I’m Jay, a full-time printmaker originally from Canada but currently living in Cornwall. I use wood engraving to create intricate and narrative landscapes that explore themes of home and solitude, and our connection with the natural world and each other. Describe your printmaking process.  I work primarily in wood engraving, which is a niche form of relief printing. It’s the process traditionally used to print book and newspaper illustrations, so it’s perfect for capturing small details. It’s similar to regular woodcut or linocut in that you’re removing the areas you want to keep white (drawing with light), but it uses speciality end-grain wood and engraving burins instead of carving tools. I also create collages with pieces of my wood engraving prints. I deconstruct and then reconstruct the landscapes to create a series of new compositions in collage.  How and where did you learn to print?  I started printmaking at NSCAD University back in Canada. I went to art school thinking I was going to be a painter, but I took my first printmaking class and was instantly hooked (and never did any more painting!). I signed up for every print class I could find. I learned lithography, etching, screenprint, typography and relief print. I actually never tried wood engraving until I came to the UK. I saw people online doing engraving, and I was really interested in the process and how they were able to get such small details.  Why printmaking?  I love the whole process of making prints. I’ve always been drawn to the repetitive mark-making and all the different steps of preparation involved. I can get quite anxious and stuck in my head sometimes, and I find that the satisfying and meditative processes like engraving, tearing paper, and printing editions can help me feel more relaxed.  Where do you work?  Currently I work from my studio in Krowji, Redruth.  Describe a typical day in your studio.  Honestly every day is different depending on what I have going on. Some days are big admin days filled with answering emails, making social media posts, organising work for galleries, applying for exhibitions, and my least favourite of all, doing my taxes.  But on the creative days I’ll have breakfast/coffee, drive to my studio, and spend the day working on my prints. My favourite days are the ones I spend engraving. Once I have the basic composition planned out on paper, I transfer it to the woodblock and create the image slowly by building up different marks. I love watching the image emerge from the darkness. It’s exciting because I never know exactly how it will turn out. If it’s a small block I can finish in a day, but the larger ones can take a week or more.  How long have you been printmaking?   For around 10 years (with a few years in the middle where I was working regular jobs and not making any art). What inspires you?  I’m inspired by the vast Canadian landscapes where I grew up and the rugged Cornish coastline where I live now. My landscapes explore themes of home, solitude, and our intrinsic connection to the natural world and each other. What is your favourite printmaking product?  The woodblocks. I love them as beautiful objects in themselves. And they’re so satisfying to work with. Sometimes I like them more than the prints! What have you made that you are most proud of?  To be honest, I’m quite self-critical, and I’m always looking ahead to my next work. When I look back, I can see parts of different pieces that I like, but I also see everything that I would do differently.  Maybe I’ll answer that I’m most proud of my growth as an artist, and that I’ve been able to find my own niche and style, and build a life for myself where I can be creative and self-employed. Where can we see your work? Where do you sell?  I share a lot of the process on my Instagram page, and I sell through my website.  If you want to see my work in person, I show with Cambridge Contemporary Crafts in Cambridge, The Biscuit Factory in Newcastle, Mōr Studio in North Yorkshire, and The Poly Guild in Falmouth, Cornwall, as well as other group shows around the UK. I’m also a member of the Society of Wood Engravers, which has an annual exhibition that tours different venues in the UK so keep an eye out for that! Maybe it will come to your city. What will we be seeing from you next?   I’m excited to make some large scale work this year. I’m looking forward to pushing myself to work larger and get more expressive with my mark-making.  Do you have any advice for other printmakers and creatives?  My advice for other printmakers and creatives (and myself!) is to not let perfectionism paralyse you. It’s okay to make ‘bad’ work, and to try things and have them not turn out. Just keep showing up and making things regularly, and something good and meaningful will emerge. To see more from Jay, follow him on Instagram! Feeling inspired? If you want to try out wood engraving, have a look at our website where we have everything you need to get started!

I'm Megan Hall, a reduction linocut printmaker based in Plymouth, Devon. My work is inspired by water and the time I spend outdoors, particularly swimming, paddleboarding and exploring the Devon coastline. I create original linocuts that try to capture those moments when the light hits the water just right or when you feel completely immersed in a moment.  Describe your printmaking process. I specialise in reduction linocut, which means I create the whole print from a single block of lino. I start with my own experiences, photographs and imagination, usually inspired by somewhere I've swum or explored, and then simplify the image into shapes and layers before I start carving. I don’t often plan on paper though- much of it is in my head. I usually print from the lightest colour through to the darkest, carving away more of the block after each layer. It definitely keeps you focused, but that's one of the things I love about it. Seeing the print gradually come together over three, six or sometimes even more layers never gets old. How and where did you learn to print? I studied Illustration: Design at the University of Plymouth, graduating in 2011, but somehow, I never had the opportunity to try linocut while I was there. By the end of my degree, I'd realised that commercial illustration wasn't really the path I wanted to follow, and I gradually stopped making art altogether. I took a seven-year break from creating. I dabbled in different media now and again, but nothing really stuck. I first discovered lino printing on an evening course back in 2017. I really enjoyed it, but it wasn't until I started swimming outdoors that I found the subject matter I wanted to explore. After making a print inspired by a full moon swim, I completely fell in love with the process. It honestly felt like the stars aligned. Since then, I've learned a lot through experimentation, chatting to other printmakers and, probably more than anything else, by making plenty of mistakes! Why printmaking? I've always loved making things with my hands, and printmaking just clicked with me. I enjoy that there's always an element of surprise. No matter how carefully you've prepared, lifting a fresh print is still exciting. Reduction printing suits me because it's quite immersive. Once I'm in the middle of a print, I'm completely focused on that next cut or colour layer. It's a slow process, but I think that's part of its appeal. Finding printmaking felt a bit like coming home. After years of trying different creative outlets, lino was the first medium that really fitted the way I think and work. I love that it slows me down. Reduction printing asks you to commit to each decision because every layer is carved away forever. There's something really satisfying about that balance of careful planning (even if that is in my head) and trusting the process. And despite knowing exactly what should happen, peeling back each layer is still exciting every single time. Where do you work? I work from my studio in Plymouth, not far from the sea that inspires so much of my work. It's where I carve, print, package orders and teach workshops. It's not the tidiest space- there always seems to be drying prints, carving tools and little scraps of lino everywhere-but it's somewhere I really enjoy spending time, my happy place. Describe a typical day in your studio. Every day is a bit different. Some days I'll spend hours carving, especially if I'm working on a detailed reduction print. Other days are all about printing, checking registration and waiting impatiently for layers to dry. Being a self-employed artist also means there are lots of jobs that happen alongside the creative work- packing orders, answering emails, updating my website, preparing for exhibitions and fairs and “research” trips to the shore. How long have you been printmaking? I've been printmaking seriously since 2019. Looking back at those early prints is quite funny now- they've definitely evolved- but it's lovely to see how much my work has grown, especially over the last 12 months since I gave myself permission to grow and hyperfocus on water. What inspires you? Water, without a doubt. Whether it's the sea, rivers or lakes, I'm fascinated by the changing colours, reflections and movement. Outdoor swimming has completely changed how I experience a landscape because you're not just looking at it- you're part of it. I also find inspiration in the quieter moments: early morning light, shifting weather, the patterns left by the tide or those little details that are easy to miss if you're rushing around. What is your favourite printmaking product? That's a tricky one! My Pfeil carving tools would have to be high on the list because I use them every day and they've lasted brilliantly. My printing press might just be the winner though. It is one of the largest purchases I have ever made but was worth every penny and has allowed me to grow in a way I couldn’t have before.  What have you made that you are most proud of? That's probably the hardest question! I think, like a lot of artists, I have a bit of a love-hate relationship with my own work. My opinion of a print can change from one day to the next-sometimes I'll finish a piece and love it, only to question everything a week later. Then a few months down the line I'll look at it with fresh eyes and wonder what I was worried about. Rather than being proud of one particular print, I'm proud that I've found a body of work that feels genuinely me. It took me a long time to find my creative voice, and now I try to stay true to the things I'm most curious about- water, light, movement and those immersive moments in nature. Knowing I'm making work that feels authentic, rather than chasing trends or creating what I think people want to buy, is probably what I'm most proud of. Where can we see your work? Where do you sell? The best place to see everything is through my website. I also exhibit regularly in galleries and print exhibitions, and you'll often find me at art fairs and open studio events across the South West. I am also taking part in Devon Open Studios this September and would love to have some visitors. What will we be seeing from you next? Last year I taught myself to use soft pastels, and more recently I've been exploring ways of combining them with a Gelli plate to create monoprints. It's a completely different process from reduction linocut, and I'm really enjoying the freedom and spontaneity of it. It's definitely something I'd like to spend more time experimenting with over the summer to see where it leads. Alongside that, I'll continue exploring water, light and the feeling of being immersed in nature through my reduction linocuts. Do you have any advice for other printmakers and creatives? Make work about the things that genuinely excite and fascinate you, rather than what you think you should be making. I feel much more at peace with my creative practice now that I've given myself permission to hyperfocus on water. It might seem like a very narrow subject, but the more I explore it, the more I realise there's still so much to discover. Following your curiosity is rarely a bad idea. It's also important to keep pushing yourself and making time to experiment with different mediums. Some experiments won't work -and that's absolutely fine- but staying curious is what helps your work evolve. And finally, don't worry too much when things don't go to plan. Every printmaker ends up with wonky registration, unexpected colours or the occasional disaster! Those moments can be frustrating, but they're usually where the biggest lessons are learned. Just keep printing.  To see more from Megan, follow her on Instagram! Feeling inspired? Book a Fab Friday - Linocut: Mark Making course at Handprinted! Alternatively, if you want to try out this technique at home, visit our website to find everything you need to get started.

I'm Sam Marshall, an artist, printmaker, author and creative coach based in rural Northamptonshire. My work centres around drawing and printmaking, particularly linocut and etching, and alongside my own practice I teach workshops both from my studio and online to students around the world. I studied at the Slade School of Fine Art and the Royal Drawing School, where I now also teach. Before moving back to the countryside eleven years ago, I spent more than two decades living in London. Today my days are divided between making work in the studio, teaching, writing and supporting artists through creative coaching. I also share my studio life with Miss Marple, my miniature dachshund, who has been my faithful sidekick for many years and is rarely far from the action. Describe your printmaking process. My printmaking process always begins with drawing. I've drawn all my life, and every print starts with a sketchbook in one way or another. I travel extensively with my sketchbooks, drawing from observation, and many of those drawings go on to inform my prints. Rather than directly reproducing a drawing, I tend to use elements gathered from different sketches and experiences. My linocuts are often a kind of visual collage, combining fragments of places, buildings, landscapes and observations into imagined scenes. They are rooted in the real world, but there's usually a sense of storytelling, humour or quirkiness woven into them too. Alongside linocut, etching is a significant part of my practice and was actually the first printmaking process I learned. I particularly enjoy making small etchings featuring animals and characters, often exploring personality and narrative through simple compositions. Whatever the medium, drawing remains at the heart of everything I do. How and where did you learn to print? Although I studied at the Slade School of Fine Art, and there was an excellent printmaking department there, I never actually used it. My introduction to printmaking came later, in my early thirties, when I discovered the Royal Drawing School and enrolled on an etching course. It was a genuinely life-changing experience. I still remember leaving the studio after that first session and thinking, "That's it. I've found what I want to do." It was a real turning point and set me on the path that I'm still following today. I've now been making prints for over twenty years. Linocut came along a few years later. I loved etching, but I was craving colour, and lino offered a completely different way of working. At the time there were far fewer resources available than there are now, so I largely taught myself through experimentation, trial and error, and plenty of mistakes. Looking back, I'm grateful for that process because it allowed me to develop my own approach rather than following a prescribed method. My way of working has evolved quite naturally from years of making, testing ideas and learning through practice. Why printmaking? I think one of the reasons I love printmaking so much is that it forces me to slow down. By nature, I'm quite energetic, impatient and always keen to move on to the next idea, whereas printmaking demands patience. There are no shortcuts. I love the way a print evolves through a series of stages. It begins with a drawing, but then it has to pass through many different processes before it becomes a finished piece. There are proofs to pull, decisions to make, areas to refine and problems to solve along the way. I enjoy that gradual process of editing and improving the work. One of my favourite moments is when I've finished the proofing stage and finally decide that the print is ready. There's something incredibly satisfying about committing to an edition and printing it properly. After all the experimentation and refinement, the image reaches a point where it's complete. I never tire of that feeling. Printmaking combines creativity, craftsmanship and problem-solving in a way that I find endlessly rewarding. Even after all these years, I still enjoy every stage of the process. Where do you work? I work from home in rural Northamptonshire, where I'm fortunate to have two separate studio spaces. One is dedicated to printmaking, while the other is where I do my coaching, administration and order packing. At the moment, I'm also in the process of creating a larger printmaking studio. I've recently demolished an old garage and am transforming the space into a purpose-built workshop and teaching studio. It's a project I've been dreaming about for a long time and I'm incredibly excited about it. My current print studio is a wonderful place to work, but it's quite small and only accommodates a handful of students. The new space will allow me to teach larger groups and bring more people together to learn printmaking in a relaxed, creative environment. It feels like a very exciting new chapter for both my own practice and my teaching. Describe a typical day in your studio. No two days are ever quite the same, but most of them begin in the same way: with a run through the woods behind my house with my miniature dachshund, Miss Marple. It's often during those runs that I plan my day, record voice notes and think through ideas for new work. By the time I arrive in the studio, I usually have a clear sense of what needs to happen. The morning might begin with packing print orders, answering emails or preparing materials for workshops and coaching sessions. Alongside my printmaking practice, I also work as a creative coach, so my day is often punctuated by Zoom calls with artists and creatives from around the world. Whenever possible, I try to dedicate at least a few hours each day to my own creative work. That might mean drawing, carving a new linocut, working on an etching plate, proofing prints or planning future projects. There are also podcasts to record, workshops to organise and the countless jobs that come with running a small creative business. It's a busy and varied life, but that's one of the things I enjoy most about it. Every day is slightly different, and there's always a balance between making work, teaching and supporting other creatives. How long have you been printmaking? I've been printmaking for around twenty-two years. My journey began with etching at the Royal Drawing School, and what started as a weekly class quickly became a lifelong passion. Since then, printmaking has become the centre of my creative practice. Over the years I've explored a range of processes, but etching and linocut remain my favourites. Even after more than two decades, I still find the process as exciting and rewarding as I did when I first stepped into the print studio. What inspires you? I'm inspired by everyday life and the small moments that many people might overlook. Most of my ideas come from observation, whether that's walking in my local countryside, spending time in my garden, travelling with my sketchbook, or exploring places around the world. Places are a huge source of inspiration for me. I find myself drawn to parks, gardens, cafés, streets, landscapes and the little details that give a place its character. Japan has been a particularly important source of inspiration in recent years, both visually and culturally. Animals also appear regularly in my work, often bringing a sense of humour or narrative to an image. I keep sketchbooks wherever I go, and those drawings become a kind of visual library that I can draw from later. Ultimately, my work is rooted in observation and a fascination with the world around me. What is your favourite printmaking product? My favourite printmaking product has to be my Swiss-made Pfeil carving tools. They're beautifully made, hold their edge brilliantly and make carving linocut an absolute pleasure. Good tools don't make a good printmaker, but they do make the process more enjoyable, and I've used my Pfeil tools for years. There's something incredibly satisfying about the way they glide through the lino, allowing me to create both delicate marks and bold cuts with confidence. If my studio was on fire, they'd probably be one of the first things I'd grab on the way out! What have you made that you are most proud of? Without a doubt, the things I'm most proud of are my books. When Bloomsbury first approached me about writing LINOCUT, it came completely out of the blue. It was a huge challenge and an enormous learning curve, but it went on to become far more successful than I ever imagined. Seeing my work and approach to printmaking reach readers around the world has been incredibly rewarding. More recently, SKETCH has become another source of great pride. What makes that book particularly special is that it doesn't just feature my own work, but also celebrates the journeys of many of the artists and creatives I've worked with over the years. In many ways it brings together everything I care about: drawing, teaching, creativity and community. Even now, I sometimes find it hard to believe that there are two books out in the world with my name on the cover. That's something I'll never take for granted. Where can we see your work? Where do you sell? The best place to find my work is through my website, which acts as the hub for everything I do. Alongside original prints and books, you'll also find information about workshops, online classes, creative retreats and coaching. A few years ago I made the decision to step away from gallery representation and wholesale selling. Instead, I chose to build a direct relationship with the people who collect my work. Running my own shop gives me much greater creative freedom and allows me to retain ownership of every part of the process, from making the work through to sending it out into the world. I also teach regularly at printmaking studios and arts organisations around the UK, including Handprinted, Curwen Print Study Centre and the Royal Drawing School, as well as from my own studio in Northamptonshire. You can find everything in one place at my website and on Instagram, where I share my work, sketchbooks and studio life.   What will we be seeing from you next? The biggest project on the horizon is my new printmaking studio. It's currently being built and, once complete, it will give me much more space to make work and to teach larger groups from home. It's something I've been planning for a long time, so I'm very excited to see it finally becoming a reality. Alongside that, I'm continuing to develop new linocuts and etchings, many of them inspired by recent travels and sketchbook work. There are also plenty of workshops, retreats and teaching projects coming up over the next year, both in my own studio and at venues around the UK. In short, more prints, more teaching and, hopefully, lots of time spent in the new studio. Do you have any advice for other printmakers and creatives? My biggest piece of advice would be to draw. Draw as much as you can, and draw from observation whenever possible. For me, drawing is the foundation of everything. It's where ideas begin, where you learn to look more carefully, and where you develop your own visual language. I'd also encourage people to focus on making the work they genuinely want to make, rather than constantly worrying about what might sell. I think a lot of creatives tie themselves in knots over pricing, marketing and trying to second-guess an audience. Those things matter, of course, but they shouldn't come at the expense of making work that excites you. Try to enjoy the process and not become too attached to the outcome. The artists who sustain a creative practice over the long term are usually the ones who find joy in the making itself. If you can do that, everything else tends to fall into place. To see more from Sam follow her on Instagram. Feeling inspired? Come on down to Bognor Regis, where Sam will be teaching here at Handprinted! : Linocut with Sam Marshall - 2 day course - Thurs 20th & Friday 21st August 2026 Experimental Printmaking with Sam Marshall - 2 day course - Sat 22nd and Sun 23rd August 2026 Spaces are limited. If we are fully booked, please email [email protected] to be added to the waiting list! Alternatively, if you're interested in practising Sam's favourite techniques at home, visit our website to get started!

Wood engraving is a relief technique using fine tools to carve intricate designs into the end-grain of dense hardwoods like boxwood. Gorgeously fine details can be achieved. We now have a brand new range of tools and materials available to buy in our shop, plus a lovely selection of wood engraving tools in the Handprinted studio, some of which were kindly donated to us - we’ve been itching to have a go ever since! We used one of the small test blocks to show you how we transfer and carve our design, and then how we print! This block has been pre-stained with Indian Ink, which makes it a little too dark to use carbon paper to transfer the design. We recommend drawing freehand onto the block or transferring an image using Red Carbon Paper, and then staining the block with a little bit of printing ink instead. We ended up going back to basics and transferred our design by shading the reverse of our drawn image and taping it to the block. We then traced the design over the top of our original drawing to transfer. We want to apply enough pressure to transfer our drawing, but not enough to bruise or dent the block. It was quite faint but workable. Using our Spitsticker #3, we carved away the white areas in the tail, head, wing and belly. When carving, rotate the block rather than manoeuvring your hand. This helps to keep control. For more guidance on holding your tools, see our previous blog post. Working with the negative space on the block will create depth in the design. Stippling is an effective technique that allows us to create gradients within our design, giving the illusion of mid-tone. It is especially effective for feathers, fur and foliage. To clear any large areas, we use a Scorper. Here we’re using a Round Scorper #55. Before clearing, it is important to first carve an outline using a Spitsticker. This gives us a fine but deep cut around the edge of the design to work with. When clearing, we carve towards the design, which can feel quite weird at first. Luckily, the gutter created with the Spitsticker stops the tool in its tracks and creates a nice, clean cut. Once we have finished carving, we want to brush away any stray wood chips with a soft brush. To print, we use an oil-based ink. Here we’re using Hawthorn Stay Open ink in Dense Black. Alternatively, Cranfield Traditional inks could be used. Roll out a thin, even layer of ink on an inking plate. Lightly apply the ink to the block in thin, even layers. The image really comes to life at this stage. The ink is sitting evenly on the surface and hasn’t collected in any of the small cuts on the block. We’re using Shoji paper to print, which is a smooth, lightweight Japanese paper perfect for printing by hand. Alternatively, we could use Hereford or Hosho paper. We're using a Bamboo Baren to take our print, but we could also use a spoon or a Relief Press, such as the Woodzilla. Carefully peel the paper away to reveal the print. Here is the final print! Life-size print below (if you're viewing on a PC) For this project, you will need: Wood Engraving Tools, e.g. Spitsticker, Round Scorper Block of end-grain wood, e.g. Boxwood Small sandbag to rest your block Carbon paper to transfer your design Pencil Ink to stain your block and print with Inking Roller Paper to print onto Baren, spoon or relief press.

Mari is an artist and printmaker who lives with her family at the foot of the South Downs in West Sussex. She has no formal art training but has always loved to draw - anything and everything! Her work is bold and distinctive with a vibrant use of colour.    For Mari, everything starts with her quirky and characterful illustrations, which are reinterpreted as screen prints and as iPad paintings. Her art has been described as ‘artful simplicity’, and we feel this describes her work perfectly! As Mari has a learning disability and is autistic, her art adventure is facilitated by me – I’m mum - and by Jo Telling, her print-making mentor. A few years ago, we set up ‘Mari Hunt Artworks’ to nurture and celebrate her creativity and to help her to share her work more widely. This has brought many exciting and unexpected opportunities and widened her horizons in a wonderful way. Mari loves to be busy and currently attends Worthing’s The Sand Project, where she is supported to build real-world skills through personalised practical learning. Mari also attends Superstar Arts and The Big-Eyed Ears, both of which provide local creative projects for adults with learning disabilities. Aside from art, Mari is a massive music fan and always draws to a soundtrack of her favourite artists – anything from English folk to Harry Styles. An especially happy day for Mari is a café day, with cinema, Mario Kart and a trip to the family allotment, all with her sister, if possible!        Describe Mari's printmaking process.  Mari chooses one of her original illustrations, created on A3, using water-based ink markers. Her mentor creates photo screens of more detailed designs, and Mari uses the scan and cut machine for simpler vinyl stencils.      How and where did Mari learn to print?  Mari began her screen-printing journey at Worthing’s Superstar Arts. It is here that her ‘The Cure’ design, endorsed by Robert Smith, was, and continues to be printed on cards, tees, mugs and tea towels.  It is sold locally and online around the world, raising funds for the charity that supports her.       Why printmaking?  The structured, repetitive and tactile nature of screen printing provides a calming and rewarding experience for Mari. It is a process that she has become adept at. Mari has a strong work ethic, is not discouraged by setbacks and always likes to see projects through.        Where does Mari work?  Mari prints at all of her weekly educational and social provisions. Her personal projects take place once a week, in our family garage, amidst the tools, bikes and gardening equipment!        Describe a typical day in the studio. The session starts with a meeting between Mari, Jo and me, where we discuss ideas, upcoming print projects, exhibitions, and sales.  Mari and Jo then choose a soundtrack for the morning and print together until lunch.         How long has Mari been printmaking?   Mari has been printmaking personal projects for around 3 years.         What inspires Mari?  Mari is inspired to draw a wide variety of subjects, although birds have become a recent focus. She also loves to draw portraits. Mari readily captures the essence of her subjects and represents them in a unique, joyful and often amusing way.       What is Mari's favourite printmaking product?  Mari always uses Speedball Acrylic Screen Printing Inks and A3 Snowden paper pads from Handprinted.  What has Mari made that she is most proud of?  Mari says that her favourite screen print is of her much-loved tabby cat, (who sometimes likes to assist!), closely followed by her Harry Styles design.            Where can we see Mari's work? Where does she sell?  All aspects of Mari’s art adventure are captured on Instagram. She sells a small selection of greetings cards on Etsy. Her prints and cards are available at: - Inspired in Worthing. - Montague Gallery. - ArtiSAND in Worthing. - Hello DODO, studio & shop in Worthing (‘Cats Amongst the Pigeons’ pop-up) - For The Cure design, it’s at Superstar Arts.       What will we be seeing from Mari next? Mari is a member of Steyning Arts and will sell at Venue 5 of the annual May Art Trail, during the last 2 weekends in May, including the Bank Holiday Monday.   Mari currently has 3 bird prints in Worthing Museum and Art Gallery’s ‘Open 26’ exhibition, running until September, and sells her bird card collection there too. She will also be part of HelloDoDo’s ‘Cats Amongst The Pigeons’ pop-up shop and online shop from 4th June to 4th July.      Does Mari have any advice for other printmakers and creatives? Mari says: “Screen printing is fun. I like to keep my original drawings, so it’s great to be able to make copies. I like changing the colours”.    To see more from Mari, follow her on Instagram, managed by her mum, Helen!