LogoPress
Brooklyn, NY · Open Enrollment 2026

Find Your
Medium.

A converted warehouse where copper plates meet acid baths, and ink-stained hands pull editions from century-old Vandercook presses.

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The First Question

What pulls you toward print?

Choose your discipline. The rest of this page builds itself around your answer.

Hands carving a linocut block with a V-gouge, wood shavings curling away
Relief

I want to carve.

Relief Printing

Linocut, woodblock, and reduction printing. The resistance of the block, the smell of fresh ink on cotton rag.

Choose this path
Copper etching plate submerged in ferric chloride acid bath, bubbles rising
Intaglio

I want to etch.

Intaglio

Etching, aquatint, and drypoint. Acid biting into copper, the wipe of a tarlatan, the slow reveal.

Choose this path
Squeegee pulling electric indigo ink across a silkscreen mesh in a darkened studio
Screenprint

I want to layer.

Screenprint

Silkscreen, photo emulsion, and multi-color registration. Squeegee pressure, ink viscosity, layer by layer.

Choose this path

Curriculum Preview

Carve. Ink. Pull.

Eight weeks from first gouge to edition of 20.

Close-up of hands pressing a brayer loaded with black ink across a carved linoleum block

8

weeks to your first edition

Weeks 1–2Studio time: 6 hrs

Tool Handling & Block Prep

V-gouge, U-gouge, and bench hook. Transferring a drawing to linoleum without losing the energy of your original mark.

Weeks 3–4Studio time: 6 hrs

Inking & Registration

Brayer technique, ink viscosity, and the mystery of why the same block prints differently on humid days.

Weeks 5–6Studio time: 8 hrs

Reduction Printing

The point of no return. Carving away color layers on a single block — each pull destroys the previous state.

Weeks 7–8Studio time: 8 hrs

Edition & Critique

Pull a signed edition of 20. Chop your colophon. Critique with the full cohort.

Studio Equipment

The tools are already here. You just need to show up.

Every piece of equipment at Press is professional grade. No beginner kits, no shortcuts.

Pfeil Swiss gouges
Speedball soft-cut linoleum
Takach etching press
Akua soy-based inks
Rives BFK paper

"Graduate with a signed edition of 20 prints and a vocabulary for talking about surface, resistance, and mark."

Stack of freshly pulled linocut prints drying on a wire rack, deep indigo ink on cream cotton rag paper

Your Instructors

Practitioners,
not lecturers.

Every instructor at Press maintains an active studio practice. They teach what they make.

Margot Haines, intaglio instructor, standing beside an etching press in a Brooklyn studio

MoMA Collection · Tamarind Institute MFA

Head of Intaglio

Margot Haines

Trained at the Tamarind Institute and former studio assistant at Crown Point Press. Margot's aquatints have been collected by MoMA and the Brooklyn Museum. She teaches acid as a collaborator, not a tool.

"The acid doesn't care about your intentions. That's what makes it honest."
Intaglio
Darnell Okafor, relief printing instructor, examining a freshly pulled woodcut print

RISD MFA · Brooklyn Museum Emerging Artist 2023

Relief & Woodcut

Darnell Okafor

Self-taught in Lagos, MFA from RISD. Darnell brings a West African woodblock tradition to reduction printing — his work sits at the intersection of Yoruba adire cloth patterns and American protest poster history.

"Every block remembers every cut. You can't undo — you can only go deeper."
Relief
Soo-Jin Park, screenprint instructor, pulling ink across a screen with precise squeegee technique

Former Art Director · AIGA Member

Screenprint & Photo Emulsion

Soo-Jin Park

Former art director at a design studio who traded kerning for squeegees. Soo-Jin bridges the gap between digital design and physical print — her courses attract mid-career designers hungry to feel the ink.

"You've been designing for screens your whole career. Now make something a screen makes for you."
Screenprint
Tomás Reyes, open studio director, adjusting the impression cylinder on a Vandercook proof press

Press since founding · Vandercook certified

Open Studio Director

Tomás Reyes

Tomás runs the Saturday open sessions and keeps the Vandercook presses running. He's been at Press since the building was still a metalworking shop, and knows every press's quirks by feel.

"The press doesn't lie. If something's off, it shows up in the print."
ReliefIntaglioScreenprint
Student pulling their first print from a Vandercook proof press, lifting the paper to reveal the image

"I came for one Saturday session. I'm now in my fourth term. The first pull does something to you."

Diana Chu

Former UX Designer · Now Printmaker

Your First Session

Pull Your First
Print Free.

One three-hour open studio session, on us. No experience needed. We'll have a press inked and ready.