Hello, I’m Lorna, a self-taught artist working with printmaking and collage based in Devon, Southwest England. Themes of movement, how we inhabit and speak into public and domestic spaces are threads which regularly run through my work. My wider practice uses creativity as a catalyst for conversations about the nuances of the Black British experience, visibility and expressions of joy. When I’m not printing, I’m a co-curator with 'talking on corners', a SW based experimental visual art curating / producing practice underpinned by critical thinking.  Describe your printmaking process. My process often emanates from snippets of ideas I regularly have swimming around my mind. These can be quotes, photos, words, a random postcard, all of which I capture in one of my many notebooks I carry with me, as sparks for future printmaking projects. I’m a thinker so my printmaking process is often a slow one; where my ideas sit and germinate until they’re ready to be worked with. I like to spend time researching themes, topics or even words I want to work with as part of my process, as it helps me form a richer context from which to begin creating. I play around with ideas in my sketch book - to formulate what I’m trying to say. I often use collage techniques, cutting, pasting, tearing, to help me bring together different possibilities for a new print. I do use digital design software, but it’s not my forte or preferred way of working; I’m much more at home with the analogue process of scissors, masking tape and pens. I like to repurpose ‘failed’ prints in my collage work, to create new artwork and perspectives on something I previously had rejected. How and where did you learn to print?  I mostly learned to print through attending a number of short courses over the years but predominantly through teaching myself at home, with a lot of trial and error and YouTube videos.  I’ve experimented with a number of printmaking techniques e.g. lino, cyanotype, drypoint etc, but a few years ago I decided I wanted to focus on screenprint so I enrolled on the Year in Screenprinting course at Spike Island, Bristol. It gave me the chance to experiment and really helped to develop both my printmaking skills and confidence as an artist. Why printmaking? I don’t remember why I was first drawn to printmaking, I think I was simply searching for something new and creative to do. I love the versatility of it, how it includes disciplines within a discipline i.e. Intaglio, relief and silk screen all sit under the banner of printmaking, but all produce very differing results.  I also love (and sometimes loathe) the uncertainty of printmaking, how you’re never 100% in control of the outcome which, I have a tendency to want to do. However, the unexpected outcomes e.g. of tones or textures, are the elements that excite me the most and spur me on to keep experimenting. Where do you work? I mostly work at home, where my planning and prep is done and I print at Double Elephant Print Workshop in Exeter, where I’m a member. It’s a well-resourced print studio and it’s encouraging to be part of a network which keeps me connected to fellow printmakers who I can learn from, as well as having knowledgeable technicians on hand for when I get stuck. Describe a typical day in your studio A studio day starts with a train to Exeter as I live in Plymouth. It’s an hour away but a lovely train ride along the Southwest coast. As well as admiring the view, I often use the journey time to write down my plan for the day to focus my mind when I get to the studio. If I’m starting a new print I’ll often want to test out the ideas that have been circling in my head to see how/if they translate onto the paper. This could involve exposing screens with textures and images, making up and testing out ink colours and printing these to see their effects. This time is as much about thinking and experimenting with my ideas as it is about actual printing. Being in a well-stocked studio allows me the freedom to change my mind and try something different if my ideas are not working. I try not to be too fixed and work with whatever the process (or print gods) throws up. How long have you been printmaking? I’ve been printmaking for about 7 years, a lot of which I’ve done at home on the kitchen table. I’ve tried a few differing techniques, but I’ve settled on screenprinting for now. I really like the number of different ways you can use this technique e.g painting onto the screen, exposing photographs, making handcut stencils and the differing affects you can get when they’re combined. There is always something new to try.   What inspires you? For me inspiration can be found in many places, but a significant part of my work is rooted in my Caribbean heritage. Through this I explore themes of memory, migration and belonging, using the visual language of printmaking to create connections between the real and imagined past, the present and desired future. I’m often moved by people’s stories, those shared in passing, in conversation, or across generations— they’re all sources of inspiration. I see my artwork as a way of holding space for these narratives, giving form to voices that might otherwise be overlooked, yet also an attempt to explore the tension between what’s visible and what’s felt beneath. What is your favourite printmaking product?  I’m not sure I have a favourite, but I do really like my aluminium handled squeegee with its sharp blade; I love the sound it makes when pulled across the screen. It’s one of the things that for me, really affects the crispness of a screenprint. What have you made that you are most proud of? Currently it’s my print ‘Dual Memories of Home: Ackee’, it’s a 5-layer screenprint centring an Ackee, the national fruit of Jamaica. The print process turned into a labour of love and nearly wasn’t completed as there were so many hurdles and frustrations along the way. It was really a test of my perseverance. The print speaks to the coming together of two worlds for migrants from the Caribbean to Britain in the 1950s and 60s, and how objects in the domestic setting often reflect this duality. The English countryside plate and souvenir ackee hang in dialogue next to each other on a 1970s style wallpaper print, as they were in my family home, referencing cultural history, identity and Black everyday life. I’m glad I stuck with this print as this year it was accepted into two summer open shows, at the Thelma Hulbert Gallery, Honiton and Studio Kind gallery, Barnstaple. Where can we see your work? Where do you sell? At the moment you can see my work on my website or Instagram page. I’m working on setting up a shop page so watch this space. People can message me directly if there is anything they’re interested in buying. What will we be seeing from you next? I’m developing more prints as part of my ‘Dual Memories of Home’ series speaking to the duality of existence of people from the Caribbean in Britain. My aim is to have a solo show of my work, creating space for the quieter voices and stories. Do you have any advice for other printmakers and creatives? I’m not sure I’m qualified to give advice to printmakers as I’ve still so much to learn, but these would be my top tips •    Don’t let not having a studio or all the top equipment prevent you from printing, work with what you have (2020 showed us that this is possible), experiment, play and see what happens.  •    Keep going, even when it feels like a disaster and you hate what you’ve created. Keep on keeping on.  •    Find other printmakers in real life or online and ask for help To see more from Lorna, follow her on Instagram!

The satisfyingly fuzzy printed lines of a monotype are usually reserved for prints on paper. However, using the method below you can create prints onto fabric with the same texture and line quality, making fast and spontaneous fabric designs to sew up into bags, quilts, or whatever you fancy.  Fabric Screen Printing Ink is ideal for this technique - it has a soft handle, can be heat set on fabric with an iron, and will stay wet long enough to take a print. Begin by rolling ink onto a plastic or glass sheet. Use a Textile Roller - a standard roller will slip in the ink. Drypoint plastic makes a great monotype plate.  Gently lay your fabric on top - don't press it down! It's important the fabric gets minimal contact with the ink.  Place a piece of paper on top and draw your design. You can also trace an image if you would prefer not to draw freehand. Don't touch the fabric - hold the paper at the edge if you need to. Use the pencil quite upright and press fairly firmly for best results.  Peel off the fabric to reveal the print. When your prints are dry, iron them on the hottest setting that the fabric will allow until the fabric feels too hot to comfortably touch. This will set the ink and make the fabric washable.  Watch the whole process below: You will need: Plastic or glass plate - drypoint plastic or an inking plate work well Textile Roller Screen Printing Ink for Fabric like Versatex, Permaset or Speedball Fabric to print onto - poplin is ideal Paper Pencil Iron

I’m Alex Williams, a printmaker and illustrator based in Somerset. I mainly make linocut prints in bright and bold colours - I very rarely use any black ink! I also create illustrations, murals and bespoke window paintings and run printmaking workshops for adults and children. Describe your printmaking process. I generally start with sketches, drawn largely from life but I also love browsing antique and auction catalogues and the V&A website on the look out for interesting patterns and shapes. I use a range of lino techniques, often the ‘jigsaw’ method but also sometimes cutting multiple blocks or reduction so I think about what I want from the finished piece before deciding which process to use. I then transfer the image to the lino very simply with tracing paper often leaving out much of the detail and then just go for it. I like things to look perfect but not too perfect.   How and where did you learn to print? My degree was in fine art and we had an amazing print studio at the School of Art. I dabbled in lots of different printmaking methods from etching and drypoint to screen printing, but I don’t remember exploring much relief printing. I still use some of the Japanese woodcutting tools I got in my first year there about 20 years ago though, so we must have done some! A few years ago, I made some mini linocut prints to give as wedding favours for my sister’s wedding as we thought it would be a good way to make lots of mini artworks and from then on I’ve been hooked. I’ve taught myself a lot and am always learning and trying out different things. Why printmaking? I love the puzzle, the layering, the problem solving and the multi- step processes involved. The “no going back”-ness and the flatness of the colour you can create. I love that I can print an edition and then move onto the next thing. I also love how accessible it is - both for printmakers; requiring little to no specialist equipment - and also for people wanting some original art in their homes. Where do you work? My ‘studio’ is a corner of our spare room on the top floor where I’ve filled various surfaces with piles of paper, books and art supplies. It’s boiling in summer and freezing in the winter. Luckily for linoprinting you don’t need a lot of space. However, when people come to stay they might have to duck under a string of drying prints to get to the bed. My set up is very homemade - a big piece of mdf plonked on top of a chest of drawers is my printing table and a clothes airer donated by a neighbour with some bulldog clips on it serves as a drying rack - but it works for me. Describe a typical day in your studio. I’ve only recently been able to spend much time in my studio regularly as we have two small children. I try and plan beforehand what I want to get out of my available time as it’s sometimes only a couple of hours - be that planning new pieces, carving or spending a big chunk of time printing - that’s the one that’s harder to dip in and out of so I try to make sure I can do that on days when everyone is at school/nursery. How long have you been printmaking? I had been dipping in and out of making in different forms - sometimes making linocuts or screenprints - since I left university nearly twenty years ago.  Whilst working as a teacher and later for the NHS, I always had creative projects on the go but I’ve been consistently printmaking for about the last three years. Working from home after lockdown allowed me more time to explore my practice and begin to make it the main part of my life and last year I was able to go fully freelance which I’m really enjoying. What inspires you? My work is all about colour and pattern and I'm inspired by all sorts of things from the kitchen shelves to museum displays, auction catalogues, vintage fabrics and beautiful flowers. It has a hint of history or nostalgia about it but with colours maximised, and distillation of form and pattern. What is your favourite printmaking product? I really like using the Caligo Safewash inks, although I also use Schmincke water based inks a lot too as they dry so quickly. I love the range of printmaking papers from Handprinted - I get through a lot of the Kent paper. I also have a big Woodzilla-type press that I found in a junk shop for a fiver - they didn’t know what it was - I couldn’t believe my luck! Plus I have a lovely small Pfeil gouge which I wouldn’t be without now, I’d like the whole set! What have you made that you are most proud of? I’m most proud of sustaining my practice and having got to a stage where I’m making work that I like and am able to make a living from it. When I left university I didn’t really have any idea how to do that or the confidence to just go for it. It’s only now with the benefit of age that I care much less what people think and am more prepared to ask about things I’d like to do and create opportunities for myself. I’m also very proud of a really nice reduction print of a patterned vase I did - the registration was so perfect - it takes a trained eye to really appreciate that though! Where can we see your work? Where do you sell? I sell from my website and I stock my prints and cards in several galleries and nice shops championing handmade products. I’m also a regular at my local Independent Market in Taunton as they have a monthly Arts market, it’s always so lovely to meet the people who are buying your work. What will we be seeing from you next? There are so many ideas I’m desperate to get started on, but the next things I want to work on are a series of larger reduction prints of ceramic figurines - I find them so amusing. I’m also building up my workshop programme for the rest of the year as I’ve been enjoying teaching so much. Do you have any advice for other printmakers and creatives?  I think my main piece of advice is not to overthink things, care less about what other people think and just keep making/drawing for yourself. You will find the strands that link everything that you do and find your own unique style that brings you joy. I spent a long time thinking my work wasn’t good enough because it didn’t have an overt political ‘message’ or deep philosophical meaning, but I now realise that making colourful prints in the way that I do, often of things that may seem quite quotidian, appeals to people quite deeply, and brings a lot of joy and that’s just as valid. To see more of Alex, follow her on Instagram! Image credit Becky Tea Photography

Hi, my name is Fiona Rimmer and I'm a printmaker/etcher from Hampshire, UK where I live with my husband, 3 sons and a beautiful dog called Skyla (the humans are beautiful too).  I have a degree in Fine Art from Lancaster University and an MA in Illustration from Falmouth University. The first years of my working life were spent as a secondary school art teacher, which I loved. When I met my husband, he was in the army so, after getting together, we became like nomads moving from posting to posting. My career quickly morphed into that of a freelance artist and teacher. I learned to be flexible and independent. When no teaching work was available, I leaned on my art as an income stream. This seemed tough at the time but in hindsight was the best thing that could have happened. I don't think I would have been confident enough to take that leap otherwise and it's led to so many interesting opportunities. Describe your printmaking process. My main method of working is etching on aluminium. I use copper sulphate as my mordant. It’s described as a non-toxic method of etching although realistically I would describe it as less toxic. The reason I love this method so much is because aluminium is such a soft metal. I can etch tones into it without using aquatint by applying layers of painted ground. I'm really drawn to the painterly quality of the prints. It can be an unpredictable process. Etching into aluminium plates brings out innate, unexpected marks in the metal, but these imperfections add to the quality of the print. How and where did you learn to print? I remember loving the print rooms at university and I used a lot of screen printing for my final degree show, but after that I moved towards oil painting. My interest in print really built-up over time through teaching it in school. Then one weekend, back in 2007, I sent myself on a course with a couple of fantastic artists called Peter Wray and Judy Collins. They introduced me to aluminium etching and I have never looked back. At the time it worked really well with our nomadic lifestyle. I owned a small, portable Gerstaecker etching press which I could take with us wherever we moved to and there was no need for big pieces of equipment like an aquatint cupboard or extraction unit. Wherever we lived I tried to hook up with the local community print studios. I absolutely love these communal printing spaces. They are so sociable. I think the friendships you can make through printmaking are amazing and open access studios are such a hub of talent and interesting artists. I've learned so much from the people that I have met through these spaces. Why printmaking? I think I love printmaking because I'm a process geek. And we can't deny it, so many printmakers are! Who else would sit in the pub and have joyful conversations over the best gsm paper for a chine collé or truly appreciate the wonder of 5% linseed jelly in an oil-based ink on a cold day.  I think etching is a beautiful fusion of sculpture and fine art. There's a magic to it and a trust that you have to develop in the process and your skill. As you build up layers of stop-out varnish on the plate, you are relying on years of experience to understand the tones you've created underneath with every dip in the etching bath. Then there's that moment of joy when you clear the ground from the plate to reveal the image you’ve created on the metal. That's replicated again when you ink and print your plate. Where do you work? Currently I'm working between two spaces. I have my garden studio which houses most of my personal work and my small portable presses. I also have a larger printmaking studio nearby, which I rent and which I run as a teaching space. It's called 61 Print Studio. I run classes and workshops here and I have my large etching press in this space. I also have equipment for screen printing and relief printing, so it's a microcosm of print loveliness and a bit of a playground depending on what project is going on at the time. Describe a typical day in your studio. There's no typical day! I teach print classes and workshops at least four days of the week but they're in split shifts. So, I have morning classes with a break in the middle of the day followed by after-school and evening classes. My personal work happens in the in-between times and on Fridays, which is my clear day. I always start with drawing, I've got so many half-full sketchbooks. I also use photographic reference from my walks and explorations. On the days that I am mulling over ideas I can happily spend time prepping up plates, filing edges and laying down ground. But once I get going on a plate, I like it to be completed in a day or two. I don't like to lose momentum on an image even if it means working late into the evening. How long have you been printmaking?  I remember doing my first linocut print back in secondary school which was a horribly long time ago and not worth thinking about too deeply. I've been printmaking seriously since 2006. My turning point to thinking about it professionally came in 2011. We were living on an Army base near Emsworth in Hampshire. I was printmaking a lot at Omega Printmakers in Portsmouth (which is a fantastic printmaking studio by the way) and I had accumulated a decent body of work. Emsworth is a vibrant village with a pretty active population of artists that have come together to create an annual arts trail. This is well worth visiting if you're ever in the area. I decided to sign up and had an exhibition in Thorny Island church. It was more successful than I could possibly have imagined. The next fortnight was spent driving around the county delivering prints to people. It was the confidence boost I needed to be able to move from hobbyist to professional printmaker. What inspires you? Most of my images are born from my love of natural history. I live in the countryside and I'm inspired by the flora and fauna I see on my dog walks and on my runs. The images I produced are also underpinned by my concern for conservation and the environment. I want to bring species and places to life in print as a form of conservation communication. What is your favourite printmaking product? This is such a difficult question! Printmaking products are so interdependent. If my back were to the wall, I would have to say Hawthorn Stay Open inks specifically Prussian blue. I just love Prussian blue. What have you made that you are most proud of? I was really proud to get my print ‘Into the Woods’ into Woolwich Contemporary Print Fair. It's one of my larger scale prints and I do love it. I also have a fixation on 5- point perspective illustrations on little round plates. I like the way they exaggerate the separation of the viewed and the viewer, giving an insight onto a small, untouchable world. Where can we see your work? Where do you sell? I can be found online on my website, Instagram or Etsy. I do a lot of Print Fairs and Makers Markets, which I will be putting a bit more time into next year. At the time of writing this it’s difficult to say which ones. What will we be seeing from you next? I've got some big changes happening in the autumn this year. Sadly, I have made the difficult decision not to renew the lease on my studio due to crippling rent rates. So, 61 Print Studio will be looking for a new home. I am going to take a couple of months to focus on my own printmaking practise. I am hoping to develop some ideas which have been quietly simmering away for a while now. Keep an eye on the socials for updates. Do you have any advice for other printmakers and creatives? In the words of Sister Corita Kent ‘The only rule is WORK’. ‘If you work it will lead to something’, keep trying, keep showing up, if it doesn't work try again or try a different way. I feel like I learn every day and that's one of the most satisfying things about working in the arts. Also, lean into the community. There are so many great community print studios out there where printmakers can learn from each other and build friendships. This applies to the suppliers too. I love the way that print supplies come from small businesses or family run businesses where we know who we're dealing with and who are always happy to help. Really, the printmaking world is a pretty great place to be. To see more of Fiona, follow her on Instagram or see her website!