Hiya, I’m Aurore Swithenbank, a printmaker living in South East London with my partner and cute cat. I moved to London when I was 10 from France and haven’t looked back since.  Describe your printmaking process.  My printmaking method is linocut. I plan most of my designs with lots of drawings in my sketchbooks or a big pad of paper. I then transfer my designs onto the lino, ready to carve with my tools. Most of my prints are hand burnished onto beautiful handmade paper and then hung on a lovely washing line in the studio for drying. How and where did you learn to print?  I am self-taught with lino printmaking, but I did learn how to print in my art and design foundation at City Lit and my Illustration degree in Bristol. While studying in both places, I experimented with completely different printing processes, including collagraph and monotype. I did try a bit of linocut here and there, but it didn’t suit my projects at the time, and it’s only after I graduated that I found some lino scraps in my art box that I decided to give it another go. I designed some Christmas cards for my mum, and I instantly fell in love with the printing process. From then on, I just got stuck in and practised most days in my bedroom at the time living with my mum. I remember saving up for a few weeks to buy my first set of good pfeil lino tools in a beautiful art shop called L. Cornelissen & Son in central London. With lots of trial and error, I found my style. Lino printing is a big part of my life now, and I’ll always find time to dive into it. Why printmaking?  I think any printmaking technique is a beautiful craft, but especially linocut. It’s accessible and such a playful medium. The process is so meditative and slow, especially in such a fast-paced society. I also love how you can’t really see the results of how the image/print is going to truly look until the last process with the print reveal. I find this very exciting and addictive. Linocut can also be forgiving at times; if I make a mistake with carving, I can usually turn it into a different pattern. Where do you work? I work at home in my shared studio room with my partner (and sometimes my howling cat who begs to come in and sit at my desk). I’m very lucky to have my desk space in front of the window, which looks out at the back of the house into our local park where I can watch birds and butterflies go past most days. Describe a typical day in your studio.  I usually have a part-time job, so most days off and weekends are spent in the studio. On those days, I start the morning with a lovely cup of green tea and either packing orders or going over my to-do list and tidying up the space. I then either print, carve or sketch for the rest of the day. I leave the admin stuff for the evenings when the natural light is gone.  How long have you been printmaking?  I’d say my journey with linocut started when I made the Christmas cards for my mum in 2016, so it’s been 8 years of my printing journey. I started it more as a hobby, and I was lucky to have friends and family who encouraged me to take it further and make it more of a career. I had connections that led me to do markets and fairs before I took it further and started selling my art online in 2019. What inspires you?  My inspiration comes from lots of different places, from the flora and fauna I see on walks and bird watching with my partner, holidays abroad to also pottering in galleries and museums in London. I moved around a lot when I was younger and was exposed to such different climates with nature, that when I moved to London it was very exciting at first but I think I missed the element of nature and how exposed I was to it.  Looking closely, I realised there is a lot of nature in London hidden amongst it all and drawing/creating lino prints bought a sense of calm in such a chaotic city. My inspiration can come from literally seeing a butterfly pass me in a park to sketching an artefact in a museum. I also love following the different seasons and get inspired by the different types of flora and fauna that come out each month. When I’m stuck for ideas, I love roaming around the free museums in London or flick through my collection of art books. I’d also say my lino prints have a bit of mystical and folklore aspects to them, that I hope can bring a bit of magic to someone’s home. What is your favourite printmaking product?  One of my favourite printmaking products is my glass slab that I roll my ink onto. I love hearing the hissing noise of the ink being rolled out and it’s always satisfying cleaning the glass after a productive printing day. I also can’t live without my Pfeil tools, especially when they are sharpened they cut the lino like butter and it makes the process so much more fun. What have you made that you are most proud of?  I recently printed on fabric and made wall hangings. I picked two of my favourite designs that are a swallow and a pomegranate. I am not a seamstress, so this was a lovely collaboration with my partner’s mum who is very talented in that area. Printing on fabric is so different from paper, so I was very nervous at first, but we found some lovely linen that worked perfectly for printing. Collaborating with someone is very special and I would love to do more projects like this in the future.  Where can we see your work? Where do you sell?  You can find my lino prints online in my Esty store and you can follow my process on my Instagram . I also sell my prints at lots of different markets and fairs all year round which I announce on social media or on my website. I am hoping to extend my little business and hoping to get my art in more shops this year, so watch this space!  What will we be seeing from you next?  I would love to experiment more with printing on fabric in the next year. After making my wall hangings, I feel like its opened a whole new world of possibilities and I’d love to make pillows, tea towels and patches.  Do you have any advice for other printmakers and creatives?  Experiment and persevere! Experimenting with the process is the best way to understand not only yourself as an artist, but the technique you are looking to dive into. I think with social media these days, its easy to quickly find out what materials are best to use, but just because you are buying the same art materials doesn’t mean the art will turn out the same quality. Experimenting with different types of paper, inks and even barens is all key to figuring out your own artistic voice. I had to go through so much trial and error to find the materials that suited me best and it’s so important to keep playing around until you find this. Perseverance is key with linocut. Trying a new craft can be so daunting, but the more you do it the better you get at it. Although linocut at times can be so challenging, just trust the process and keep going!

Monoprinting using an open screen is a wonderfully creative way of using your screen printing equipment for speedy, painterly prints. Neocolor Pastels are a great material to use when mono screen printing - you can draw directly onto the mesh and print your drawing through the screen.  A 90T screen is ideal for printing onto paper. Arranging your screen on a hinged board helps you to register your prints, whilst holding the mesh the perfect distance from the paper when printing. We're printing onto cards, just in time for Mothers' Day! With the screen on a hinged board, lay something small under one corner (like a pencil) to hold the mesh slightly further away from the board underneath. Use the NeoColor pastels to draw directly onto the open mesh screen. We have used parcel tape on the back of the mesh to mask out an area an appropriate size for printing onto a card. You don't need to fill the whole mesh area if you don't want to.  When the design is finished, apply a well of Acrylic Screen Printing Medium above the design.  Use a squeegee at a 45 degree angle to push the medium through the mesh and on to the paper underneath.  On the first print, some of the pastel may act as a resist, giving you interesting marks and textures.  Some pastel will remain in the mesh, so print again onto another piece of paper to get another print. Each one will give a slightly different strength of colour and texture. If you're using the same medium to take a print each time, it will become muddy with the colours from the pastels, giving a coloured background - you can either embrace this, or replace the medium on the screen regularly. When you're finished with the design, wash it off with a soft sponge and cold water. Wait for the mesh to dry, and then go again with a new design! For this project you will need: Neocolor Pastels 90T screen Hinged Board and Hinge Clamps Squeegee System 3 Acrylic Printing Medium Spatula Paper to print on - we used cards  Soft Sponge to clean

I'm Tina Hagger, otherwise known as haggytea, a Printmaker based in Faversham, Kent, England. I have been making linocut prints for about ten years now, and have begun making Tetra Pak prints in the past two years. I make my own work to sell and I also deliver workshops.  I'm very much in love with all things print. Describe your printmaking process. My printmaking process is very DIY and very handmade, and has limitations which I both accept and embrace. For my linoprints, I use the multi-block method, and have lately been using a handmade registration jig utilising a transparent right angle sewing ruler and masking tape. I used to print wet-on-wet, but a year or so ago I decided to try letting each layer dry before printing the next layer, which I found to produce cleaner prints, and much less stressful print days! My prints are usually printed with up to a maximum of five blocks. I have a full-time job so this often means there is a week between printing each block so it can take quite a while to get a print finished, but more and more I am appreciating this slow way of making. I print my linoprints using my lovely old Victorian book press which limits my prints to A4 size. Occasionally I print larger than A4 and on those occasions I have walked around on the back of the paper on top of the lino using my sock adorned feet as the press! For my Tetra Pak prints I print using an Xcut Xpress with the Handprinted conversion kit, and have so far only printed using a single colour (blue-black) but have plans to start incorporating a little colour in these too. How and where did you learn to print? I learnt to linoprint at a one-day workshop with Nick Morley in Margate, followed by a two-day colour workshop a few years later. Unlike many people, I had never linocut at school, and so had no previous experience, but instantly fell in love with the method and process, and it quickly became my ‘thing’,  taking over most of my thoughts and much of my life. I find it incredibly addictive. I taught myself to Tetra Pak Print about two years ago from observing printmakers on the internet and intuition. Why printmaking? My passion for linoprinting and Tetra Pak printing is largely based upon the thrill of the DIY nature of these kinds of printmaking. The fact that an idea can pop into my head and I can set it down in a drawing, and then carve a linocut or engrave a Tetra Pak, and then print multiples of that design, is truly thrilling to me. The process relies on me and my hand-controlled presses, and that’s it, nobody and nothing else. The idea that I have seized the means of production really gets me going! I also love the DIY look of linoprints and Tetra Pak prints: the marks, the textures, the handmade nature; particularly in contrast to the abundance of digital images we now see everywhere. And then the big one, the absolute magical joy of seeing the first print pulled. When everything (hopefully) comes together, but also the surprise element there is in seeing the finished print for the first time. That moment of wonder is never lost on me, and I sincerely hope it never will be. Where do you work? I work in my home studio which is in the basement of my partner and I's little Victorian house. Our house is on a hill and so the basement is only half underground and has a window which looks out on our tiny front garden and the street. I have packed a lot into this room: a table in the middle of the room with an old glass shower screen on the top which I use to mix and roll out ink, and then around the walls: a cabinet with my book press on, two desks - one for drawing and one for admin, a chest for paper storage and a set of large drawers for packaging, and a bookcase for art books and to store my prints! I have also stapled inspiring postcards and prints all over the walls. I love being there, and can get quite grumpy if things keep me from it. Describe a typical day in your studio. A typical day in my studio is unlikely to be a full day unless it is a weekend day. Generally, I draw, linocut or engrave Tetra Paks in the evenings after work. I find all of these activities immensely absorbing and relaxing, really getting into a flow state. I usually reserve printing (which I find a little bit more stressful) for a weekend day when I can feel like I have a good amount of time set aside to print, and problem solve, as necessary. How long have you been printmaking? I pulled my very first linoprint in 2013, but didn't start in earnest until 2016 after I had learnt how to make colour prints using the multi-block method. What inspires/influences you? Many of my prints simply stem from a desire to see if I can realise the image in my head in a print, and my desire to make the things I want to see in the world.  I take a lot of inspiration from nature and places I have visited and loved. Often my prints incorporate both of these elements.  I have also made linoprints of artists who inspire me. My artistic influences are wide and varied. What I most admire in other artists/makers is an ability to move along their own trails, to make art and live on their own terms. As such artists/ makers I really admire are Derek Jarman, Barbara Hepworth, Grayson Perry and Maggi Hambling. They were/are unequivocal about expressing themselves and making art. My admiration for this kind of stance and the state of the world has also recently inspired me to make some more political prints. In a more practical way, there are many linocut artists I really admire and strive to be as good as. A historical influence is definitely the master printmaker and illustrator Edward Bawden. A current linocut artist I admire is Nick Morley. Nick taught me to linocut, and he basically created this monster! I have kept in touch with Nick since he taught me and I now attend a monthly Print Social at his studios in Margate which is run by him and another amazing linoprint artist, Mat Pringle. It is a real boost to be able to meet up with other linoprint geeks and talk about all things print. What is your favourite printmaking product? That has to be Caligo Safewash Relief Inks - I love the fact they can achieve such lovely pigmented colours, but are vegetable oil based and can be cleaned up with just soap and water. What have you made that you are most proud of? I can really appreciate the progression I have made in the years I have been linoprinting. I have kept one of every linoprint I have ever made since I began, stuck into various sketchbooks, and the progress is undeniable. Over the years, the execution has become more and more refined, the cuts more precise, and the prints cleaner. It is satisfying to witness this, and it is testament to the saying ‘Practice makes Printmakers’. I am really proud of this progression. I recently made a linoprint which I feel is a realisation of this. The print is of Coronation Farm, which is a derelict farm just off the track to the Men-an-Tol in Cornwall, and is a location for the film 'Enys Men'. From the moment I pulled the first print of the final layer I felt like it was the best print I've ever made, and I didn't immediately see all the things I could have done better, which was refreshing! Where can we see your work? Where do you sell? I sell my work on Etsy, and in exhibitions, and the occasional fair. I hope to exhibit more and get my work out there more in the future, but this is increasingly challenging for all artists, and having a full time job is also an inevitable limit on this. For the moment, the best place to see and buy my work is Etsy. What are your aims for the future? I guess my aims for the future are just more, more, more. More of everything print related. One goal I have set myself for 2025 is to try to convey in my prints, the wonder at and delight in nature I feel. I also want to take even more time on every print, not to rush, to gently love every part of the process and for every stroke of my pencil, cut of my gouge and roll of my ink to show my love of the subject and the practice. Do you have any advice for other printmakers and creatives? Take your time, make things you want to see in the world, and just keep going.  To see more from Julia follow her on Instagram

I’m Fei, a printmaker and designer working in Beijing. I make cards, prints, and run workshops in the city.  I have a day job as a brand designer, and I use my spare time to grow my printmaking practice.  Describe your printmaking process. I start with simple sketches in my head or on my sketchbook, if an idea keeps coming back, I will realize it by creating it into a design. I then transfer the best design onto a piece of lino block, and start carving. Usually the majority of the heavy-lifting is done at sketching stage, so I let myself enjoy the comfort of carving, often with a podcast and a pot of tea next to me. How and where did you learn to print? I studied printmaking and illustration at university. It felt natural to me, using a gouge, pushingmy way through the material. Why printmaking? It felt like the sweet intersection of control and spontaneity. Printmaking loves to create unexpected shapes, textures, and surprising results, it's a lot like watercolours, you need to havefun with it, if you control it too much it will lose life, if you accept the flow of the medium, itrewards you with abundant amazingness. I never get tired of seeing what the result/processoffers me, no matter how much I plan every step, there is always surprise.  Where do you work? I work in Beijing, China. Describe a typical day in your studio. I divide my process into carving days and printing days. In printing days I would first cut paper, Iuse rolls of luscious Japanese hand-made printmaking paper 90cm by 70cm, I make editions of8-10 prints, size 50x50cm, so I spend almost a day just cutting paper. Then I would pull out thebig roller, hand print and burnish every edition. I stop after all the paper is finished or there's no wall space left in my small loft studio. How long have you been printmaking? 8 years or so of constant effort. What inspires you? I'm inspired by textures, odd shapes, organic, rough-on-the-edges things and un-finished things.Such as odd looking gourds, uneven pottery, etc. What is your favourite printmaking product? I recently created a piece about my neighborhood, I live in a metropolitan of 22M people, it'shome to countless ancient archetectures with rich history. One of the historic sites is Drum &Bell towers around where I live. They are more than 750 years old, that's how people used to telltime by listening to the drum and bells ring. This piece is my favourite because I did the leastamount of planning, I just painted with an ink brush onto the lino, then started carving. It felt like something unique to me. It shows how my mind thinks, filled with visual details, nature and man-made objects blending into each other, losing their boundaries. What have you made that you are most proud of? This relates to my printmaking practice, but not a printmaking product. Sometime ago I spent afew days in south west of China, learing yet another of my favourite techniques, batik dye. It wasa 7-day course condensed into 3 due to lack of time. I spent the first 2 days learning how toindigo dye using threads, then the 3rd day the teacher introduced me to batik. I felt something erupting out of my chest due to excitement. I love drawing, so I lost all concept of time and sense of self, batiking from morning to late night. Where can we see your work? Where do you sell? My instagram is @feifeiart, I sell mostly in China, but if you see something you like on my page, my DM is open. What will we be seeing from you next? Probably more batik :P, and larger scale prints. Do you have any advice for other printmakers and creatives? Art is a devotional act. Your purpose is to produce the best work you can and leave others to judge. Feel stuck? Look within, you have the answer, you are just looking at the wrong place. To see more from Fei follow her on Instagram