Influences: 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
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
Another technique for creating surface treatments on plates that I've been trying out recently is crackle texture. Until now, I've been using commercially made Crackle
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
Following my previous post on this study subject (Flexures: three dimensions from two), I have produced some pieces to test the feasibility of this idea,
I am always looking for materials that create interesting textures on the printing plate. However, these textures do not always print well or consistently. In
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
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
Since my last post, there have been a lot of changes to my printmaking practice and my working life, all of which are, or are
This is Pressing Matters magazine. It's a brilliant UK based but internationalist magazine dedicated to modern printmaking in all its forms. This month, one of
I have recently seen some social media publicity around a Christmas group exhibition, organised by Cupola Gallery in Sheffield. Apparently, they have been running one
Next month, I'll be back at the Woolwich Contemporary Print Fair in London, with another large print on sale – The Young Moon. This time
