Hello, I’m Polly, and I’m a linocut printmaker based in the Eden Valley in rural Cumbria. Much of my work features a character known as Bun-Head, a feisty woman who has come to hold a special place in the hearts of her many followers.  My prints are simplistic, using contrasting areas of predominantly black and white, with bold lines and angles, and the small figure of Bun-Head. I like to think that my work can be empowering, edgy, sensitive or plain quirky in the depiction of the ups and downs of daily life. Loafing around - the importance of doing fuck-all    Describe your printmaking process. Sometimes the sketch comes first, sometimes the title of the work comes before the sketch.  But I can see the image in my mind.  Often the ideas don’t appear at the most convenient moments.  Quite often my best ideas come in the middle of the night, then I’m up with a scratchy pencil trying to jot things down before I forget them.  Then I sketch.  Not always straight away.  I have numerous sketchbooks with pages that just have a word or two on them.  I flit backwards and forwards through the books gathering things up like a magpie and putting them together. I like it best when an idea works instantly, not too much rubbings out and redrawing.  Some never work at all.  Some I come back to months later.  Some are just me letting off steam and will never move out of that sketchbook and onto the lino.  Once I’m happy with my sketch I trace it in order to transfer it to the block.  Then I carve the block.  Some blocks are really simplistic and quick, but others – especially with lots of lettering take much longer – or a tangled scribble, who knew a scribble could be so tricky to carve?  Once I think I’m done with the lino cutting I often do a rubbing – just so I can get a rough idea of how it might look in print.  The printing, the inking is the really fun part. I mainly use black ink on white paper.  There are some coloured prints, sometimes I apply the colour after the black – with a finger or a mini stamp-block – some I use registration pins and might have a jigsaw of coloured blocks printed first with the black ink block pulling it all together when that’s printed on top of the colour.  I live in an old, cold stone house – it can take weeks for a layered colour print to dry fully in winter. I much prefer being a printmaker in summer when it’s warmer and things dry swiftly and the lino is warmed by the sun and so much easier to cut. But all said, I get so excited seeing the first print reveal, it’s like magic and you never quite know whether it will hit the spot or not. VPL - visible pencil lines - the artist wears a see-through skirt Still waving, not drowning How and where did you learn to print? I was given a second-hand John Bull printing set for my 6th birthday which lived in an old powdered milk tin in the playroom cupboard – this was the beginning of my obsession with printmaking and ink.  I loved those little rubbery letters and spent hours playing and experimenting.  Though, really, I guess I learnt to print properly on my Foundation Art course at Northbrook College in Horsham, West Sussex.  It was an old house converted to a college and there was a tiny weeny print room with just about enough space for 2 people.  I was nearly always one of those 2 people. The bonus was that the vending machine was right outside the print room door so Andrew (the other one-of-two printmakers) and I could always pounce of people who’d gone to buy a sneaky bar of chocolate. Then I went to Manchester when it was still the Polytechnic, though it morphed into Manchester Metropolitan University soon after I started.  It was the only university I’d visited where printmaking wasn’t hidden down 27 long corridors, with half a dusty old press on its own in a room looking all neglected.  And you didn’t have to spend your first year on painting or sculpture, I knew I wanted to print.  So I spent the best part of four years printing and that was me hooked. My lover says my tomatoes taste the best Why printmaking? Oo, that’s a tricky one.  I love drawing – I have endless sketch books full of ideas and mini drawings.  I don’t mind painting, unless it’s oils which are so slow to dry that it’s like a toddler doing a painting and you have to be careful it doesn’t go all brown and look like a giant poo!  But painting is still slow-ish, and I’ve always worked quickly, once I’ve carved that lino block the prints just reel off.  I can’t do 3D and that’s final – even kids’ birthday cakes, I have these amazing ideas and then it all goes hideously wrong and I remember why I’m a printmaker and not a baker, and I can’t even get clay to hit the wheel if I try pottery, let alone the centre of the wheel.  Why printmaking?  I love ALL of it.  I love every single bit of the process.  I love the sketching, the ideas. Transferring them to the block – working out how best to carve – what to leave, what to take away.  And you never know what it’s really going to look like until you pull a proof – and yes, there are occasions where I literally clap my hands and jump up and down with delight because it’s really worked!  It’s come out exactly how I saw it in my mind’s eye.  Why printmaking?  I can make more than one.  I love seeing those editions.  I love the multiples all hanging in rows in the print racks.  And I love the ink!  When I haven’t printed for a while I take the lid off the box my inks live in and I inhale.  I breathe it all in.  It’s amazing.  Words can’t describe how it makes me feel.  It’s the same when I’ve got a ceiling full of racks with prints drying – I walk into my studio and I smell that ink.  I adore the darkness I can get with that black.  Those great blocks of colour.  It’s so intense. And you can say so much just with a line, or that contrast between the black of the ink and the white of the paper.  It makes me buzz.  It literally sends tingles down my spine. sketch- Swallowed by The Overwhelm Flomp - snooze time where do you work? I work from a room at the back of my house.  It was the everything room.  It’s still the spare bedroom at times; guests get to sleep amongst my artwork. It was a bit of a playroom too – I’ve had prints accidentally shot out of drying racks by Nerf guns (but Nerf gun bullets also make really good Pfeil tool cover guards) The guinea pig spends her days with me in the winter when it’s too cold for her to be outside.  Sometimes I share with racks of drying laundry.  But now the kids are older and only one still lives at home full-time, it's really become my studio properly. Describe a typical day in your studio. There’s not really a typical day.  A lot of people romanticise being an artist, but there’s a lot more to it than just pulling prints –  there’s a lot of admin work, accounts, selling fairs, etc. -the duller bits of running a business.  But a ‘favourite’ day would be a creative day.  I tend to gather flocks of sketches and ideas in my sketchbooks and then have sessions of doing a certain part of the process – so I’ll cut a lot of blocks, 5 or so, for a few days, then I’ll spend a week printing.  I print until the drying racks are full.  And when the drying racks are full, I balance on furniture and tie bits of string to things so I can use clothes pegs to hang up even more prints.  I try to work ‘sensible’ working hours and, as a single parent of 3 children, this used to be dictated more by school runs or people needing to be fed.  But it’s very easy to get totally lost in my work, or just think I’ll finish cutting this block, or using up this ink, or pulling the remainder of this edition, that suddenly I’ve missed lunch or it’s far later than I thought, or it’s dark and I should probably be in bed.  Also working from home means you can stray back in to the studio when you’ve really only gone to check the back door was locked – I’ve been caught before, by the middle daughter, cutting lino at midnight after saying I was shattered ‘What exactly do you think you are doing, mother’ – talk about being ticked off by a teenager!  How long have you been printmaking?  I’ve been printmaking on and off since I was 19, or maybe 6.  I’ve been full-time printmaking for about 7 years now. Before that I had various breaks from printmaking, or art in general – some forced. The Story Of Bun-Head  What inspires you? My inspiration comes from life.  The good bits, the dull bits, the really gritty unpleasant bits.  Or things that just pop into my head.  So I never quite know what’s going to happen next.  And sometimes I’m surprised with what I come up with – a friend related my work to ‘taking a walk through Polly’s mind’ – which is what it really is.  But a lot is from me and my emotions.  Viewers don’t need to know my exact reason for making a print, my work can speak to people on an individual level.  My prints show how life has affected my art and, in turn, my art then affects the viewer’s life.  If people come away feeling some sort of emotion then my job is done.  Though there are always some who only see the quirky, comical side of my work.  There are some prints that are just this, like ‘The overwhelming joy of stripy tights’ but others tackle issues like mental health, domestic and sexual abuse, feminism and equality.  Basically they can be light and funny or an expression of the thick, dark and scary soup of life that laps at the feet of so many.  And surviving!  They are about getting through that stuff and coming out the other side. The Overwhelming Joy Of Stripy Tights What is your favourite printmaking product? Caligo safewash inks have revolutionised my printmaking from home.  When I was at university everything was solvent based, or the water-based products really didn’t hit the mark.  Now I can just put my rollers and blocks under the tap at the end of the day. Japanese vinyl is my favourite surface to work with – I can get such a crisp line and so much detail.  When it’s too cold to cut easily I sit on it for a while or, in the depths of winter, I alternate having a hot water bottle on my lap or on the block.  My really favourite printmaking product is my little Albion press.  It used to belong to my ancestors and was discovered in a garage in 2019.  My dad arranged to have it restored for me, but sadly he died of covid in June 2020 before he saw it in use in my studio. Where can we see your work? Where do you sell? I sell on Etsy - that’s my ticking over sales.  I also have galleries that stock my work on a regular basis – a fair few in Cumbria, as well as The Heart Gallery in Hebden Bridge, The Craft Centre at Leeds City Art Gallery.  I’m currently working on expanding this list across the country.  I’ve been invited to exhibit at The Great Print Exhibition at Rheged for the past six years, and for Great Print 9 they had a major feature on Bun-Head, and me!   This year I took part in Printfest in Ulverston for the first time and won The Founders’ Award.  I’ll be at Art in The Pen at Skipton in August 2025, and GNCCF in Manchester in October.  I have work in The Derby Print Open this year, which runs for the month of June. And I’ve just had a print accepted for the RA Summer Exhibition. What will we be seeing from you next?  Your guess is as good as mine!  There will always be Bun-Head, even when her hair is chopped off or in a ponytail.  Maybe a bit more colour?  Though black is still a colour I’m never retiring, that’s for sure! The second I turned off the lights all these thoughts came swishing around my head Do you have any advice for other printmakers and creatives? There is no wrong way.  You don’t need to follow the rules, or the crowd.  Keep experimenting.  Keep doing what you do.  Don’t compare yourself to anyone else, comparison is the thief of joy.  The second you stop experimenting and playing and pushing the boundaries, you lose yourself and your individuality. A fork in the road Whore skin - damn, woman, put that ankle away To see more of Polly, follow her on Instagram, Facebook and her Website!

Sumi Ink is fantastic for making hand-drawn screen films that create exposed screens with texture and loose spontaneous marks. Sumi ink can be painted onto Inkjet Screen Film or True-Grain film to produce a variety of marks.  We experimented by painting Sumi Ink on both types of films. Thin brush strokes on Inkjet Screen Film created loose, painterly, solid lines. Painting onto True-Grain caused the ink to reticulate pleasingly into speckled marks as it dried, almost like a halftone. We exposed all our experiments onto a screen. For more details about exposing your own screen, see the following blog posts and videos: What is an exposed screen? At Home Screen Printing with Bridget or find details of our Custom Exposed Screen service. Below, we can see how the Sumi Ink behaved on True-Grain. The image on the left is the screen film, on the right is the screen print it produced. The pale areas are where the ink was diluted before being painted on the True-Grain. Sumi Ink painted on Inkjet Screen Film can be seen below. The screen film is on the right, the print on the left. We can see that the Sumi Ink does not reticulate in the same way as on the True-Grain, and instead pools in grey tones, creating an interesting effect on the screen and therefore the final screen print. These differences can be seen in the following experiments. Top left square: Sumi Ink on True-Grain Top right: Screen print produced from Sumi on True-Grain Bottom left: Sumi on Inkjet Screen Film Bottom right: Screen print produced from Sumi on Inkjet Screen Film We used these experiments to put a three-colour layered screen print together. First, printing leaves (produced by using Sumi on True-Grain) in green ink.  Next, flowers (produced by using Sumi on Inkjet Screen Film) in lilac Finally, our line drawing in black (produced using Sumi on Inkjet Screen Film).  The marks on this print are a refreshing change to the sometimes rigid designs made using digital screen film prints or pen drawn positives and offer a nice alternative if you're looking to add a little more spontaneity to designs.  To create screen films using this method you will need: Sumi Ink Inkjet Screen Film or True-Grain film Brushes For more details about exposing your own screen, see the following blog posts and videos: What is an exposed screen? At Home Screen Printing with Bridget or find details of our Custom Exposed Screen service.

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