Author: handprinted

Over the weekend we had the pleasure of hosting a workshop taught by Ian Phillips. Ian creates
stunning linocuts from his home in Mid Wales.

Ian was in for two days teaching Reduction Linocut to a group of eager students! Ian Phillips is back with us in October for another of these incredible
workshops. For more information on his next class with us, click here.

Here is a selection of the beautiful work produced over the weekend:

 

See more of Ian’s own work on his website or find out more about his next workshop here.

 

Hello. My name is Kat Lendacka and I live in Northampton with my husband, two girls and a whippet called Spot.

Describe your process.

It all starts as doodle, usually on loose pieces of paper! I have never been very good with sketch books! Quite often, rather than transferring the image
onto a lino with a carbon paper, I draw straight onto the lino with pencil and then a biro. The process of carving with tools seems to take the images
‘somewhere else’… I trust my carving tools more than my pen!

I started off and still design greeting cards which are all individually hand printed. As a family we often visit the beautiful Coton Manor Gardens in
Northamptonshire, where rare breed of chicken and ducks and flamingos run around freely. Not surprisingly, those feature not only on the cards but
also as an open and limited edition prints. Initially all my work was just one colour, black, occasionally with hand painted part (for example a cockerel’s
red comb). In the last few months, I have moved into using colour and into printing on fabric using different layers of colour. As well as linocutting,
I discovered rubber and its excellent qualities for original stationery and promotional material. Stamp making is turning out to be a helpful tool
to keep every single aspect of my work purely hand printed.

How and where did you learn to print?

I was born and grew up in Litomerice, a rather picturesque small town approximately 40 miles north of Prague in the Czech Republic. My first ever try at
linocutting was when I was about 13 years old with a retired art teacher and an academic painter, to whom I used to go for art lessons with several
other youngsters. I wish I liked the man more! I might have done a lot more linocutting! Next time I had a go was while a first year student of Graphic
Communications (Illustration) degree at Northampton University. This time, I fell in love! Linocut images appeared in many of my student graphic projects
as well as in the final major project.

Why printing?

I love the process.. I love the suspense of what happens when you lift the paper! So often you feel disappointed but still redo the same image three or
four times but still don’t get bored of it! I also feel a lot more confident and adept with my tools than with a pencil or a pen! By the way, the tools
are Czech made and called Serak. The best Christmas present ever.

Where do you work?

At home in my studio! Which is also a dining room and generally the ‘making’ room…. There is a small old conservatory next to it that holds my lovely
roller press. I do spend many hours sitting at the table. So does my whippet girl Spot, sleeping on a beanbag.

Describe a typical day in your studio.

After taking the children to school and Spot for a walk… My day starts with a big cup of coffee and a piece of chocolate. Radio 4 or Scandinavian crime
audiobook must also be on! I usually work on new ideas, cutting or printing till about 2pm. Then it is time for the social media, Facebook and Instagram, checking
orders in my Etsy Shop and my Website etc… Then it is school pick up time and children’s time. Most evenings, I return to the table, revisiting whatever I have been doing on that day…
and write ‘to do’ lists!

How long have you bee printmaking?

Full on, about 2 years.

What inspires you?

Everything! My children, my dog and my dogs doggy friends all playing, the countryside, Coton Manor Gardens, National Trust places, the morning walk, the
architecture, the seaside, Oxford, Pitt Rivers Museum, the giraffes and monkeys in a zoo…. I could go on!

What is your favourite printmaking product?

I like using water-based relief inks. Speedball fabric inks work really well. I love my new durathene roller. And my tools! Although, I would love to try Pheil tools as many printmakers are so smitten by them.

What have you made that you are most proud of?

Not really sure. I move on to new projects and tend to ‘forget’ or ‘get bored’ with the old ones a little. Lately, I was really happy with my 2 block colour
fox. It is a bit different, more realistic. Normally I tend to stylize my animals a little.

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

I have several pieces of work in the Itch Gallery in Oakham, Made Gallery in Uppingham, Boo Gallery in Stowe Ashby and 15 Collingwood in Northampton, but
lately, I concentrate more on my online shop, both from my Website and Etsy Shop.

What will we be seeing from Kat Lendacka next?

I am starting very small print workshop in my home studio. ‘Introduction to Linocut’ and ‘Make your own stamp’ day or evening sessions. You can find more
details on my Website.

Do you have any advice for other printmakers and creatives?

I don’t think there was never such a good time to start linocutting! So much easier to find various materials 🙂 See this [Handprinted] website. Also,
there is a lot of information and community on social media for example Linocut Friends on Facebook.

 

There are two many ways of creating a multi coloured lino print – either the reduction method or a multi block method or if you are brave a mixture of the two.

The benefit of the reduction method is that all the information is on the one block and that you don’t have to keep cutting the same image which makes
registration easier and more exact. The downsides are you work from the colour of the paper (usually white) through to dark in multiple layers. It
is very tricky to print colours from either side of the colour wheel in the same image, the print is also limited as once you have cut parts away they
cannot be put back so if you decide you do not like the first colour you printed it is too late to do anything about it.

The multi block method, although a little more time consuming for cutting, allows you freedom to change your mind about colour and reprint blocks if needed.
It also allows you to print both sides of the colour wheel in the same image. A two layer reduction print will give you three colours – the paper,
first colour and second colour (mixed with the first colour), whilst a two layer multi block will give you four colours – the paper, first colour
on paper, second colour on paper and second colour mixed with first colour (I hope that makes sense!)

Draw round your sheet of lino and sketch out your first block.

 

Photocopy this image and plan the second block. I find it easy to colour in the areas I am going to cut away.

 

Trace each image using carbon paper onto a piece of lino.

 

Cut out the areas that you have coloured in using lino tools.  

 

We are making a simple registration sheet – the image is very simple and if the registration is not exact it will not matter too much. Draw around
your sheet of paper that you wish to print on. (If we wanted exact registration we would use the Ternes Burton pins and tabs.)

 

Place your lino inside this rectangle and draw around the lino. Each time you come to print you will always put your inked up lino and paper in the same
position.

 

You are now ready to print! We are using Cranfield Waterbased Relief Ink, they are made by the same people as Caligo. They are really pigment rich, extremely easy to clean
up, fast drying and unusually for a waterbased ink have an extender so we can alter the transparency which is useful for layering colours.

First layer. Printed with Process Cyan.

 

Second layer printed with a mixture of Process Magenta and Extender for greater transparency. As you can see there are four colours white (paper)
Cyan, Magenta and Purple.   

 

Different colourways of the same print.

 

To make your own multi block lino you will need:

Pencil

Paper

Lino tools

Lino

Carbon Paper

Cranfield Colours Water Based Relief Printing Ink

Kent Paper

Roller

Inking tray or glass slab 

 

 

 

Screen Printing in the Handprinted Studio

Hello, I’m Holly – many of you will know me from the Handprinted Shop and Studio! Between teaching workshops, creating Handprinted projects and working
in the shop I also make my own work which I sell under the name ‘Life the Holly Way’.

Carving lino for ‘Venetian Door’ reduction print

Describe your process

I’ll always start with a drawing or photograph, a few sketches and idea of colours. I won’t necessarily know at this point which method I will use for
each design. If I’m working on a linocut I will either draw directly onto lino or transfer my drawing. I love to use Japanese carving tools to make
my blocks as you can get so much detail –  either Powergrip or pencil handled tools. If I’m starting a screen print I will scan my drawing and print it onto a film, ready to make a screen. Batiks are the only type of work I make with
usually no planning at all.

 

 

‘Venetian Door’ – Five Layer Reduction Linocut

 

 How and where did you learn to print?

 

Coming from a very arty household, I grew up experimenting with various techniques. I would watch my Mum work for months on silk paintings and batiks.
There were always print making materials around that I would use for school projects and handmade cards. Whilst studying Art at A Level I borrowed
an old silk screen from school and took it home where myself and my Mum figured out how to use it. I screen printed fabric and upholstered two chairs
from what I had made. I built up my skills at university, at home and of course at Handprinted!

‘Hydrangea’ – Three Layer Screen Print on Book Page

Why printing?

I like the wide variety of styles that printmaking has to offer: a precise, flat coloured screen print; a textured, dynamic linocut; a delicate, smudgy
drypoint etching. I can work on a drawing or photograph and envisage it in all these forms to try to figure out which method would suit the style of
the image. Perhaps it would work as a repeat pattern rather than a static framed print? As well as printmaking I love to work on batiks, surrendering
to the gestural, splashy wax markings and bright spreading dyes.

Process of Making Batik with Javanese Tjanting

Where do you work?

Working at Handprinted, I am lucky to be able to steal hours in the studio when we are closed. I carve into lino blocks in bed, leaving slivers of lino
in the covers or go home to my parents’ house where I am still somehow allowed to spread out with a sewing machine and take over a whole room (or two)
in hours of need.

Dip dyeing a batik in its final layer of dye to give crackle

Lampshade made with the above batik

Describe a typical day in your studio

If I have a show or exhibition coming up I will come in to the studio early for a few hours before we open the shop. I can usually print a batch of tea
towels or bags in this time, add a layer to a linocut or expose a new screen. At the weekends I might sew up a few cushions, iron fix fabrics or frame
prints. In the evenings I sit at the kitchen table cutting lino, drawing new designs or adding products to my Etsy shop. I usually head to my parents’ house for product photography because there are always so many beautiful surfaces and
props to use!

Exposed screen with ‘Fern’ design

Tea towel printed with ‘Fern’ design

What inspires you?

I take a lot of inspiration from natural forms. I also tend to go on trips and visits and come home manically inspired. I visited Charleston, the home
of the Bloomsbury Group in East Sussex, ten years ago and have been affected ever since. There is something about the way in which artwork creeps out
of the frame onto every surface in the home that helped me to see art and design as an integral part of our domestic environment.

A recent visit to a local talk by the daughter of designers Lucienne and Robin Day inspired my Polyprop Chair repeat pattern.

Lampshade being made with screen printed ‘Polyprop Chair’ design

What is your favourite printmaking product?

I love to use Caligo Safewash Relief Inks. I used them on a reduction linocut taken from my photograph of a door in Venice but have also started
to use them on fabric. They roll out beautifully, create gorgeously intense colours and stay open for hours or days if covered. I also love using
Akua Intaglio Inks for drypoint etching. They print beautifully but, as they are water based, cut the plate cleaning time in half!

Caligo inks rolled out to print onto fabric with lino block

What have you made that you are most proud of?

Recently, I am proud of my Polyprop Chair design. I have worked on repeat patterns in the past but this was a new subject that I feel works particularly
well as a fabric design. It grew from a drawing of the Robin Day stack of polypropylene chairs in my sketchbook and has made its way onto prints, bags,
cushions, tea towels and lampshades!

Cushion made with screen printed ‘Polyprop Chair’ design

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

Lots of my most current work is in my Etsy Shop ‘Life the Holly Way’. I occasionally
exhibit at shows – most recently at Knepp Castle and in the Chichester Art Trail. I also have a website where I show my work, processes and ideas.

‘Nettles’ – Drypoint Etching

What will we be seeing from you next?

I’ve got lots of sketches and ideas for new batiks on cotton to be framed rather than boiled and stitched in to something new. I’m currently expanding
my range of hand printed cards and note books as I love carving the stamps and it’s nice to work on something small and affordable.

Printing cards with Mastercut stamps

My website will also be up and running soon if I get my act together over the next few weekends!

Finished screen printed and block printed cushions

Do you have any advice for printmakers, designers and creatives?

Set yourself a deadline for making work – sign yourself up to an exhibition, competition or show. After leaving the creative rigour of university it’s
easy to get out of the habit of designing and making all the time. I thought I was too busy to make my own work whilst working full time but with a
few adjustments it’s amazing how much extra time you can squeeze in when you have to. There’s nothing like a deadline to force you to find it.

See more of Holly’s work on Etsy, Facebook, Twitter or Instagram or read more about her on www.lifethehollyway.co.uk

Back in March last year we made a reduction linocut from a rather
handsome picture of our very own Handprinted dog, Fletcher (of ‘Fletcher the Screen Printing Dog’ fame).

The reduction lino process lends itself really well to this kind
of image because of the tonal build up in the fur. You start by carving out the white areas and then build the image with darker and darker colours,
carving away the lino in between each layer of print. We were pretty happy with the results!

The kind of tonal build up in layers created in a reduction lino works much in the same was as building up a layered batik. We have been really enjoying
the Batik Workshops in the studio recently and seeing all the wax pots, tjantings and dyes on the tables reminded us how fun it can be! We decided
to test the similarities between reduction lino and batik by using the same image of lovely Fletcher:

He’s a little more shaggy than intended but he looks close enough to the image to be recognisable. We’ve also managed the red tongue that we couldn’t
in a reduction lino. Here’s how this batik was made:

This batik was made on Prima cotton but they
also look brilliant on silk and on paper. We are using Procion MX cold water dyes which are easy to use, inexpensive and create beautiful colours. These dyes can be mixed with
Soda Ash (to fix the dye), Urea (to brighten the colours)
and Calgon (to soften our chalky South Downs water).
When Soda Ash is added to the dye, it begins its shelf life of about 2 hours, after which time the dye will not fix to the fabric effectively.
To avoid this, we like to mix up the dye and the dye fixative solution separately.

A good colour range for mixing a huge range of colours is to use two of each primary colour and black (two tones of yellow, two blue and two red).
The best Procion colours for this are Lemon Yellow, Golden Yellow, Bright Turquoise, Royal Blue, Orange Scarlet, Magenta and Black. Mix 1tsp of
each dye for each 100mls of warm water. This will create a strong dye that can be diluted with dye fix solution.

For the dye fix solution, mix 2tsps Soda Ash, 5tbsp Urea (yes, it is a lot!) and 1/2 tsp Calgon.
There are lots of different recipes available for dye fix solutions but we like this one.

If you’d like some guide lines, use a pencil to trace your image. We’ve drawn on the back of the fabric so that the lines do not show too much, but draw
on the front if you prefer.

Pin your fabric to a wooden frame.
I like to use Silk Pins
as they cause less damage to the fabric than drawing pins. Stretch your fabric tightly and evenly.

Batik uses hot wax as a resist to the dye. The wax is melted in a Tixor Malam Wax Pot. Batik Wax

is a blend of paraffin and beeswax, giving the desired amount of ‘crackle’ to the final image. The wax needs to be hot enough to be melted and flow
through the tools easily but not too hot to cause fumes or become a fire hazard. This pot seems to work best set at 5 1/2 on the dial but needs to
be attended at all times.

Tjantings are used to apply the wax to the fabric through the little spouts at one end. Leave the tjantings in the wax to get hot between each use.
It helps to have a rag or wad of kitchen roll in your other hand to hold around the tjanting as it moves between the pot and the fabric. This will
clean any excess wax from the tjanting and minimise drips and splashes.

The wax is going to resist our first dye colour so we use it to preserve the current colour of the cloth. On this first layer, we are using the tjanting
to fill in any areas that we want to be left white in the final image.

Brushes can also be used to apply the wax and can create much more expressive marks – make sure that the brushes used are natural fibres such as hogs hair
as synthetic fibres will melt in the wax!

Once your first layer is waxed out, you are ready to mix up the first dye colour. We started with a pale yellow.

Use a pipette to select your dye colours – we used a mix of Lemon and Golden Yellow.

Add dye fix solution until your strength of dye is reached. You’ll need at least twice the amount of dye fix to dye. For weaker colours, add more dye fix.
Test your colours on a scrap piece of fabric and keep adding pipettes of colour until you are happy. Once you’ve added this solution, the dye will
only remain active for about 2 hours but they can be stored and used on paper for other projects!

The colour will appear a lot lighter on the fabric than in the pot.

Use a foam brush to cover your batik in dye. The wax will resist the dye.

Here is our reduction linocut at the same stage (looking a little more accurate than the haphazard style of the batik):

If you want to keep your dye from spreading, draw a border around your frame before dyeing.

Wait for the dye to dry. If hot wax is applied to damp dye it will not penetrate the fabric and wont resist the next layer of dye – don’t be tempted to
wax before it is fully dry!

Apply the next layer of wax to the dry surface. With this waxing, you are preserving any areas that you want to be left pale yellow.

The wax dries almost as soon as it touches the fabric so the next layer of dye and fixative mix can be added straight away. Each colour applied should
be darker than the previous colour. Remember that these colours are translucent and will show some of the colour underneath. Blue painted over yellow
will become slightly green toned, red over blue will become purple toned etc. Building up from light to dark will help to achieve the colours you want.
Areas can also be sectioned off with a wax border and painted in with separate colours in a single layer.

To help the dye to dry faster between layers, blot it with kitchen towel and then use a hairdryer on a cool setting. Do not use the hairdryer too warm
or it will melt the wax! If you do have time to leave the dye to dry by itself, it helps the colour to fix to the fabric.

We want our background to stay this mustard yellow so needed to wax out the entire background with a natural bristle brush.

 

We wanted Fletcher to have a red tongue so added some magenta dye mix to his mouth. The dye will spread as far as it can until the next wax line so we
need to paint the whole area of his mouth…

…and then select the areas we want to remain red with wax after the dye has dried. The rest of the red will be covered up with the next dye layer.

A medium brown dye mix fills in all the areas that have not been waxed, giving us a red tongue and a yellow background.

To create fine lines, the wax can be scratched into with a sharp tool. We used an Etching Needle. To do this, remove the fabric from the frame (our pins are stuck in the wax) and place it on the table. Scribe
into the wax on both sides to reveal some of the fabric underneath.

Go over the area with dye so that it can go through the gaps to dye the fabric.

Our final waxing preserves any areas that we would like to stay mid brown.

Paint your final darkest colour over the fabric.

When the batik is dry, it is time to remove the wax. Place the batik on a big wad of newspaper.

Place more newspaper over the top and iron (without water or steam). This will melt the wax into the newspaper. When the sheet is full of greasy wax, replace
it with clean sheet. Repeat until very little wax is coming off onto the paper. It is a good idea to use a separate iron for removing wax as it is
possible for the wax to come off the iron and onto your clothes! An inexpensive iron reserved for batik is a safer bet.

To make your own layered batik you will need:

• Cotton
• A Wooden Frame
• Silk Pins
• Batik Wax
• Procion MX Dyes
• Soda Ash
• Urea
• Calgon
• Measuring Jug and Spoons
• A Wax Pot
• Tjantings and Natural Fibre Brushes
• Foam Brushes and Brushes for Dye
• Newspaper
• Iron (a separate iron reserved for batik is recommended)

 

 

 

 

 

 

 

 

Hello, my name is Anna Vartiainen, working under the name Anna’s Drawing Room.

I live by the south coast in Worthing with my partner and daughters, drawing and designing nature-inspired art prints, cards and home-wares.

Describe your process.

Many of my prints are digital, but when possible, I do love hand-printing. All my pieces start with a simple pen drawing. For linocuts or stamps I’ll trace it to transfer onto a block, or for a repeat pattern I’ll scan drawings into Photoshop, create a pattern tile, print that and carve it.

How and where did you learn to print?

Largely self-taught, I’ve learned a lot by looking up what I need online and in books, buying the materials and quite simply trying them at home. With linocutting this was fine, but screen printing was a bit trickier and I came to you guys at Handprinted for a course with Sarah Hamilton. A few months later, Shirley helped get me started in your workshop to create my first screen prints for sale.

Apart from this I once did a short course in drypoint etching, which was amazing! This would be good to revisit some day. I’m still a printmaking beginner really, but every so often make the time to try again and progress.

Why printing?

Apart from the obvious – being able to create multiple copies of an image – I love the unpredictability, the possibility for block colour, the unlimited scope for learning, and even the stress! There’s an element of magic I think.

Where do you work?

At home (I have what would be the dining room as my workspace) and at a beach hut studio shop that I share with other makers on Worthing seafront.

Describe a typical day in your studio.

At home I only have Friday mornings dedicated to work while my youngest goes to nursery. This short time keeps me pretty organised, so I plan my day and am usually quite strict. I’ll get admin and anything important done first, often getting an hour’s work done before the morning school run!

On these days I like to do something that’s not feasible with the kids around, like taking product photos, doing some drawing or printing, anything that takes time and concentration.

Otherwise home work hours are restricted to toddler nap times, but weekends at the beach hut allow for some more relaxed drawing time, as well as meeting lovely customers and other makers.

How long have you been printmaking? When did you start Anna’s Drawing Room?

I put a couple of linocut prints in my Etsy shop about 4 years ago and started tentatively selling at occasional Brighton craft markets. This was at times good, at times disastrous! I started taking it more seriously at the end of 2014, when I became officially self-employed.

What inspires you?

Inspiration comes from all around in daily life, from the ever-beautiful seascape, to the trees in the park, to the birds in the garden or the pot plants around the house.

What is your favourite printmaking product?

It’s got to be my little wooden handled lino cutter with changeable blades. It’s so compact, comfortable to use and can be safely popped into my handbag to take to the hut. It’s really lovely to sit and concentrate on simply carving some shapes.

What have you made that you are most proud of?

My new seascape screen prints. They came out just as I’d hoped, and have been popular so I’m really happy.

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

On Etsy, from Victoria in Lewes, Studio 45 in Brighton and our studio in Worthing. 

What will we be seeing from Anna’s Drawing Room next?

More landscape-inspired work, more patterns, colour layers and slightly larger scale work I hope!

Do you have any advice for other printmakers and creatives?

I would recommend joining a community, online or otherwise. It keeps you going! And get expert help/advice from the pros for the things you find tricky.

See more of Anna’s work on Instagram, Twitter, Pinterest and Facebook or visit her Etsy Shop.

 

 

Thermofaxes are made using photocopy technology from the 1950s. They create a light weight type of silk screen without any chemicals just infared light
and Riso silk screen fabric. We can make your own design into a Thermofax screen – have a look at this quick film to see how speedy the process is.

 

There is much confusion around the differences between Photographic Silk Screens and Thermofaxes. Thermofaxes are most suited to textural, light weight
lines without large solid areas. They are not as hard wearing as a Silk Screen but much cheaper. We really like them as they can be used very spontaneously
to print a tossed design on fabric. You can use a Thermofax with a variety of mediums including thickened Procion Dyes, Screen Printing Inks or
as we have used here: Handprinted Fabric Paints.

We started by drawing our image onto a piece of standard (80gsm) photocopy paper using a carbon pencil.  

 

We then made our drawing into a Thermofax screen – we can make your design into a Thermofax for you just order online and then email the image over to us and we will do the rest.

We pinned our fabric to a slightly padded table top – we use a blanket with a sheet over – it helps to get a good print. We put a
strip of fabric ink of along the top of the screen.            

 

We printed in a similar way to screen printing except using much less pressure and just one pull – a Thermofax squeegee is much softer.  

 

Because the Thermofax screen is so small (we used the medium size) you can print images quite close together.    

 

When we had printed enough of the Turquoise we washed out the screen in cold running water and then dried it with a soft towel. You must be much more
gentle with a Thermofax when cleaning.

Then we dried the printed areas using a hairdryer so we could carry on printing.

 

We kept layering up the colours using the same motif. You can have more than one image on a Thermofax like we have but you need to be careful
not to print the second image.

 

When the ink was dry we ironed it using a hot, dry iron to fix the paints.  

 

The finished print!

 

You will need:

Thermofax screen

Thermofax squeegee

Fabric paints – we used Yellow, Kiwi, Orange, Dark Turquoise, Pink, Wine Red and Plum.

An iron

Something to print – we used Prima Cotton

 

If you are local to us we are running a introductory class in Thermofax Printing on 24th June 1.30-4.30 – £15 for more details click here.  

Two other prints taken from the same screen.  

 

 

 

 

I’m really a linocut hobbiest, artist and enthusiast. I enjoy spending my spare time carving into a piece of lino as my creative outlet. When I started
I had lots of questions, and I wanted to share my knowledge and experience to help and encourage others. I decided to setup Draw Cut Ink Press, my website, to document my journey and to act as an online resource to encourage others to pick up the tools
and start linocutting and printing.

I started off my career as a freelance illustrator and graphic designer before working with my business partner to setup a digital agency which makes up
my day job. As the agency has grown I found myself further away from the creative coal face and so wanted a past-time that scratched my creative itch.
I love every part of the linocutting and printing art form, from the process of planning and carving the piece to inking up my latest block and peeling
back the paper for the first time to reveal how the lino print turned out.

Describe your process.

I always begin with a pencil and an idea. I have lots and lots of ideas all the time so I keep a notebook on me where I can jot down any new creative sparks
of inspiration and slowly try to work through them all.

I like to draw directly onto a piece of lino, and once I’ve sketched my initial plan out I’ll then begin to add areas of light and dark with a black brush
pen. This really helps get the composition ready and allows me to map it out before I start carving away the negative space.

I use a set of Pfeil carving tools to cut away the lino and add areas of shading. I really enjoy experimenting with the variety of marks you can create by combining different techniques
and U shaped or V shaped tools. I think that this is the part of the process I enjoy the most. I find it really relaxing, it’s almost a type of therapy
and hours can just evaporate!

Once the process of cutting away the lino is complete, I’m pretty much ready to get printing. If I’m doing a multiple colour block then the process is
a little bit more complicated, as you have to map out the areas where you want to add some extra colour and create a registration template (I’ve written an article about that on my blog).

I have a book press at home, but I like to use an etching press most of the time when I’m printing. Using oil based relief printing inks and a Japanese
roller I’ll ink up the lino. Then I’ll crank it through the etching press and hey presto, the job is done and I’m straight back to my notebook to see
what the next print will be from my list.

How and where did you learn lino printing?

I just started doing it really, which means I made loads of mistakes! This was why I wanted to setup Draw Cut Ink Press,
in order to document what I’d learnt and to make it accessible and free to anybody else who is interested. The only training I’ve done was with Nick
Morely (aka LinocutBoy) at Resort Studios in Margate. My wife got me a weekend colour workshop
where I learned loads from Nick, who is a top print artist and really nice bloke.

Do you practice any other forms of printmaking?

I’ve done some screen printing before, and I’d like to try wood block printing one day but at the moment I’m really just focused on lino printing.

Where do you print?

I have a membership for Bainbridge Studios in Elephant and Castle in London. The studio is primarily setup for screen printers, but they’ve also got a
little back room with two etching presses that seem to mostly collect dust. I’m very pleased to dust them down and run my blocks through them, I think
they are fantastic.

Describe a typical day when you are printmaking?

I have two typical types of day really. Drawing and carving at home, or printing in the studio. I’ll usually stick some music on (I’d always recommend
The Rolling Stones) and just bury myself into what ever part of the process I’m at. When I’m carving the lino I tend to work in the evenings or for
a few hours at the weekend. When I’m printing I’ll book a four hour slot on the etching press at the studio and try to work through as quickly as I
can, especially if I’m doing a multi-block print.

How long have you been printmaking?

I’ve been printing for just over a year now, and I’m sure that I’ll be printing for many years to come. I hope!

What inspires you?

Lots of things, I have a really eclectic taste when it comes to things that I find inspiring. The first block print that really inspired me was an Ex-Libris
print a friend bought on a visit to Prague. I loved the graphic quality of it, and I’ve since found loads of these that get my creative juices flowing.
I love popular culture, from great musicians to cult movies as well as the just the world around me, from the city I live in to nature and big landscapes.

I think that if I had to express one thing that ties all my work together it is a sense of narrative and story telling, I like all my prints to look and
feel like a snap shot of an unfolding story.

What is your favourite printmaking product?

That’s a tricky question to answer, but I think my set of Pfeil carving tools are my absolute favourites. I can’t live without them now. When I started lino cutting I had a naff carving
tool with a blunt cutting edge and cheap plastic handle. It was so bad I almost packed it in before I’d had a chance to start, but then I decided to
invest some pennies into my first Pfeil tools and it was a completely different experience, I loved it!

What have you made that you are most proud of?

Another tough question, I think that as a creative person you always look at the flaws in what you’ve done because you’re too close to the pieces you create.
I’ve done a few pieces that I like, but I only start really liking them about two months after they’re printed and have sat under a pile on my desk
for a while.

I think some of my recent work is what I like the most, which have been based on characters from films I grew up with. I loved the old movies that merged
stop motion animation with live action, and so my latest piece of the mythological Greek character Talos that came to life in Jason and the Argonauts
is currently my favourite.

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

Primarily on my website or my Instagram feed at the moment. I have plans to eventually start selling my work via my website and to maybe try and exhibit in a few small galleries in London
if I have the opportunity.

A few people contact me through social media so I’ve made a couple of sales, but for me lino printing is primarily a hobby. The dream is to one day setup
my own studio and surround myself with other artists all day – to create a bit of a lino cutting and printing community where we can support one another
and setup classes, workshops and exhibitions open to people interested in the art form.

What are you working on at the moment?

Right now I’m doing a series around my stop-motion animation childhood hero Ray Harryhausen and the characters that he created. I want to try and get around
ten pieces in the series, so I’ve got a way to go yet!! The latest piece hot off the press is of Talos, a giant bronze statue that comes to life in
Jason and The Argonauts, but as I write this I’m looking for skeleton warrior references (as you do??) from the same movie…

Do you have any advice for other printmakers, designers and creatives?

I’d say just get on with it really, you can start lino-printing at home with relatively few tools and you don’t need loads of space. The most important
thing is to just be open to experimentation and the odd failure along the road. Mistakes are the best way to learn and I’ve certainly learnt the most
by making a few clangers along the way. Art is really 1% inspiration and 99% perspiration, so be prepared to roll your sleeves up and sweat it out.
It’ll definitely be worth it in the end.

The only other advise would be to look at what other people are doing if you don’t know where to start. There are loads of inspiring people doing amazing
work out there, and I’m sure that one of them will be able to inspire you to get printing too… and obviously i’d say to go and have a look at
www.drawcutinkpress.com for lots of helpful articles and tips!

You can see more of Paul Davis’s work on his website, on Twitter or Instagram! 

Indian Blocks come in a wide variety
of designs perfect for printing onto fabric and paper. It can be a bit tricky to achieve an even, bold print on fabric so here’s our method of printing
with these blocks!

Handprinted Fabric Paints are perfect for printing these blocks onto fabric. We’ve scooped out a little of a variety of colours onto an Inking Tray: Mushy Pea, Kiwi, Yellow, Sea Green, Forest, Cloudy Blue and Royal Blue.

Loading up the blocks with a sponge is a good way of getting even coverage on the design. Dipping the block in paint would  result in a blobby, messy
print. We’re using Paint Applicator Sponges.

Place your fabric on top of a Foam Printing Pad.
This gives the right amount of padding underneath the block to ensure that the whole of the design prints evenly on the fabric. You don’t need to press
hard to achieve a good print.

You can blend different colours with the sponge onto the block to print varying shades.

Layer up your design by loading up another block with paint and printing over the top.

These block designs are Starburst and Starburst Circle.

Some Indian Blocks are designed to be repeated, like this Circle Square block.

Printing using the
Applicator Sponges
and Foam Printing Pad
 helps you to achieve an even pattern when printing in repeat.

Again you can blend the colours on the block with the sponge to print changing colours.

Even blocks with flatter printing areas like this Triangle will print evenly on the printing pad.

Iron your prints when they’re dry to make your fabric washable with a lovely soft handle.

To print using this method you will need:

• Indian Blocks
• Foam Printing Pad
• Paint Applicator Sponges
• Inking Tray
• Fabric to print on
• Handprinted Fabric Paint
• Iron

 

 

My name is Lizzie Mabley. I live and work near Stroud in the Cotswolds.I have a passion for pattern which I find in nature and my surroundings, I translate
this love to my lino and screen prints.

Can you describe your process?

All my designs start life in my sketch book. When I am happy with an idea I transfer it to lino and carve it out. Some of my designs stay as art prints,
but some I develop for printing on to textiles for cushions, tea towels napkins etc. If I intend to print a design on fabric I usually transfer it
to a silk screen – I find this much more efficient if I need to print larger quantities, it also gives a more ‘solid’ image than a lino print stamp.

While studying Textile Design and Surface Decoration at university I did a screen printing project and obviously used all the proper kit – exposing units,
drying cupboards and wash out booths. For ages I thought this was out of the question to do at home, but after a bit of research I found I could successfully
expose my screens at home using only the sun. Even on a relatively dull day there is enough U-V to expose an image on a screen coated in light sensitive
emulsion.

To transfer a lino print to a screen I first print my lino block on to acetate using an oil-based block printing ink, this will give the screen print the
look and texture of a lino print.

I then coat a screen with Speedball photo sensitive emulsion and let it dry in a dark cupboard. When it is dry I lay the printed acetate on to the screen, followed by a sheet of glass. This is then put on to
a board covered with a sheet of black paper. I then have to wait for a bright day as I expose the screen to sunlight for approximately 50-60 seconds
depending on the strength of the sun. This is enough to expose my image onto the screen. I then wash out the ‘un-exposed’ areas with a hose to reveal
the image.

How and where did you learn to print?

I did my degree in Textile Design and Surface Decoration at what used to be called Buckinghamshire College in High Wycombe.We worked in a massive textile
studio affectionately known as ‘The Red Shed’ – it was a big red tin building! Screen Printing and mixed media were my thing. I spent my time printing,
sewing, sticking and painting.

Later on I became absorbed in family life and although always making and creating did not call it ‘work’ for a long time.I needed a creative outlet so
decided on lino printing which I could easily do at home and fit in around my children.

Why Printing?

I really love repeat and pattern. I am very observant, as any visual artist is and look for pattern everywhere.It is amazing where you can find beauty,
just keep your eyes open. Print is the perfect medium for me, each print is the same – but not quite – as the last. I love printed pattern in home
furnishings so I am aiming to take my own work in that direction.

Where do you work?

I am lucky enough to rent a tiny studio at Victoria Works Studios in Chalford which is nestled in the Golden Valley near Stroud. It is an inspiring environment
in a beautiful place. This is only a recent development however, I moved there last September from the little Blue Shed in my garden at home – hence
the name of my business ‘My Blue Shed’! My new studio is certainly an up-grade on my damp old shed and I love it there, although I do miss the little
slice of the Cotswolds that is my garden. It is great for me to leave the house and go to work every day – it makes me more efficient and I appreciate
home all the more now.

Describe a typical day in your studio

After I have seen my children off to school I head off to the studio and arrive about 8.30am. Each day is different – although they all start with coffee,
then it might be carving a new lino block, working on a new design in my sketch book, screen printing a batch of tea towels or cushion covers and ironing
prints to fix them…

Then I tend to leave about 3, back in time for the children to re-appear.

How long have you been printmaking?

I began lino printing about 10 years ago. When my children were small it was an ideal hobby which fitted in with life. After a few commissions and stalls
at various fairs and markets this has gradually escalated into a little business. I moved on to screen printing about 3 years ago.

What inspires you?

I am strongly influenced by nature and gardens. I love plants and the shapes and colours that nature so cleverly puts together. I used to think I couldn’t
design anything without using flowers! As a mum at home with small children, trips to the allotment were frequent so I suppose I have been immersed
in this environment for so long that it always finds its way in to my work. I also find pattern in man-made objects and I like to photograph objects
like floor tiles, railings, gates and old street lamps while out and about.

What is your favourite printmaking product?

Having re-discovered screen printing I am a big fan of Speedball’s photo screen emulsion kit which works brilliantly with my ‘low-tech’ method.

For printing on fabric I love using Permaset Aqua Screen Printing Ink (it works well for block printing with lino too) when it is heat fixed with an iron it washes and wears really well.

For printing my lino blocks on paper I use Caligo Safe Wash Relief Ink. It is a natural oil based ink and gives a good crisp print even without a printing press. It smells
lovely (evocatively taking me straight back to art college) and as an added bonus it washes off equipment with warm soapy water.

What have you made that you are most proud of?

I was so proud of myself when I found I could successfully expose my printing screens at home in a ‘low-tech’ way with a very limited budget and very little
space, it really was an exciting moment! I am very proud of the prints I have achieved using this process like my Dodo, Paisley, Bee and Mackerel to
name a few. I love the fact that my screen prints almost always begin life as a lino print, where all this began!

Where can we see your work?

Being a self-confessed technophobe my website, which has always been on my ‘to-do’ list is still under construction – soon to be rectified! But I do have
an online shop on Folksy and I’m getting pretty good at social media – Twitter, Facebook and Instagram.

I usually post new work and work in progress straight away on these platforms.

Email me on lizzie@myblueshed.co.uk

I also sell locally in shops in Stroud, Gloucestershire and of course I always welcome visitors to my studio.

I teach Lino printing workshops to beginners which is great fun, even people who think they can’t draw and believe themselves not to be artistic go away
with something lovely that they have created. It is immensely satisfying to pass on my craft to others.

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

I am loving printing my designs on fabric, so I will definitely be heading in that direction and developing my range of cushions, tea towels and aprons.
I am also planning to make lampshades using my fabrics.It is my ambition to eventually get a bigger space and be able to print with larger screens
and longer lengths of fabric. I would love to design gift wrap and who knows maybe one day, wallpapers!

What advice would you give to other creatives and printmakers?

Have faith in what you are doing. Engage with other creatives on social media, it will boost your confidence and reassure you that you are going in the
right direction. Until I looked on facebook and twitter for other lino printers I thought I was alone in my obsession, but I was so wrong! There are
loads of us out there producing beautiful and inspiring work.

Above all, do what you love doing and don’t give up!

You can see more of Lizzie’s work in her Folksy shop or get in touch by email at lizzie@myblueshed.co.uk.

Photography by Britt Willoughby-Dyer and Lizzie Mabley.