How to Store Screenprinting Paper Between Print Runs

After twenty-six years pulling prints, I've learned that how you store your paper matters as much as how you print on it. A warped sheet throws off registration. A dusty surface creates pinholes. And paper that's absorbed too much moisture from the air will reject ink in unpredictable ways.

I work mainly with Somerset Satin 300gsm and Fabriano Rosaspina. Both are cotton-based papers that react to their environment. They expand when humid. Contract when dry. And they pick up every fingerprint if you're not careful.

Keep Paper Flat

Never stand paper on edge for long periods. The weight creates a curve that's impossible to reverse without pressing. I store mine flat in shallow plan chest drawers, the kind architects use. Each drawer holds about forty sheets without compression.

If you don't have a plan chest, use a large portfolio case. Lay it flat under a table or bed. Don't prop it against a wall. Even a few weeks at an angle will give you a permanent bow.

Control the Environment

Paper is hygroscopic. It pulls moisture from the air and holds it in the fibres. In my Hertfordshire studio, humidity varies wildly between summer and winter. I keep a small dehumidifier running year-round, set to maintain 50-55% relative humidity.

Too dry and the paper becomes brittle. Too damp and it cockles. You'll see the edges lift first, then waves appear across the surface. Once that happens, you'll spend hours pressing it flat again.

Temperature matters less than humidity, but avoid extremes. Don't store paper near radiators or in cold outbuildings. A stable room temperature is ideal.

Protect from Dust and Light

I wrap each stack of paper in acid-free tissue before filing it away. Glassine works too. The wrapping keeps dust off and blocks UV light that can yellow the paper over time.

Even indirect daylight causes damage. I learned this the hard way at Central Saint Martins when a stack I'd left near a window developed a pale yellow cast after three months. The top sheet protected the rest, but I lost that one.

If your storage area gets dusty, consider covering the entire plan chest or portfolio with a cotton sheet. It sounds excessive, but dust embeds itself into paper fibres. You won't see it until you pull the first print and find tiny specs that block the ink.

Interleave with Glassine

For paper I'll use within a few weeks, I interleave each sheet with glassine. This prevents the sheets from rubbing against each other and creating surface abrasion. It also stops any residual ink or spray adhesive from transferring.

I don't interleave long-term storage. It takes up too much space and isn't necessary if the paper is wrapped properly. But for active editions, it's worth the extra time.

Acclimatise Before Printing

Paper needs time to adjust to your printing environment. If I've stored stock in a cooler or more humid space than my print table, I bring it out twenty-four hours before I print. I unwrap it and let it sit in the same room where I'll be working.

This matters most in winter when I'm heating the studio. Cold paper brought into a warm room will absorb moisture from the air and expand slightly. That expansion throws off registration on multi-layer prints.

In summer, the opposite happens. Warm paper moved into an air-conditioned space contracts. I've had sheets shrink by a millimetre across their width, enough to misalign a four-colour print.

Handle with Clean Hands

Oils from your skin transfer to paper instantly. Cotton-based papers are especially vulnerable. I wear thin cotton gloves when handling clean stock, the kind archivists use. They cost almost nothing and they're washable.

If gloves feel too fussy, wash and dry your hands thoroughly before you touch the paper. No hand cream. No moisturiser. Just clean, dry skin.

Check Stock Regularly

Every few months, I go through my stored paper and check for problems. Cockling usually appears at the edges first. Yellowing shows up in the corners. Mould looks like small grey or brown spots and means the environment is too damp.

If I catch cockling early, I can press the sheets flat under weight for a week. I use a second plan chest drawer loaded with old phone books. Low-tech but effective.

Yellowing can't be reversed. If I spot it, I move the affected stock to the front of the queue and use it for test prints or small editions where a slight colour shift won't matter.

Mould means I need to fix the humidity problem immediately. Affected sheets go in the bin. There's no saving them, and they'll contaminate everything they touch.

Label Everything

I label each wrapped stack with the paper type, weight, size, and date of purchase. This saves me unwrapping everything to find the sheet I need. It also helps me rotate stock, using the oldest paper first.

Some papers age beautifully. Others deteriorate. Knowing when you bought them helps you track their condition over time.

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.