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The Young Moon

I was helping out with some collagraph print demonstrations at The Ropewalk Print Fair (Barton upon Humber , Lincolnshire) last weekend. In between demos, I had the chance to print a plate I hadn’t used in quite a while. Luckily, the combination of carborundum and varnish is one that is easy to print. The plate […]

Metallics 2

When I created my first Metallics, it was important to me to quickly move the idea from concept to reality. After creating more pieces, I began looking at how two or more might be juxtaposed as a composition, or whether a single fragment might work alone. I also considered the practicalities of presenting the work […]

Chine collé on burnt plates

I have been trying to find a way of perfecting a chine collé technique for around three years (yes, really!). I have probably read dozens of articles and blog posts by other printmakers, outlining their preferred technique. These have involved different types of glues and ways of applying paper or pieces of metallic foil to […]

Metallics I

For the last few months, my investigations into the individual processes within printmaking have led me towards the use of metallics. This work began with a desire to create new decorative elements or embellishments for use in traditional collagraph prints. These large, torn pieces or smaller fragments would be made by bonding faux metal leaf […]

Frank Bowling

Back in June 2019 I was in London to meet up with an official from the Center for Contemporary Printmaking (CCP) in the U.S. This was ahead of my residency at CCP the following month. I was to meet up with her at a gallery in central London showing some contemporary printmaking. I knew in […]

The Complete Collagraph

Alongside all of the interesting conversations on printmaking I had with tutors and fellow printmakers on my USA residency, perhaps the most important thing to come out of the visit was a book. Chris Shore, the Master Printer at the Center for Contemporary Printmaking, had a copy and recommended it to me. It is ‘The […]

Coating plates

For around three years (yes, three years) I’ve been struggling with how to properly seal my often highly-textured collagraph printing plates. When I first started printmaking, I used shellac to seal my card or mount board plates. The plates were relatively small in size, so it didn’t require a large amount of liquid to coat […]

Large scale monoprints

Back in June/July last year, just before my trip to the U.S., I had started begun experimenting with small-scale monoprints, using my little XCut XPress print press at home. Those results were so encouraging that, on my return to the UK, I wanted to try some larger prints using brayers on acrylic sheet at around […]

Crisp packet plates

I’m always looking out for different materials and methods for making collagraph printing plates. Included in my regular sources of inspiration are the blog postings of fellow printmaker Emily Harvey, aka The Curious Printmaker (Instagram: @thecuriousprintmaker). Following her instructions, I used an ordinary household iron, plus a hand-held heat gun and soldering iron to apply […]

Disintegration pieces

Being in coronavirus lockdown mode with only a small print press for creative company can, in some ways, be a good thing. It has meant that I have had to be more resourceful and, perhaps, more inventive in the way I approach my image-making. Alongside the Flexure pieces I posted on back in January, recently […]

Flexures: three dimensions from two

After my visit to Tate Modern last month and my resulting thoughts around how I might ‘escape’ the two-dimensionality of my art form, I have hit upon an exciting idea to try to make it a reality. One inspiration behind this idea is the work of artist David Rodriguez Caballero. In his practice, aluminium sheet […]

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