Edinburgh Printmakers

A legacy of innovation

Circular economy practice at Edinburgh Printmakers develops from work that began more than three decades ago. During the 1990s, the studio gained international recognition for pioneering non-toxic printmaking processes at a time when traditional methods relied heavily on chemicals that were hazardous to users and difficult to dispose of responsibly. This early innovation set the foundation for a culture of practical experimentation and environmental awareness that continues today.

Two changes in materials used at Edinburgh Printmakers have contributed to more circular approaches within the printmaking sector. The first is the Edinburgh Etch, which replaced nitric acid with a combination of ferric chloride and citric acid. Unlike nitric acid, ferric chloride can be filtered, regenerated and reused multiple times before disposal, significantly reducing hazardous waste and the volume of raw chemicals required.

The second development was the introduction of an acrylic-based spray known as aquatint, a safer alternative to traditional rosin (powdered tree resin for aquatint). While originally adopted to reduce respiratory risks and improve studio safety, the acrylic method also minimises the release of particulate waste and allows for more controlled application, meaning less material is wasted.

Transforming materials and processes

Over the past 15 years, Edinburgh Printmakers has implemented significant changes to reduce the environmental impact of materials used across its studio.

Between 2005 and 2010, the organisation phased out oil-based screen-printing inks, which require white spirits or turpentine for cleaning and create persistent waste streams. These have been replaced entirely with water-based equivalents that offer comparable print quality with lower environmental impact. At the same time, white spirits, turpentine and methylated spirits were almost entirely removed from the studio. These have been substituted with biodegradable vegetable oil, which carries fewer health risks and can be safely managed in waste systems.

Cleaning rags are processed through a closed-loop system: used rags are collected by a local recycling provider, laundered and returned for reuse. This reduces material waste and prevents solvents entering the general waste stream.

The organisation has shifted material selection toward recyclability. The studio is moving away from zinc plates, which have limited recycling pathways, toward aluminium and copper. Even small consumables have been reassessed: the studio has replaced standard blue roll, typically made from virgin wood pulp, with 100% recycled brown roll. This minor change aligns with broader organisational aims.

Infrastructure supports these efforts. The studio’s filtration units ensure particulates – including ferric chloride residue and microplastic – are captured before wastewater enters the public system. When purchasing new equipment, Edinburgh Printmakers now prioritises UK-based suppliers with demonstrable environmental responsibility. Sourcing locally reduces transport-related emissions and shortens supply chains, but it also strengthens the circular economy by making repair, maintenance and part replacement easier and more reliable over the lifetime of the equipment. The organisation is also launching a review of the environmental footprint of its extensive paper stock, with the aim of developing a labelling system that helps artists understand and compare material impacts.

Circular approaches in a heritage building

The organisation’s circular economy commitments are also visible in its physical infrastructure. When Edinburgh Printmakers relocated to Castle Mills, the project focused on repair, retention and adaptive reuse rather than demolition or new construction. Most of the original structure was preserved, reducing waste and maintaining the embodied carbon of the historic site. Although fabric-first repair reduced embodied carbon and waste, the constraints of a heritage building mean that fully decarbonising heat remains a longer-term challenge.

This approach was recognised at a national level when Edinburgh Printmakers won Zero Waste Scotland’s Circular Economy Award, presented as a special category award within the RIAS awards in 2021.

Closing the loop on waste

With more than 300 members and daily studio use, Edinburgh Printmakers generates significant material flows. The organisation has developed practical systems to reduce waste and keep materials circulating for as long as possible.

Paper offcuts – once routinely discarded – are now sorted and repurposed. Some feed into sample packs for artists, encouraging experimentation with materials that would otherwise be unused. Other remnants are distributed to schools and community groups who make use of the high-quality paper not suitable for studio printmaking. Certain papers are returned to manufacturers for recycling while others are transformed into handmade paper or used for in-house workshop materials. These practices extend material lifespan and reduce demand for new resources.

Member-led sustainability

The studio encourages experimentation that supports sustainable practice by providing space for members to test new materials and ideas. Drawing Down the Sun is a multi-year project led by artist member Alison Grant. Combining horticulture and printmaking, the project brought together artists, gardeners and practitioners from several industries to explore approaches to carbon reduction and environmental awareness.

Grant also introduced Living Ink to the studio – a black ink made from algae rather than petroleum-based components. Because algae consume significant carbon whilst growing, prints made with Living Ink effectively store carbon from the environment. The studio is gradually trialling this innovation with members, recognising that change takes time across a large community with varying comfort levels around new materials.

Edinburgh Printmakers’ commitment to environmental responsibility extends beyond circular economy. The organisation’s collaboration with the Fusion collective resulted in Jar in Action, a project inviting participants to contribute jars with reflections on sustainability. The collection prompted discussion within the studio community and among visitors. Edinburgh Printmakers’ exhibition programme includes work responding to environmental themes, such as Our Shared World exploring global citizenship and environmental responsibility. Residencies also contribute to environmental engagement, for example artist Sonia Mehra Chawla’s project Entanglements of Time and Tide involved research into coastal ecosystems.

Lessons for the sector

Edinburgh Printmakers’ approach highlights insights relevant to other cultural organisations. Their experience demonstrates that environmental progress does not require starting from scratch: many organisations already undertake actions that support sustainability but do not always recognise them as such. Building on existing strengths helps create momentum.

The organisation’s long-standing involvement in Scotland’s creative workshop network underscores the value of shared learning. Events such as the Net Zero Press symposium, developed in partnership with academic researchers, provide space for practitioners to collectively address waste and material challenges.

A long-term approach to circularity

Edinburgh Printmakers demonstrates how circular economy principles can be integrated into creative practice through steady, practical adjustments to materials, processes and organisational culture. Their progress has not come from large-scale interventions alone, but from a series of incremental decisions sustained over many years – many of which are feasible for other cultural organisations with limited capacity or resources.

Their experience highlights several useful considerations for the wider sector. Long-term environmental improvement often begins with identifying what is already working and adapting existing processes rather than replacing them outright. Changes such as choosing materials with stronger recycling pathways or establishing simple monitoring practices can be effective first steps.

The organisation’s recognition through Zero Waste Scotland’s Circular Economy Award illustrates the contribution that cultural organisations can make to Scotland’s wider circular transition when environmental practice is aligned with creative production. At the same time, Edinburgh Printmakers’ ongoing challenge around decarbonising heat reflects a reality shared across the cultural sector: some aspects of environmental impact require substantial investment and long-term planning.

For organisations beginning or developing their sustainability work, Edinburgh Printmakers offers a clear example of how circular principles can be applied proportionately at different scales and over extended time periods. Their approach demonstrates that meaningful change is achievable when environmental considerations are integrated into day-to-day decision making, supported by organisational structures and viewed as a continuous process.

Contact

Please get in touch with Ananya Sen at [email protected] if you would like to know more about Edinburgh Printmaker’s sustainability work and check out Edinburgh Printmaker’s website for more information.