Printmaking techniques
Woodcuts
I seem to have a natural affinity with woodcuts that is probably born out of my love of drawing, mark-making and strong design.
The demands of cutting a block require imaginative mark-making solutions to specific spatial problems. Cutting directly into a woodblock requires clarity of vision because a woodblock is unforgiving of mistakes.
I work on large sheets of MDF, and begin with charcoal drawn directly on the block. This stage is the most difficult, and may take days, months or years. I do not even consider cutting until every area of the block is accounted for. This allows me to focus entirely on the cutting, because all the big pictorial decisions have already been made with charcoal. Unclear ideas are cut into sharp visual focus with the medium of woodcut.
Etching
The etched line has a magic all of its own and is impossible to replicate by any other means. It is akin to alchemy when, surrounded by chemicals and other paraphernalia, the skilled etcher can turn a copper plate into visual gold. I learned to etch at the Royal Academy by watching Norman Ackroyd do magic with nitric acid and metal.
I have produced two main series of etchings to date. The Blackcountry folio was made in the etching room of the Royal Academy, and the Shetland folio was made on a beach on the west side of the island.
I seem to have a natural affinity with woodcuts that is probably born out of my love of drawing, mark-making and strong design.
The demands of cutting a block require imaginative mark-making solutions to specific spatial problems. Cutting directly into a woodblock requires clarity of vision because a woodblock is unforgiving of mistakes.
I work on large sheets of MDF, and begin with charcoal drawn directly on the block. This stage is the most difficult, and may take days, months or years. I do not even consider cutting until every area of the block is accounted for. This allows me to focus entirely on the cutting, because all the big pictorial decisions have already been made with charcoal. Unclear ideas are cut into sharp visual focus with the medium of woodcut.
Etching
The etched line has a magic all of its own and is impossible to replicate by any other means. It is akin to alchemy when, surrounded by chemicals and other paraphernalia, the skilled etcher can turn a copper plate into visual gold. I learned to etch at the Royal Academy by watching Norman Ackroyd do magic with nitric acid and metal.
I have produced two main series of etchings to date. The Blackcountry folio was made in the etching room of the Royal Academy, and the Shetland folio was made on a beach on the west side of the island.
