Hello. I’m a wood engraver and printmaker who specialises in portraiture. I work from my studio in South Bristol where I’m lucky enough to have an old Albion Press. I’ve lived in Bristol for 18 years and love the friendly and open-minded spirit which it seems to attract. Describe your printmaking process.  I use the 'reduction technique' which involves printing many layers from one block. I cut a bit – print a layer – cut a bit more – print another layer over the top of the first – and so on. The process is very simple and mind-boggling at the same time. Also, if I make any mistakes, the whole print edition is ruined! Portraiture has always been part of my practice. I love the shapes, colours, depth, and variety in human bodies and faces. The closer I look, the more detail and nuance emerges. Capturing this has become some what of an obsession. Recently I have been experimenting with ‘glazes’ as part of a research project at UWE Bristol. If you’re not familiar with Glazing, it uses a mixture of oil, resin and certain transparent pigments to create a very translucent and saturated paint or ink. By layering the glazes I am able to create a print which has a subtle glow or luminance.  How and where did you learn to print? Printmaking was encouraged during my time studying Illustration at UWE Bristol. Whilst in my second year, I went to an exhibition of Thomas Bewick’s engravings, with my parents. I was totally captivated by his minute vignettes and started to teach myself wood engraving. The Society of Wood Engravers gave me some funding to buy additional tools and I’ve been doing it ever since. Why printmaking? Part of the lure of printmaking is the kit – particularly the old and traditional equipment. I love being part of something with such a rich history. And compared to the endless possibilities of Photoshop, I love how finite print is. When it’s done, it’s done. I also enjoy how challenging it can be. The pressure to get every cut perfect, focuses the mind. It’s meditative.  Where do you work? Since 2011 I’ve been at BV Studios in Bedminster, Bristol. I share a large, cold room with a few other artists, and my corner is piled high with books, paper, lead type, jars of pigments and oil. The whole environment puts me in the mood for engraving, printing, and creating. Describe a typical day in your studio. After a quick breakfast and coffee at home, I cycle in and get cracking straight away. First I will look at the previous day’s prints with fresh eyes and remind myself which layer I have finished and what needs to come next. Then the engraving begins – which usually lasts a few hours. Then I’ll mix up some glazing medium with oil colour or dry pigments and print a proof. Once I’m happy with the engraving and the colour, I will spend the rest of the day printing the edition. How long have you been printmaking? Not including the obligatory linocut at school, my interest in printmaking started during my Foundation year at UWE. The Printmaking Department there is incredible and one of the best equipped in the country. The staff were very encouraging and nurtured my teenage interest in all the wonderful machines and chemicals. I started engraving in 2009 after visiting the (previously mentioned) Bewick exhibition at The Icon Gallery. After graduating in 2011 I took a part-time job working in the Print Department at UWE, where I remain to this day. What inspires you? I find human bodies fascinating. The colours, curves, bones, shadows, pits, layers and variety is captivating. As I look at someone and deconstruct their body or face or skin into colours and shapes, I am constantly mesmerised by the depth and nuance of nature. With in every colour there is more colour. With in every shape there are more shapes. I love to recreate this subtlety in my work. What is your favourite printmaking product? Ahh such a tricky question. The answer changes all the time. If I had to choose, I would say the woodblocks made by Chris Daunt. They are works of art, and wood is such a beautiful material to work with. What have you made that you are most proud of? At the time of writing – my latest print ‘Hera’. It turned out better than I had hoped and it's the culmination of much experimentation and research. It’s also, as far as I know, the first print to be made from ‘glazes' Where can we see your work? Where do you sell? I sell directly from my website and from the SWE website  What will we be seeing from you next? I will be having my second solo exhibition - The Ink That Glows - at Centrespace Gallery in Bristol. The private view is 8th August 6-9pm (All welcome), Open Daily 11-5pm from 9th to 12th August 2025. This will showcase all my recent engravings and lots of the preparatory and experimental work. Join my mailing list to find out more.   Do you have any advice for other printmakers and creatives? Learn how to do something and then do it differently To see more from Ben, follow him on Instagram!

One of the problems to overcome when printing a linocut is ink being picked up by the carved away areas of the block. These lines print onto the paper causing 'chatter' or 'noise'. Sometimes chatter on a print can add character or interest to a piece but other times it can just get in the way. This method uses Ternes Burton Pins and Tabs and a piece of Mylar to mask the areas causing chatter. Read on for instructions or scroll to the bottom of the page for a video. Set up a registration board with Ternes Burton Pins at the top and an area for your block underneath. Use pieces of mount board to create a space into which the block can slot. Prep your printmaking paper with the Ternes Burton Tabs. Place your block into its space on the board. Lay a sheet of Mylar over the lino. Clip a pair of Ternes Burton Tabs onto the fixed Pins and tape them to the Mylar. This way, the Mylar will go down in the same place over the lino each time. Take notice of any areas on the block that are picking up ink to create chatter. Use a permanent pen to draw around the main uncarved design onto the Mylar. Use the permanent pen sparingly as we don't want it to be left behind and transferred to the print.  Unpin the Mylar from the pins, place on a cutting board and use a scalpel to cut away the areas where you want the print to come through. Make sure the Mylar stays together and attached to the tabs. Trim away any pen lines.  You can now ink up the lino, place it on the board, lay the Mylar over the top using the tabs and then your print paper. The Mylar mask will stop unwanted ink from reaching the paper.   For this project you will need: - a board (the back of a picture frame works well) - masking tape - parcel tape - Ternes Burton Pins and Tabs - Mylar - Scalpel - Cutting Mat - Permanent Pen - Carved lino block

Hello, I’m Corinne Mangan and I live and work in the beautiful Surrey Hills where I find most of my inspiration; I’m currently an Artist in Residence at Ochre Print Studio in Guildford. Describe your printmaking process. I have spent the previous year or so working mostly in either etching or botanical monoprint though since my residency I’m experimenting with all manner of print forms to push myself into new areas and through that decide where I’m happiest. The subject matter so far remains the same, finding a way to represent the natural world on my doorstep and how it makes me feel. How and where did you learn to print? My degree was actually in History of Modern Art & Design rather than in practical art making but I have always been creative and been pulled towards printmaking in recent years to express this. I’ve done courses at Handprinted, at Ochre Print Studio and at East London Printmakers and also regularly attend an etching club with the printmaker Mai Osawa. All of these have been instrumental in teaching me and giving me the confidence to experiment on my own. Why printmaking? Multiples! I love the fact that you can create an image and then create it again and again; then play with it and change an element here and there, to build on that first image, to improve it, to change a colour or add a texture, to problem solve. I like to think about an end result and what printmaking technique might get me there, making many mistakes along the way but learning in the process. Where do you work? I’m lucky enough to be able to work both at home and in a busy vibrant print studio around other printmakers. Until recently at home I have been working between the kitchen table and an adjoining study; it wasn’t ideal but just recently our younger son has moved out and I’ve been able to move into his old room at the top of the house, it has views out to Box Hill and across to Ranmore and I just know that it will be both a calm and productive place to be. As part of my residency I am also really lucky to be able to work at Ochre Print Studio which has amazing facilities across all the print disciplines, and I am finding the advice and encouragement from the Keyholders who print there indispensable. Describe a typical day in your studio. Every day starts with a walk with our labrador Clover, I find this time invaluable as it’s the environment that is my constant inspiration. I take a lot of photo’s when I am out and look at shapes and textures. I often use this time to consider a piece I am working on or plan future work. If I’m at my home studio I’ll then continue with a drawing or working on a plate; if I’m at Ochre Print Studio it’s a drive to Guildford before I start work which could be in the main studio on the presses or in the etching room. How long have you been printmaking? I dabbled in printmaking for joy of it for many years before really catching the bug and realising this was what I wanted to be doing seriously. For the last three years or so it’s been my main focus, building on skills and learning new ones. What inspires you? Mostly trees! Be it individual ones with interesting shapes and textures or great forests of them, old and gnarly or young and graceful. I’m always happy around trees. I feel so lucky to live in the Surrey Hills, I’m constantly inspired and calmed by it’s beauty, regardless of the season. I’m also inspired by the work created by other artists and printmakers and like many others have postcards from exhibitions dotted around my workspaces. What is your favourite printmaking product? I use Hawthorn Stay Open inks a lot, they work beautifully for both intaglio and relief but I’d have to say my favourite printmaking product is my press itself, she’s a Gunning Etching Press called Spinderella and I adore her. I'm also a big fan of Zest It, it smells great and is a perfect companion for good old vegetable oil at the end of a session when you are tired but still need to clean up. What have you made that you are most proud of? I think my aluminium etching ‘Twisted, Holmbury’ which I made last year, it’s probably not my best piece but it is the one that gave me confidence to enter into a number Open Calls and exhibitions. I’m not a formally trained printmaker and I often struggle with self confidence especially when I see amazing work in galleries and on social media but I look at ‘Twisted’ and think, yes, I did that and people have it hanging on their walls so perhaps I am OK at this lark. Where can we see your work? Where do you sell? Instagram is a good place to see what I’m up to, whether it’s a work in progress or experiments I’m doing during my residency. I’ve been selling my work recently through That Lovely Shop in my home town of Dorking, perfectly named it really is a lovely shop stuffed to the brim with gorgeous things and now my etchings too. Ochre Print Studio also has it’s Summer Exhibition soon, to be held at The Loft, a recently opened gallery space at Watts Gallery, in Compton, where you can see my work alongside other fabulous printmakers. What will we be seeing from you next? Definitely more etchings of trees, that’s for certain but I’m also keen to work further on some of the techniques that I’ve seen during my residency - being a technician on the courses there makes me want to try them all myself, find a way to marry them with my own practice even if it is out of my comfort zone. I’d like to do more work on kitchen litho/foil lithography too, I like the potential it has to show the drawn or painted marks in my work. Do you have any advice for other printmakers and creatives? Have faith in yourself and keep practicing; be kind to yourself and don’t worry too much when something doesn’t work, pick yourself up and try again. Remember that social media mostly shows the successes and not the prints that end up in the bin. And if you love print, just keep learning and printing and see where it takes you. To see more of Corinne, follow her on Instagram

When designing artwork for exposed screens it can be very difficult to figure out what level of detail you can include. Different mesh counts will be able to handle different levels of detail. The mesh number relates to how many threads there are per cm of mesh: 32T has 32 threads per cm, 120T has 120 threads per cm etc. Ideally, 43T mesh is used for printing onto fabric and 90T is used for printing onto paper. We’ve put together a quick test to see what detail can be achieved on our two most common meshes: 43T and 90T.  We are often asked which font sizes are appropriate for each mesh but this is tricky to answer as different fonts come out at varied sizes and some have thicker and thinner parts to the lettering. For this test we’ve used Calibri (a plain sans serif font) Time New Roman (a serif font) and Apple Chancery (a calligraphy style font with thinner strokes) in sizes 8 to 22. The same sheet of samples was exposed onto a 43T and 90T screen. Scroll down to see the results of our prints with these screens. For prints on fabric we have used Speedball Fabric Screen Printing Ink in black. For prints on paper we have used Speedball Acrylic Screen Printing Ink in black. These are both standard inks – opaque inks and metallic inks will be harder to force through the ink and block the mesh faster and are therefore more suited to higher mesh count and less fine detail.    Some of the areas have been halftoned through our rip software which turns grey areas into dots to give the illusion of tone.  43T Mesh onto Fabric We’re losing the detail on the font up until about size 14. The lettering on the right has been drawn with a 6px brush into Photoshop.    90T Mesh onto Fabric  90T mesh is not ideal for printing onto fabric as it puts down a lighter deposit of ink than a 43T. The prints can therefore appear paler and less bold. We’ve got more detail here on the smaller font sizes but it’s not printing very well on the weave of the cotton – this print has also smudged!   43T Mesh on Paper We’re still losing the detail up until font size 14. It’s putting down quite a heavy deposit of ink so it’s starting to blob a little in places with tiny detail.    90T Mesh on Paper We’ve managed to get most of the detail in the size 8 font here, although this small size may start to dry fast so quick printing is a must! 43T Mesh on Fabric This type of Font is a real problem on more open meshes as it has very thin areas that don’t expose well at all.  90T Mesh on Fabric We’ve got more detail but the font still isn’t great up until size 14. The 90T mesh also isn’t printing this evenly on the weave of the cloth. 43T Mesh on Paper On paper it’s easier to see the areas where the font is too fine for a 43T mesh. 90T Mesh on Paper It’s much clearer on a 90T mesh but we’re still missing the finest areas. 43T Mesh on Fabric This font hasn’t exposed properly until about size 16. 90T Mesh on Fabric The tiny serif lines are starting to show more but struggling to print on the fabric. 43T Mesh on Paper We’ve lost some of the serif detail which isn’t clear until size 14. 90T Mesh on Paper We’re getting good results from size 14 with legible results from size 12. These fine lines will dry ink quite quickly.  43T Mesh on Fabric Lines close together create vulnerable areas of emulsion and on more open meshes these areas will start to meld together. More may disappear as it’s printed and washed.  90T Mesh on Fabric We’ve got much clearer paces between the lines 43T Mesh on Paper 90T Mesh on Paper  43T Mesh on Fabric The lines that are 1 pixel, 2 pixels and 3 pixels wide don’t come out on the screen at all. The 4 pixel wide line is faint and patchy.  90T Mesh on Fabric We’ve got an extra line on this mesh – the 4 pixel line is clear and the 3 pixel line is faint and patchy.  43T Mesh on Paper 90T Mesh on Paper 43T Mesh on Fabric Here we’ve created a gradient halftone through our rip software. The 43T mesh has given a grid distortion making the tone uneven. 90T Mesh on Fabric On a 90T mesh the halftone is much more even with more detail as we go further down  43T Mesh on Paper 90T Mesh on Paper 43T Mesh on Fabric The grid pattern is prominent on this mesh give a moire effect. The palest grey halftone is barely there.    90T Mesh on Fabric The tone is much more even and we have much more detail on the palest tone.    43T Mesh on Paper 90T Mesh on Paper Order your own custom exposed screen here!