialized or expensive products. Common household items can serve as excellent alternatives, opening up possibilities for more accessible and budget-friendly screen printing practices.
The beauty of using drawing fluid in screen printing lies in the spontaneous and painterly aesthetic it brings to the typically flat and graphic nature of screen prints. This technique provides a wonderful contrast to the more rigid looks achieved through photo-processes or precisely cut stencils. My students particularly appreciate the ability to create incredibly fine lines using tools like .005 Microns. While such delicate lines are achievable with drawing fluid techniques, for truly intricate and fine lines, we often explore other printmaking methods like copper plate etching in our curriculum.
Poster by Minkyung Catherine Koo, sentence by Gabe Braunstein, students at Walnut Hill School for the Arts, Natick, MA, 2015
Exploring alternative drawing fluids not only solves the problem of potentially contaminated or unavailable commercial products but also encourages experimentation and resourcefulness in the printmaking studio. By understanding the necessary properties of drawing fluid and testing readily available materials, artists can expand their creative options and make screen printing more accessible.
*Sugar lift solution: Mix 10 parts Karo syrup, 3 parts water-based paint (for visibility), and 3 parts dish soap.
**Mucilage: Combine 6 tablespoons of white vinegar and ½ oz. unflavored gelatin. Let it sit for 5 minutes until spongy. Dissolve by placing the jar over steaming water and stirring. It will set as it cools but can be re-softened with steam.
