Hi, my name is Angela Chalmers. I am a visual artist living in North Yorkshire. I work with cameraless photography techniques and the cyanotype process producing 2D and 3D artworks on paper and textiles. Cyanotype dates from the early days of photography and produces beautiful eye-catching images with a distinct rich blue colour.   Describe your printmaking process.  Working with cameraless photography, also known as a photogram is a magical and fun process. I love to push boundaries by being experimental and enjoy exploring materials to create alternate colours. I will pre-visualise an artwork, and then prepare everything I need, especially when planning 3D sculpture or bookmaking. Each piece I make is unique, similar to a monoprint. How and where did you learn to print? I started life as a painter and graduated with a fine art degree from the University of Hull about twenty years ago, so coating paper with a light-sensitive solution feels very much like watercolour painting. At the time, I explored cyanotype for a few projects, but since my course was primarily a painting course, and all my tutors were painters I had to push it aside. I picked it up a few years later, and through continuous practice, I have developed a large body of work. Why printmaking? I adore the tactile qualities of paper. Even when I was a painter I worked on handmade cotton rag papers. I like the immediacy of the cyanotype process and can achieve so much in a short space of time. You could say I’m obsessed. Where do you work?  My studio darkroom is located inside a beautiful old listed building, which is full of other inspiring creatives. I have been working from there for ten years and will probably never leave. Describe a typical day in your studio. On a normal day, I start with a walk to the studio collecting leaves and flowers that I will work with, and then mix the light-sensitive chemicals and hand-coat my paper. After the paper has dried, I will compose nature on top of the paper, and expose it outside in the sun, or under ultraviolet lamps. The development of the print uses only water, which removes the residue of chemicals leaving behind a beautiful blue and white print. What inspires you? My biggest inspiration comes from pioneering artist Anna Atkins, who employed cyanotype to create the first-ever photographic book of botanical specimens, in 1843. I have a deep fascination with 19th-century history, particularly stories about women and the art of the Pre-Raphaelites. What is your favourite printmaking product? I sometimes use foam brushes to coat paper, but my favourite brush is a Japanese Hake brush. They touch the paper gently with soft fluffy bristles made from goat hair stitched and glued into the head. This brush soaks up the solution well, perfectly blends, and eliminates streaks on your paper. It cleverly holds the liquid and allows you to coat the support for a more extended period without stopping to re-dip. Brusho powder paints are amazing when adding vibrant colour to wet cyanotypes! What have you made that you are most proud of? I am the artist in residence at a Pre-Raphaelite church close to where I live, and I have been researching the life of benefactor Mary Craven when the church was consecrated in 1863. During my time there I have produced several artworks inspired by the woman. The first called ‘Something About Mary’ celebrates her feminine energy and is a piece I’m most proud of. I’m so happy that it is on permanent exhibition. Where can we see your work? Where do you sell? I have originals and reproduction prints available to buy from www.chalmerscreative.art  What will we be seeing from you next? I am addicted to making cyanotypes and also dedicated to sharing this passion in my workshops. Before my Creative Cyanotype book was published, I was already thinking about writing another. However, the next one will be largely based on my art residency and the forgotten stories of Mary Craven to put her back in the spotlight where she deserves to be. Do you have any advice for other printmakers and creatives? Botanical cyanotypes are a great starting point when learning the process. Masterful prints can materialise from the study and contemplation of the natural world. It is an outstanding visual reference to work from. Always observe your surroundings with a curious eye. I love to immerse myself in a beautiful landscape, such as a wonderfully scented forest or a lakeside walk. On a sunny day, I notice how sunlight casts shadows through leaves and trees on the ground and when I travel, I will photograph the colours and textures of trees and plants and write notes about anything that catches my eye.   Join Angela Chalmers in the Handprinted Studio for a two-day cyanotype printing workshop on Saturday 12th & Sunday 13th July 2025 or Monday 14th & Tuesday 15th July 2025 This engaging workshop will teach you all the essentials, including chemical mixing, hand-coating paper with brushes, correct exposures and the final development. Using ultraviolet lamps, you will create cyanotype photograms from three-dimensional objects, such as flowers, leaves, feathers, or lace. You will learn how to enhance cyanotypes through double exposure techniques and the skilful layering of hand-drawn images and text using acetate. Follow Angela on Instagram or head to her website www.angelachalmers.com  www.chalmerscreative.art

Media theory pioneer Harold Innis saw it 70 years ago: Some cultures and ideas are built to spread across SPACE. And some spread across TIME. It’s the tension between space and time that lead to the rise and fall of societies and cultures, and they’re worth understanding. Clay tablets, household traditions and local governments persist […]

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Accurate registration can be difficult when printing multi-block linocuts. Offset printing will show you exactly where your design will sit on each block, allowing you to cut a set of blocks that will print in perfect alignment.  Begin by preparing a registration board. This will need to be large enough for your lino block plus space above for registration pins. Lay out your piece of lino and stick mount board to at least one corner around it to allow your lino block to be placed in the same spot every time. Use parcel tape to stick a pair of registration pins to the top of the board. We will use mylar to offset the wet ink from one block to another. Mylar is ideal for a few reasons: it's transparent, allowing us to see where the design sits on the blocks and check the ink has transferred fully. it's non-absorbent, so the ink will stay wet for longer it can be cleaned and used again for other projects Cut a piece of mylar large enough to cover the lino block and reach up to the registration pins. Place it on top of your registration board. Clip one registration tab into each pin and stick it to the mylar with masking tape.  First, carve one block of your design. Choose the key layer that gives the main detail or outline of an image: the key block. (Watch this video to see how the key block in this project was carved). Ink up your key block using water-based ink (we're using Magenta Schmincke Ink). Water-based ink will dry quickly on the block so that we can work into it quickly with our carving tools. Place the inked up lino on the registration board, using the mount board corners as a guide. Attach the mylar to the registration pins and gently lower it onto the lino. Using a baren, spoon or your hand, rub on the back of the mylar to transfer the ink.  Lift the mylar and replace the lino with a new piece, making sure to snuggle it up to the mount board corners. Lay the mylar down and burnish again by rubbing on the back to transfer the ink to the block. Repeat this by re-inking and transferring to mylar for as many blocks as are needed for the final print. Leave the print to dry. As we're using water-based inks, this shouldn't take too long. Wipe the wet ink from the key block and mylar.  We can now use the offset print to show up where to carve the second block. For this design, we want a solid block of colour to fill in the jumper, with a few lines carved out for detail.  When all your blocks are carved, prepare your printing paper (we're using Shoji) using the same method as when we prepared the mylar.  Ink up the first block. If you are using a different colour, it's advisable to first clean the offset print from the lino in case of transference. You could use water-based or oil-based ink for this.  Print the first block onto the paper using the registration pins and tabs. Use a baren or spoon to hand burnish the print. You could also print using a press. Print subsequent layers on top. The registration pins and tabs will ensure the paper goes down in the same place each time, meaning you can swap between blocks, pieces of paper and colours without ruining the registration. You may want to print all the layers of the print on one test piece of paper, and then work back into the blocks to refine the carving before printing an entire edition. Ideally, wait for each layer to dry before printing on top (especially if using oil-based inks).  For this project you will need: Piece of board to use for registration  Mount board Ternes Burton Registration Pins and Tabs Masking Tape Parcel Tape Lino x 2 (or more for more layers) Cutting Tools Mylar Water-based relief printing ink (like Schmincke) - for offset printing Relief printing ink for your final print - this could be water-based or oil-based. Baren or spoon Paper to print onto (we're using Shoji)