Author: handprinted

This project is a quick and easy way to get stuck into printing. It’s brilliant for children and just as good for grown-ups too! If you’re stuck in a rut
with your printmaking, try this quick project to reignite your imagination and get those creative (vegetable) juices flowing.

Raid the fridge for a selection of vegetables and fruits – the weirder the shape, the better.

Slice the veggies in half to reveal the most interesting profile. We’re working with celery, gem lettuce, radishes, apple, pepper, potato, sweetcorn and
broccoli. After they’re been sliced, lay them face down on a few pieces of kitchen roll to remove some of the moisture.

Handprinted Fabric Paints are the perfect consistency for printing like this onto fabric. They’re washable when heat set with an iron too so we’re using them to print a tea
towel. We selected Lavender, Mushy Pea, Red, Plum and Kiwi.

Use a Paint Applicator Sponge to cover each vegetable with fabric paint.

Press the vegetable into the cloth. Using a padded surface such as a blanket stretched over a board or a Foam Printing Pad underneath your fabric can help achieve a more even print.

Try printing with different vegetables, switching and blending colours as you go to build up rows of prints.

The end of a bunch of celery can be sliced off and printed with.

Sweetcorn can be covered with fabric paint and rolled along the fabric.

Build up your rows of prints until you have a fully covered tea towel! When dry, iron the prints on a hot setting for a few minutes to set the paint and
hang on your oven door with pride.

For this easy printing project you will need:

• Assorted vegetables sliced in half
• Handprinted Fabric Paint
• Paint Applicator Sponges
• Inking Tray
• Padded surface or Foam Printing Pad
• Tea Towel or other fabric to print on
• Iron

Meet printmaker Hannah Madden!

Describe your process. 

I have a love of designing and block-printing repeat patterns by hand. One of my favourite medium is natural cotton fabric which I then use to create bespoke
works such as lampshades. I start with sketching ideas, mainly onto sheets of plain paper. Once I’m happy with my drawing I use the old fashioned way of turning it into a repeat pattern by cutting the design into quarters, sticking the opposing sides together,
filling in the gap/white space on the paper and then simply tracing the design onto the block. I tend to use the soft pink rubber material for a lot of my prints; it’s so soft and easy to carve into and a delight when printing directly onto
fabric. I use colourful water-based inks where I also offer a colour match service to create unique made to order drums; something totally unique.

How and where did you learn to print?

I studied art at college in the South East of England many moons ago, where among other things I dabbled in printmaking. It wasn’t until years later that
I picked up a sheet of lino and made a batch of Christmas cards for family and friends. My husband and I had just relocated to the Welsh/English border
and I found it a relaxing way to take my mind off feeling homesick. I started a blog and bought a couple of books on printmaking by the very inspiring
and talented Lotta Jansdotter. I instantly caught the bug for block-printing and started making floral notelets which I got a great response from and
eventually found enough courage to open an Etsy shop.

Why printing?

It’s such a therapeutic way of working. I totally switch off and immerse myself in it. You don’t need a great amount of space to get going. Even now with
a young family I can work around my children. Often working from the dining table I get to squeeze in a bit of printing while they play and sometimes
get some eager helping hands! If it has to be left, it’s relatively easy to be picked up again later. I enjoy the technique, the repetitiveness and
knowing that the items I make are all completely unique is incredibly rewarding.

Where do you work?

I’m very fortunate to have a garden room which I hope to be working from in the not so distant future. There’s lots of work to be done on it so for now
I use our living space and work from the dining table with boxes in the spare room which house my inks, tools & many a printing block!

Describe a typical day in your studio.

I have a few online shops which I sell through and as my work is largely made to order this gives me chance to plan my week around my two small children.
I tend to work on an order during nap time or preschool days, evenings and if they let me, when they are happy playing around me. One day I might focus
on the printing and then next I might be making the lampshade drums. Fueled by tea. Lots of tea!

How long have you been printmaking?

A little under ten years now. I don’t think I’ll ever tire of block-printing. Printing by hand has grabbed me and being able to adapt my designs into other
areas and not just cards has spurred on other ideas.

What inspires you?

I live in a beautiful part of the country which is very rural and green. My environment, I’m sure has a lot to do with my ideas, where a potential print
can start from, birds and plants often catch my eye when I’m out and about with my family. We often visit National Trust gardens; we have a few favourites
on our doorstep which is great for the kids to explore and enjoy. I always carry my camera where I take oodles of photos. Evenings are when I usually
start brainstorming what I’ve seen that day and get sketching patterns.

What products do you use? What product/tool could you not be without?

I love the soft block but I also love my small ink rollers which I’ve always used
and have never changed.

They are light weight and easy to handle for the size of block I use – perfect for me.

What have you made that you are most proud of?

My first repeat pattern called ‘Sea Holly’. It turned out better than I thought it would and is my best seller. I’ve had lovely customers contact me asking
me to make them lampshades and ceiling drums in their specific colour ways for their homes. I love printing all of my designs and the feeling of knowing
that others enjoy them, especially when they have had specific input is a real buzz for me.

Where can we see your work? Where do you sell?

Folksy, Etsy, Not on The High Street (NOTHS).

What will we be seeing from you next?

More textiles for the home. Many more lampshades!

Do you have any advice for other printmakers and creatives?

If you enjoy what you do, keep doing it. The more you work at it the more ideas come flooding in – get confident with your tools and materials, don’t be
afraid to challenge yourself. Other wonderful things can come from starting a hobby like printmaking.

See more of Hannah’s work on Folksy, Etsy and Not on the High Street or on Instagram, Twitter and Facebook!

 

Collagraphy is a printing process in which a collaged plate is made and printed from.The different surfaces on the plate print varied tones and textures.
Natural materials, papers and mediums can be  added and are usually covered in a layer of shellac or varnish that is left to dry before printing.
Here’s our method for creating a really quick and easy card-cut collagraph that doesn’t require varnishing or waiting for glue to dry! This method
only requires mount board, tape and a scalpel to create different tones.

Draw your design onto a piece of mount board.

Use masking tape and parcel tape to create different tones. Parcel tape creates a wipe-clean surface that provides a white area when printed. Masking tape
creates a duller surface on which the ink can cling.

To create darker shapes, score into the mount board with a scalpel. Use the tip of the scalpel to tease up the corner of the top layer of mount board and
then peel away to reveal the rough textured insides. This will hold lots of ink and print heavily.

Create different tonal areas by peeling the tape away from the mount board in places as well as scoring and peeling away the mount board’s top layer.

Before you begin inking your plate, soak your paper. We used Kent: a 190gsm off-white semi-smooth printmaking paper, but lots of printmaking papers
will be suitable. Dampened paper helps to draw the ink from the plate and create a bold print. Lay the paper in a tray of water for a few minutes
whilst you prepare the plate.

To ink up your plate, use a stiff brush to work ink into the surface. We are using Akua Intaglio Inks which are soy-based, easy to clean up and don’t skin
over. You can work in different colours at this stage too!

Next, use a piece of scrim to work the ink into the plate whilst removing some of the excess. Wad the scrim up and wipe in a twisting motion.

Finally, use a piece of cloth to clean the plate, focusing particularly on any parcel tape that you wish to remain white when printed.

By now your paper will be soaked enough. Remove it from the tray and blot using blotting paper or clean j-cloths. The paper needs to be well blotted and
feel damp to the touch with no visible water on the surface – a little like it has been left out in the garden all night (but don’t do that…)

Place your plate face up on the etching press with your dampened paper on top. Cover with newsprint and finally blankets before putting through the press
on a fairly tight setting. If you don’t have access to a press (and aren’t local enough to come and use ours!), try printing with a baren or metal
spoon, taking care to not move the plate and producing a smudged print.

To make an easy card cut collagraph you will need:

• Mount board
• Scalpel
• Cutting board
• Masking tape
• Parcel tape
• Akua Intaglio Inks
• Tray for soaking paper
• Blotting paper or clean j-cloths
• Paper to print on such as Kent
• Scrim
• Cloth
• Stiff paintbrush

 

 

This week we are thrilled to feature Drusilla Cole – printmaker and author of several books.

Could you tell us a little about yourself?

I consider myself to be a printmaker, I occasionally teach workshops and am author of several books on Surface Pattern (see below).

I love the technique and process of printmaking, especially reduction linocuts, and I also love to experiment with creating woodcuts, collagraphs and etchings.

Colour is very important to me as my artwork demonstrates. My main interest is in art ceramics, quirky flea market finds or unusual architectural constructions.

Describe your process.

I work from my own photographs and drawings and quite often plunge in, cutting and proofing and making decisions as I go along. I love the challenge of
finding solutions to the issues that arise as I work

How and where did you learn to print?

I learnt screen printing when I attended Central School of Art many years ago, and continued with screen printing in my career as Senior Lecturer teaching
on the BA (Hons.) Surface Design course at the University of the Arts, London for over 25 years.

When I took early retirement I decided to learn linocutting and read books and practised and printed until I got the hang of it. I enjoy learning new skills
and regularly take classes in other printmaking techniques too.

 

Why printing?

Flat colour has always appealed to me and I love the challenging combination of technique, colour, instinct and artistry. The end result is often, to my
eye, very pleasing.

Where do you work?

In a large light and airy room in my house in Bishops Castle, overlooking the old market square and rooftops to the hills beyond.

 

Describe a typical day in your studio.

If I have project in mind I might be sitting at my table by the window cutting a lino using my Pfeil tools, whilst listening to the radio. Or I might be
proofing and printing. Sometimes I might have to spend time cutting a mount and framing a picture ready to hang. I draw quite a lot , especially in
the evenings and these inform my work too.

How long have you been printmaking?

I started screen printing when I was 17, but only started linocutting 8 years ago

 

What inspires you?

Often, my artwork demonstrates my fascination with quirky and unusual architectural constructions, especially any containing lettering. Another fascination
is with vintage ceramics, particularly those made in the1960s.

What is your favourite printmaking product?

My Rollaco press which I bought last year on EBay . My Ternes Burton pins are pretty amazing too – they have really helped to resolve registration issues.

 

What have you made that you are most proud of?

I particularly enjoyed creating my ‘Godzilla’ print. I used caustic soda for the sky and later the foreground, and I cut and employed various
paper masks plus I continued to make additional reductions. It was very satisfying

 

Where can we see your work? Where do you sell?

I have a website www.drusillacole.co.uk

I am on Facebook as Drusilla Cole Printmaker.

I am on Instagram.com as Drusilla Cole

I sell through Artfinder.com and Print Solo.com

My work is in various galleries in the UK, notably The Mere Gallery, Windermere and the Ironbridge Fine Arts & Framing Gallery.

Publications

‘1000 Patterns’ London, A & C Black, 2003

‘Patterns – New Surface Design’ London, Laurence King 2007, reprinted in a mini book form 2012

‘Textiles Now’ London, Laurence King, 2008

‘The Pattern Sourcebook – A century of surface design’ London, Laurence King, 2009, reprinted in mini form, 2015

 

What will we be seeing from you next?

I’m currently exploring combining wood engraving with linocuts!

Do you have any advice for other printmakers and creatives?

Keep going. Keep looking at other artist’s work and exploring different methods and techniques.

And join a group online such as Linocut Friends Group on Facebook . The access to large numbers of people worldwide is amazing – they are so often full
of help and advice and share examples of work from all styles and abilities

 

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As September swiftly approaches we at Handprinted are readying the studio for a packed schedule of workshops next term!

Our Fab Friday workshops begin again on the 16th September. These workshops take place
every Friday morning during term time and cover a whole range of printmaking and dyeing techniques including batik, relief printing,
screen printing and natural dyeing.

These workshops are suitable for beginners as well as those with experience and offer a relaxed environment in which to try out a new skill.

We are also opening our studio to a fantastic range of guest tutors this term! Join artist Karin Moorhouse for a two day workshop exploring monotype printing (as seen in the image above). Prints are made by
painting directly onto a plate and printed using an etching press.

Ian Phillips is back for another Reduction Linocut Workshop in October, Amanda Duke is joining us for Gelli Printing and David Peduzzi is back for another fantastic Wood Engraving Workshop!

Polly Papercuts has created a special Papercut Christmas Card Workshop in which you can create a papercut and use it to screen print your own set of cards.

We are very lucky to have Will Dyke teaching relief
printmaking in the studio every Thursday morning starting in September. These casual sessions will enable you to receive as much tuition as you would
like and work on projects at your own pace. Attend as many sessions as you need.

After the amazing success of our batik workshops we are introducing a Four Weeks of Batik course! Over four Tuesday mornings, learn to create beautiful batiks on paper and fabric using hot waxes
and dyes.

Our other new courses include a full day of Block Printing onto Fabric coming up in September, Cyanotype in October
and Screen Printing onto Fabric in November!

To see the whole range of our upcoming workshops or to book a place, visit our Workshops Page!

 

Hello fellow printers – I’m Jonna, a Finnish screenprinter & textile designer based in South London. I love colourful, bright textiles and design that
makes me smile – I am the happiest when I am screen printing at my studio, at work at the Royal College of Art where I run the textile screen printing
facilities or traveling in our little baby blue VW camper van! 

Describe your process.

I always start my project by researching, sketching and doing paper cuttings, often in black and white, which I then transfer on to screen to bring them
to life. I always find my colour palettes by playing around with screen printing, as I love the suprising elements of overlapping and layering.

 

How and where did you learn to print? 

I learned first by myself with a Speedball starter kit,
which inspired me to go and study first BA textiles at Central St Martins and I was lucky enough to have have chance to do Masters degree in Printed
Textiles at Royal College of Art.

 

Why printing?

It was love at first pull, hehe!

Where do you work?

I have a studio at Bainbridge Studios in West Norwood, south London, where I have a 4 metre fabric printing table that I share with my fellow textile print
designer Kangan Arora. I also work as a specialist technical instructor for printed textiles at the Royal College of Art and design for other brands.

 

Describe a typical day in your studio.

I like to start super early, as I am always really happy and the most creative in the mornings. I normally start by screen printing and whilst I am waiting
for layers of ink to dry, I work on other things either on my computer or by hand.

I love our studio, as we have a very good team spirit and some amazing artist, print makers and designers I am lucky in enough to share the space with.

 

How long have you been printmaking?

I got my first screen back in 2005 ( I still have it and it is my lucky screen!) and did the first prints on my bedroom floor.

 

What inspires you?

I am inspired by the Nordic nature, times gone by, colour and all things nostalgic. Nostalgia is a main thriving force behind most of my work.

 

What is your favourite printmaking product?

I am huge fan of the Permaset and
Permatone inks. The quality and durability are just unbeatable.

 

What have you made that you are most proud of?

I was invited to screen print to for Queen Elizabeth II as part of the 2012 Diamond Jubilee in Bromley town centre, that was a very different and amazing
day indeed! I was super nervous, but day turned out to be fantastic despite the rain and us being outside – I screen printed hundreds of bags and t-shirts
in collaboration with Offset Warehouse and Permaset inks, that were given out to the public after the Queen left.

 

Where can we see your work? Where do you sell?

I sell my work online through my website and also through design shops, like Royal Festival
Hall shop and smaller boutiques around UK.

 

What will we be seeing from you next?

My next step will be taking part in London Design Festival in September, I will be exhibiting at Design Junction with my close friends Thorsten van Elten
and Emma Wood Design. My new collection will be out later this year for the Christmas market.

 

Do you have any advice for other printmakers and creatives?

Do something you enjoy and what makes you smile. It is not an easy journey, but you get to meet so many amazing creatives on your journey and have experiences
you will never forget!

Competition time!

Jonna has been very generous and has given us two of her lovely hand screen printed 100% linen tea towels printed with Permaset Inks to give
away to one lucky person (see below). Please click here to enter! The winner will be drawn at random on
the 19th September 2016.

 

 

Learn more about Jonna’s work on her website, Facebook page, Twitter, Instagram and Etsy shop.

 

  

 

 

 

 

Textile Foil is a brilliant way to
bring more vibrancy to your fabrics. It’s available in a wide range of colours and is easy to apply using Foil Adhesive. It’s even washable! In this project, we have applied the Foil Adhesive using a Custom Thermofax Screen. A thermofax is like a small silk screen that can be made with your own designs. They’re great for quick
printing on fabric and work really well with the adhesive. You could also apply the adhesive by screen printing, painting or woodblock printing!

We drew our image for our Thermofax onto the printed template from the website. A full black image like this drawing can be scanned in and sent to us, ready to be made into a Custom Thermofax.

Just like when screen printing, the ink (or in this case, Foil Adhesive) is placed at the top of the screen. A Thermofax Squeegee is then used to drag the adhesive down the screen, through the open areas of the mesh.

The Thermofax can be lifted and moved around the fabric, adding more layers of print.

Textile Foils come in lots of colours
and textures. For this image, we chose Turquoise, Blue, Green, Silver, Iridescent and Confetti. 

Leave the adhesive for about 15 minutes to become touch dry. Cut up the foil and place shiny side up over all the areas of printed adhesive. It doesn’t
matter if there are a few overlaps – the colour at the bottom will stick to the adhesive.

Cover with baking parchment and iron for 20-30 seconds on each area.

Remove the parchment and begin to peel off the excess foil. If no foil is being left behind on the adhesive, recover and iron for a few more seconds.

Remove all the excess foil to reveal your fabric!

To create your own foiled fabric you will need:

• Custom Thermofax (or Indian Woodblocks, a Screen or a paintbrush to apply the adhesive)
• Thermofax Squeegee
• Textile Foil
• Foil Adhesive
• Baking Parchment
• Iron
• Fabric to print on

 

Meet screen printer, textile designer and quilter, Karen Lewis:

Can you describe your process?

My designing usually comes from doodling…my favourite pastime when traveling or watching TV. 3 or 4 times a year I get out all my doodles and see
which ones I would like to trial a full design out of. All my designs are hand drawn so this takes a while to get them drawn out in full A3 size. They
don’t all make it to the screen and even if a design makes it to a screen it doesn’t always make it to full status. An experimental printing takes
place and I get a feel for a design then when I have tested it in several colours. I love this process as you never really know which designs will
make it and it’s often the ones I least likely think.

How and where did you learn to print?

I took a short part time course at my local college and was addicted literally from the word go. The course was 3 hours a week for 6 weeks and it was torture
waiting for the next session!

Where do you work?

I work from home, which on some level I love. I love having the flexibility of time and if I feel like printing at 10 o’clock at night I can, but I do
love the creative vibe that goes on when you are around other artists. The only process I do out of the house is prepare my screens at the studio where
I did my screen printing course. It’s great to interact with others when I head down there.

Describe a typical day in your studio.

I am not sure there is such a thing as a typical day. My work is so varied and there are so many facets to my business that no 2 days are the same. I think
that is one thing I love about what I do. One day I may be printing up for my own fabric club, another day I may be printing up panels for clients
with their artwork. Other days I will be quilting, either for magazines or devising patterns for my new company, The Thread House that I have just started with 2 good friends, Lynne Goldsworthy of Lily’s Quilts and Jo Avery of My Bearpaw. In
and amongst that I could be running printing workshops or a whole host of other things.

How long have you been printmaking?

I first started printing just over 5 years ago now. I can’t believe it has been so long but I also can’t remember life before printing. It feels such a
huge part of who I am.

What inspires you?

Everything! Ever since I started designing and printing I see pattern everywhere. I see it everywhere from shadows on the walls to tiles in the street
to the patterns I see flicking through magazines. Once you are receptive to it, you see pattern everywhere.

What is your favourite printmaking product?

My favourite printmaking product has got to be my tiny 125mm squeegee. It is so cute! Whilst I love see a big print emerge from a single screen, I really do love printing up something
small with a tiny screen and producing it with the ease of the smallest squeegee.

What have you made that you are most proud of?

I think I would have to say my fabric collection with Robert Kaufman. All the designs that are in my first collection are designs that I first designed
and printed up myself. I love the fact that RK found a printer to be able to print them up in a scale. I am very proud to see the little doodles I
started out with turned into full length yardage. I am equally proud of my book Screen printing at Home. I think I am just generally proud that all
the hard work that has gone into my work has been paid off with having it taken seriously.

Where can we see your work? Where do you sell?

My RK line is available in most quilting fabric stores both here in the UK and around the world (that makes me very proud!). My hand printed fabrics can
be bought on my website karenlewistexiles.com. I love printing to order so am always happy when a
customer contacts me directly to do something personal for them.

What will we be seeing from you and your work next?

You will be seeing lots more doodles turned into designs of which will be available for crafters to use in their own work, as well as in my quilts for
magazines. There are several other things going on behind the scenes that I can’t talk about just yet, but rest assured there’s always plenty going
on!

Do you have any advice for other printmakers and creatives?

My main piece of advice would be to not be afraid of getting it wrong. We learn from our mistakes so give anything a go and don’t give up. Also practice,
practice, practice! There are no short cuts to building up skills.

Learn more about Karen Lewis’s work on her website, Instagram and Facebook page or The Thread House.

 

As soon as we received our first batch of printmaking vinyl we were keen to start gouging into it. This vinyl cuts beautifully and smoothly and can achieve very fine detail.

There is a blue side and a green side, both of which can be used for carving. The centre of the vinyl is black – this makes it really easy to see where
you have carved and can help you visualise what your print will look like.

Here’s a project we have made to show you how to use our new vinyl:

A variety of tools can be used on the vinyl. For this print, we used a combination of multi-blade wooden handled tools, Japanese carving tools as well as a fine Pheil tool.

We drew our design on using a biro but you could transfer your image using Tracedown Paper or just freestyle it with the tools!

As you carve you will start to see the black layer underneath. This is very clear and will help you keep track of where you’ve carved. The surface of the
vinyl is very smooth so carving curves is a dream. The edges don’t crumble or snap off but there’s no stretch to distort your lines.

Our finished design is very clear. It’s easy to see any missed parts.

We used Cranfield water-based relief printing inks and rolled out a blue to pink graduation.

We printed onto the smooth side of Ho-Sho paper with a bamboo baren.

Our prints came out beautifully!

To try printing with vinyl yourself, you will need:

• Relief printmaking vinyl
• Pen or Tracedown paper
• Cutting Tools
• Cranfield water-based relief inks
• Glass slab or inking tray
• Roller
• Bamboo baren
• Ho-Sho paper

I am a printmaker. I design and hand print limited edition woodcut and linocut prints. I also teach regularly, and exhibit.

How and where did you learn to print?

My father John Dyke was a children’s book illustrator, and my decision to become an artist was fairly natural. I went to Harrow College to study illustration,
and whilst there I was very fortunate to learn screenprint, lithography, etching, block printing etc. in the college’s extensive print studios.

Why printing?

I’ve always liked the ‘look’ of the various print disciplines, and the processes involved in creating prints appeals to my thoughtful and pragmatic nature.I
find the cutting ‘style’ of wood and linocut particularly attractive and enjoy each step of the process from design, through rendering, and printing.
As a selling artist, the affordability of prints (because of edition printing), shows my work to a wider audience.

Where do you work?

I work from my studio at home in Chichester, I also teach at various venues in the local area, classes and drop-in workshops.

Describe a typical day in your studio.

I usually have several print jobs on the go, at different stages of development; Whether a print is for myself, for exhibition, or commission, I plan the
design extensively before committing to the cutting stage. I will spend several days cutting the block, taking numerous proofs during development.
Depending on how many colour blocks I have in a design, the printing a few days to a week or more, I also love printing different colour blends. I
print my edition in batches, so a print can have a long working life.

I’m also a print tutor, so much of my time is setting up and facilitating workshops and classes. I’m committed to helping participants get the most out
of their time, and I am always on hand for technical support and individual development. I also appreciate the difficulties of working at home, so
I like to show do it yourself methods allowing one to print at home without extensive equipment. Of course the workshop is always there to return to
get the most out of the facilities and the printing vibe .

How long have you been printmaking?

I’ve been making art all my life, but printmaking in earnest since my late teens at art college.

What inspires you?

Books and stories inspire me. I grew up with books, my father illustrated them, and later I worked in bookshops. I create prints with an illustrators eye.
Much of my artwork is inspired by rural life and history, I’ve had a long relationship the Weald & Downland Museum, where I also teach, and you
will still see my stall at many of the annual events.

What is your favourite printmaking product (equipment, inks etc.)?

I would have to say that Caligo’s Safe Wash Printing Inks are essential for printing at home, they can be cleaned up easily without chemicals, but still
give you a glossy finished print.

What have you made that you are most proud of?

I’m always striving to improve, so I’m very often proud of my latest artwork. I’ve recently finished a print of Goodwood Racecourse viewed from the Trundle,
it’s slightly larger and expansive than my usual work, making me rethink my approach.

Where can we see your work? Where do you sell?

You can always see my work at one of my workshops. Myself and my wife organise the annual Printmakers’ Exhibition in the
Oxmarket Centre of Arts, where you can see my work alongside artwork by printmakers to my workshops
and West Dean College. You can also see my work online on my website and Folksy.

What will we be seeing from you and your work next?

I’m really looking forward to my new drop-in workshops at Handprinted,
the facilities are excellent. Creatively, I’m working on more illustrations, I’m also doing some experiments inspired by Japanese design, watch this
space.

Do you have any advice for other printmakers and creatives?

Try not to over think the process, learning comes from doing, so don’t expect the perfect print straight away. For me preparation is everything, I never
skimp on the design aspect.

To see more of Will Dyke’s work, visit his website.