The case against conversational interfaces

“Will it work?” Along the way, we’ve been pushed to load our decisions with a need for certainty. It’s easier, it seems, to not try than it is to fail. But the question, “is it worth trying?” unlocks possibility. A surgeon in the middle of an operation should probably not experiment with an untested technique. […]

I’m an illustrator and printmaker based in Portsmouth, Hampshire. I’m inspired by nostalgic storybooks and I love to create whimsical hand-printed illustrations. I used to work part-time at Handprinted, but in November 2024 I decided to give being a full-time artist a try! It’s only been a few months so far, but I’m really enjoying giving 100% of my time to my art practice.   In my studio with my Adana 8x5 printing press Describe your printmaking process. I mostly work with linocut, and currently I’m favouring combining multiblock with reduction. I start out with a drawing, which I will draft a few times before putting the final sketch onto the block. I cut my blocks quite slowly with a lot of control, but I leave a lot of things to chance. Rather than having a full idea of the marks I’ll make, I’ll work textures out on the block. This way, I find my final prints are always very different from my sketches, and there’s a depth in there that I can’t achieve with just pencil or pen. Sketching process for ‘Take Flight with Me’ How and where did you learn to print? I studied illustration at the University of Portsmouth, where I had an induction to learn printmaking techniques. I dabbled in linocut and screen-printing during my degree - but I’m ashamed to say I didn’t make good use of the facilities back then! I think I maybe made three linocuts in my time there?  I graduated in 2011 and I picked up linocut again in 2014. Since then, I’ve been on various courses to develop my linocut skills. I’ve also taken courses in wood engraving, etching, screenprinting and collagraph. After trying other methods, I always came back to linocut with a different set of eyes, ready to push the medium even more. A comparison on how my skills have improved over the years  Why printmaking? Printmaking is a tried and tested medium for storytelling. As an illustrator obsessed with nostalgic imagery found in storybooks and fairy tales, it makes perfect sense for me to use printmaking for my illustrations. I also find linocut very therapeutic and meditative. I can get lost in the process and I think it’s my way of being mindful and finding some inner peace. Although I find the printing part stressful at times! ‘The Song of Seven Thousand’ Linocut - based on the Brothers Grimm fairytale ‘Jorinde and Joringel’  Where do you work? For the last 1.8 years, I’ve been working from a beautiful studio space at Hotwalls Studios in Portsmouth. It’s a stone's throw away from the beach, and it’s nestled in the old part of Portsmouth where you can still see lots of historical buildings.  The Hotwalls site was built in 1680 and was part of the city’s military defence against sea invaders. The archways below the Hotwalls ramparts used to house soldiers, but in 2016 the site was redeveloped into artists studios. Now each archway is occupied by an artist! The studio is public facing and open to visitors. It provides me a great space to work from, but also to meet people and be able to demonstrate my process. It’s great that I’m able to show how my work is made to curious onlookers. But also, having a flow of people can be challenging at times, so I’ve adapted my way of working and I save certain tasks for when it’s quieter.  Inside the studio, I have all my equipment, tools and presses (an Adana 8x5 and an Ironbridge Etching Press). I also have a selection of my work for sale and on display. It’s also where I host linocut workshops as well as a social Print Club. If I need to do any screen printing, I often book Handprinted’s studio for open access. It’s great that I can access all the facilities there, as I’m not able to set myself up for screen printing at my own studio. Inside my studio at Hotwalls in Portsmouth, all set up for hosting a workshop Outside my studio at Hotwalls in Portsmouth - formerly living quarters for soldiers Describe a typical day in your studio. During the week, I have slow mornings at home; taking my time to prioritise my tasks and do some admin. By 11am, I’m at the studio and ready to do some carving or printing. I try to put in a good few hours of practical work, before heading home around 5 or 6. My evenings are spent on the sofa either sketching, doing a few admin tasks or editing videos. Saturday mornings are usually spent teaching linocut workshops in my studio, and Saturday evenings I host Print Club. It’s a social evening, providing the opportunity for printmakers to meet, socialise and chat, get a bit of work done and ask technical questions for their printmaking problems. During the week, I also spend a day or two working from home; usually on marketing and stocking. I find these tasks are best done at home without the interruptions I get in my studio. My marketing day is spent making content for social media, my website and newsletters. A stocking day will see me prepping work for galleries, stockists and events - so lots of framing!  Working in the studio  How long have you been printmaking? After I graduated in 2011, I got a job working in graphic design and marketing. By 2014 I was starting to get tired of using computers all the time, and I wanted to do something creative with my hands. I thought back to my university days and linocut stood out to me as something I enjoyed and could easily do at home. I decided to invest in some linocut tools - and the rest is history? In the beginning I mostly printed for fun, but in 2021 I started to take it more seriously and decided to launch my business. Alphabet Linocut - Letter ‘I’  What inspires you? I source my ideas from fairy tales, delving into their obscure and sometimes darker origins. These books are often full of beautiful illustrations, which are usually created using printmaking techniques such as etchings or woodcuts. I find the Golden Age of Illustration very inspiring - a period of illustration dating between 1850 and 1925 which was heavily influenced by Art Nouveau, Pre-Raphaelite, and the Arts & Crafts movements - all of which I adore too. I also take a lot of inspiration from mediaeval artworks and architecture. ‘Joy Bringer’ Linocut - based on the nursery rhyme ‘Sing a Song of Sixpence’ What is your favourite printmaking product? I love my Karol Pomykala Dot Tool! I’m often asked how I make the tonal marks in my work, and it’s all down to this tool. It’s hard work when you have a large area to do, but I can’t achieve this tonal effect with my other blades and tools.  Lately I’m really enjoying using a hangito to take out hairline slices of lino. The Gokubosomaru and the Very Fine V Tool are also big favourites of mine. I work very detailed, and these tools enable me to make the slightest of marks. I’m also a big fan of Hawthorn Stay Open inks - I love how these don’t skin and still seem fresh two years later! ‘Take Flight With Me’ Linocut in progress, featuring the Gokubosomaru tool  What have you made that you are most proud of? It’s hard to choose a single piece, I always think my latest piece is what I’m most proud of! Every time I finish something, I feel like I’ve levelled up in some small way, and I carry that forward into the next linocut. My latest linocut ‘Call to Adventure’ really challenged me. It is 10-layer multiblock reduction; one key block, one block using caustic soda, and a third block for reduction. I pushed myself to finish it within two weeks - there was one day when I printed three layers in a row! It’s always risky using multiple blocks, the fear of mis-registration makes me hold my breath every time I pull a new layer from the press. I started out with 30, expecting to lose a few along the way - but the print gods worked in my favour and I was able to print all 30 successfully!  I guess the hard work paid off, when I entered ‘Call to Adventure’ into the St Barbe Open Call 2025. Not only was it selected, but it also achieved ‘Highly Commended’! The St Barbe Open Call show in Lymington is running until the 26th April. ‘Call to Adventure’ Linocut  Where can we see your work? Where do you sell? You can come visit me at Hotwalls Studios in Portsmouth. I’m open to the public, usually Tuesday through to Saturday. The best time to come is the first Sunday of the month, when we have our ‘Open Studios’ and every artist archway is open.  I also sell on my website, or you can find me on Instagram and Facebook. I regularly attend events and exhibitions around the UK. Look for updates on my social media, or you can sign up to my newsletter to be notified when I’m out and about. My next few events include the Hotwalls Spring Market, Printworks Festival at Farnham Maltings, Winchester Print Fair, and Craft in Focus at Hever Castle. My work is also with a few stockists around the UK, including Forest & Cove in Romsey, Llantarnam Grange in Cwmbran, New Brewery Arts in Cirencester and The Craft Centre and Design Gallery in Leeds. My most recent set up at the Great Northern Contemporary Craft Fair  What will we be seeing from you next? I’ve got an itch to deep-dive into some fairy tale illustration, and I’m considering a 6-month project with the aim of producing a body of work around the stories collected by the Brothers Grimm.  I’m also currently experimenting with collagraph, and how to combine this printmaking method with linocut.  From the summer, I’m starting to upscale my linocut workshops, and I will be hosting them in a larger venue, next door to my studio. I’m also delivering some workshops externally for other art groups and organisations. ‘Take Flight with Me’ Linocut - based on the Brothers Grimm fairytale ‘The Six Swans’  Do you have any advice for other printmakers and creatives? Show up every day and do something that progresses your creative practice forward. Even if it’s just one task, or only 20 minutes that you can spare. Do it every day, build a habit, and those small steps you take will start to feel like a sprint! Also, if you have access to printmaking facilities, either at your school, university or local area - please use them! It’s the best way to meet other creatives, bounce ideas around, get some feedback and find the support you need as a creative. ‘Star Catcher’ Linocut Block —To see more from Frankie, follow her on Instagram or Facebook - or sign up to her newsletter. Or you can visit her studio in Portsmouth: Studio 4, Hotwalls Studios, Old Portsmouth, PO1 2FS

Where do con men come from? There are three conditions that need to be met: First, there needs to be rising societal pressure to get ahead, cut the line and find a win. Second, there needs to be people willing to set aside their ethical principles to take advantage of others in their community. And […]

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