Flock printing is a screenprinting technique where you print adhesive onto paper instead of ink. Then you apply short fibres—usually nylon—onto the wet adhesive. The fibres stand upright and bond to the glue as it cures. What you get is a raised, velvety surface that feels nothing like standard ink.
It's tactile in a way that confuses people. They see a print on the wall and want to touch it. That's the point.
The technique has been around for centuries in wallpaper and textiles. In fine art screenprints, it shows up occasionally when an artist wants a specific texture effect. It's rare because it's fiddly and limiting. But when the image calls for it, flocking is unbeatable.
How the Process Works in Practice
You prepare a screen the same way you would for any colour layer. But instead of mixing ink, you use a flock adhesive. This stuff is thick. It needs to be, because it has to hold fibres upright while it cures.
You pull the adhesive through the screen onto your paper. Registration matters even more than usual because you can't easily correct a flocked layer. Once the adhesive is down, you have minutes to apply the flock before it starts to set.
The flock itself is fine nylon or rayon fibres, cut to uniform length. Most suppliers offer them in 0.5mm to 1mm lengths. The application happens either by hand-sprinkling or with an electrostatic flock gun. The gun charges the fibres so they stand up perpendicular to the adhesive. Gravity doesn't do that on its own.
After you've coated the adhesive with fibres, you let it cure. Then you shake off the excess. What remains is bonded in place. The surface looks dense and uniform if you've done it right. Patchy coverage means your adhesive was too thin or your fibres weren't evenly charged.
Why It's Difficult to Control
Flock printing has no wiggle room. If your adhesive layer is uneven, the flock coverage will be uneven. If the adhesive cures too fast, fibres won't bond. If it cures too slowly, they'll clump or fall over before they set.
Temperature and humidity affect cure time more than with standard inks. On a cold day in the studio, the adhesive stays tacky longer. On a hot day, you're racing the clock.
Registration precision is non-negotiable. You can't print flock on top of flock and expect clean edges. Overlapping layers either reject each other or create muddy texture transitions. Most flocked prints use flock on a single layer only, combined with flat ink layers for colour.
Colour choice is limited. Flock fibres come in a fixed palette—mostly primaries, black, white, metallics. You can't mix them like ink. If you need a specific shade, you're either ordering custom fibres or compromising.
Where Flocking Fits in Contemporary Printmaking
Flock printing isn't for every image. It's a statement technique. If you want subtlety, use ink.
I've seen it used well in prints where texture reinforces subject matter. Fur, fabric, typography that needs to jump off the surface. It works when the tactile element adds meaning, not just novelty.
Some London studios like Jealous have used flocking in collaboration projects where the artist specifically requested that velvety finish. It's almost always a minority of the edition—maybe one colour layer in a five-layer print. Flocking the whole image would be technically possible but visually exhausting.
Collectors either love it or find it gimmicky. There's no middle ground. If you're considering a flocked print, see it in person. Photographs flatten the texture completely. What looks dramatic in hand looks like a colour block online.
Care and Longevity of Flocked Prints
Flocked surfaces are more fragile than ink. The fibres can compress if you press them. They attract dust more than smooth ink does. You can't wipe them clean the way you would a standard print.
Framing under glass is essential. The glass keeps the flock from getting touched or accumulating grime. Leave space between the print and the glass—if the flock is crushed against the glazing, it'll flatten over time.
Light stability depends on the fibre type. Nylon flock is reasonably stable under gallery lighting. Cheaper synthetic fibres can fade or discolour. If you're buying a flocked edition, ask what fibres were used. Not all suppliers disclose this, but serious printmakers will know.
Why I Don't Use It Often
Flock printing requires equipment and materials I don't keep in regular stock. The adhesive has a shelf life. The fibres need proper storage or they clump. The electrostatic gun is one more thing to calibrate and maintain.
For most of the work I do, standard ink gives me the range I need. Opacity, transparency, layering, halftones—those are my tools. Flocking would solve a problem I rarely have.
That said, I respect the technique. Done well, it's unmistakable. Done badly, it's a mess. Like any specialist process, it rewards experience and punishes shortcuts.
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.