I am both a ceramist and printmaker and my prints reflect the development of a visual language that has been synthesised from my past ceramic work. My early years spent in Devon exploring the sinister and brooding Dartmoor and later the Welsh landscape around the Black Mountains encouraged a love of nature and observation of all things wild and strange. Now living in Hampshire, the landscape is providing new challenges and responses. The prints are an atmospheric response to daily walks through the landscape and lay down a catalyst for the next series of works.
I use a variety of materials and processes in each project, the subject matter determining the specific selection, whether it is Collagraph, Drypoint or Screen printing and Lino Cuts. My editions are small and variable due to the process which means each print is unique.
Print techniques explained
A Collagraph Print
A variety of textured materials including Carborundum grit can be stuck onto a mount board to create a low relief plate. This plate can then be inked up as an intaglio plate and printed using an etching press.
Dampened paper is used and the pressure of the roller forces the paper into the grooves and at the same time picks up any surface ink.
I use this technique in combination with Drypoint or Monoprint and ink the plate up using both intaglio and a relief roll to achieve the range and depth of colour on the final print.
A Drypoint Print
Drypoint is the simplest and most direct of the intaglio processes. The technique consists of scratching or incising into the surface of a metal or plastic plate with a hard pointed “needle” of sharp metal or diamond point. Traditionally the plate was copper, but now acetate, zinc, or Plexiglas is also commonly used.
The Plate is then inked and prepared for printing with dampened paper on an etching press. The pressure of the roller forces the paper into the engraved marks and produces an embossed effect that adds an extra dimension to the print.
Silk Aquatint Collagraph
The technique of Silk Aquatint Collagraph produces rich velvet blacks and a complete tonal range can be achieved using chiffon as a base and experimenting with acrylic mediums and glue to create tones and white. The process can be extended by using filler to produce rich, textural plates. The tonal results of this technique are similar to that of a mezzotint or traditional etched aquatint. I use this intaglio process together with viscosity inking to produce a depth and richness to the print. Therefore, each print is unique.
I print on archival Paper usually Somerset, Fabriano or Magnami Litho and use Archival Inks. Each print is unique and therefore there are variations in each edition. The print can be posted flat packed in cardboard, mounted or unmounted.