Time to go



I can’t track everyone down. I’ve been interviewing linocutters for a few years now and they’ve all been absolutely lovely and kind to deal with my enquiries amid a hectic life of printing.

But sadly not everyone has the time, preferring instead to work on printing projects than pesky email questionnaires. But I thought, well, just because you don’t get into these printers’ heads, you can still celebrate their work.

The mysterious US printer Rich, who I met on twitter (he’s @BoardingAllRows if you want to connect) was someone I wanted to ask about a specific print – the one above – which seems to me to offer the kind of modernist, font heavy, “is it a print or isn’t it?” type of work I just love and would also love to be able to emulate.

It’s a departures board, which Rich says online was inspired by his ‘favourite’ airport, San Francisco (he likes his travel, does Rich). Look at those lines! Absolute perfection. If I could get even one word to look that tidy, let alone a whole departures board, I could give up printing happy.

Anyway, Rich was sadly unavailable to talk about this particular piece but I wanted to share it with you anyway. It’s a big bugger, measuring 16×20”, and is from an open run.

You can buy it HERE.

Almost makes you want to board a plane, doesn’t it?


Jonathan Blackmore: “I hope to capture the spirit of a place.”



Sometimes you do a little double take when you see someone’s art. That was definitely the case for me when I first saw Jonathan Blackmore’s reduction linocuts. Look at them, they’re like bloomin’ photographs.

But yep, I’ve checked and they’re actually intricate, multiple colour prints. I know, right?

I had to get a better understanding of all this sorcery. Not since the prints of Dave Lefner had I seen anything so convincing, so balanced.

But more than that, the prints had soul too. Maybe it came from the buildings Jonathan’s chosen to depict – great stone churches and cathedral interiors, looming high above the viewer. I don’t know. The guy even leads workshops for print beginners, and is a member of the Somerset Guild of Craftsmen to boot. I needed to get to the bottom of things…


Hello Jonathan. When did you first start linocutting?

I managed to miss doing linocut at school. Everyone I meet seems to remember having made a print, but I took it up much later and I’ve been a printmaker full-time for two and a half years.
I studied for a degree in Fine Art at Wolverhampton Polytechnic from 1979 to 1982. I did some printmaking there, but spent most of my time painting landscapes in acrylic and making sculptures and pictures from photographs cut into shapes and sewn together.
After graduating I had a long – much too long – career in computers that stopped me from doing enough art, until I was made redundant at the age of 55. I then decided to take up art and printmaking again full time.

Who are your printing influences?

There are some very talented artists around and I follow a lot of people on Twitter and Facebook to see their work progressing. But I grew up in Hong Kong and I’m very attracted to traditional oriental art, particularly Japanese prints and Chinese landscapes, but I don’t know if that shows in my work.

Can we talk about the architecture in your works – why is it such a source of fascination?

We’ve lived in Wells, Somerset, in the West of England, since 2000 and there’s some wonderful medieval architecture just a few minutes from home. It’s hard not to be influenced by that. It was designed to inspire and to impress. I find the geometric patterns and repetition built in to the architecture really fascinating and trying to represent three dimensional buildings in a medium that reduces everything to flat colour is a challenge. I’m really not into modern architecture, but I do have a fondness for medieval arches, doors and windows and the complex spaces within the buildings.

There’s a slightly religious feel to the work – is this of any importance to you, or is it just a result of the buildings themselves?

I have an appreciation for spirituality and the beauty of buildings that were inspired by people’s spirituality. One of my favourite places in the Cathedral is the retrochoir, a forest of columns supporting fan-vaulted ceilings. This year I plan to do more work outside, so perhaps the feel of my website will change, but I’d still hope to capture the spirit of a place.

Reduction printing can be very frustrating…

Reduction prints are frustrating, tricky and difficult, there’s so much that can go wrong that you just have to do them anyway. I think my success rate is improving from a technical point of view. However, I’m also becoming more critical of my work, so I’m less likely to think of things as a success.

I aim for an edition of 18 to 20 and generally end up with around 12 to 15 prints that I am happy with, unless the whole thing is a write off.  I print by hand, burnishing with a spoon. I use water-based inks and I’m not aiming for solid colours, so every print in an edition is unique.
I’ve done some reduction prints where a middle colour turned out to be unsatisfactory when I have already moved on and cut and printed the next. There’s not a lot you can do about that.

Do you do linocuts that aren’t reductions at all?

I recently started doing prints with multiple blocks. Of course, the great advantage is that you can try different colour combinations or just redo a block if it doesn’t work out. I also do monochrome prints.


Your colours are very measured…

I spend a lot of time mixing colours and trying to get them just right. I think when you’re limited to five or six colours in a print, it requires more consideration.

How did you get involved with hosting courses?

I started hosting beginners’ workshops last year after I joined the Somerset Guild of Craftsmen. We are running a programme of different craft workshops this year so people can try out linocut, papermaking, stone carving and other crafts.

What kind of people come to your courses – is there an increasing interest, do you think?

The workshops I’ve done so far are specifically for beginners. I think it’s important everyone should be at the same level – it doesn’t really work to have experienced people mixed with beginners.

I aim to give people the confidence to get started and enough information to carry on making their own prints at home. I’ve had some lovely feedback from people who came on my workshops and it’s really nice when they carry on exploring printmaking afterwards.
There seems to be a lot of interest in linocut at the moment, which is nice. I plan to do a few more workshops this year and I’m running a two-colour print workshop in April that will explore different ways to tackle the problem of registration.

What does being a member of the guild of craftsmen actually entail?

There’s no secret handshake – I was disappointed.

The Somerset Guild of Craftsmen has been running since 1933 and has around 60 active members working in different art or craft disciplines. Despite the old-fashioned name, there are many female members.

To join you should be an actively practising craftsman or craftswoman, with a focus on one particular craft. You submit your best work to the selection panel (who are Guild members) and if it’s of a consistently high standard then you’re invited to join.

In addition to displaying members’ work for sale, the Guild organises a programme of exhibitions and workshops run by Guild members. The Guild has a permanent gallery in Wells (at 23a Broad Street, behind Pickwick’s Cafe.) We also have a website.

You can find Jonathan on the web in the following places.

His work is for sale on his website, he’s on Twitter @inkwellsprints and Facebook – /JonathanBlackmorePrints and he runs a very tidy blog right here

Hannah Forward: “The possibilities for experimenting feel endless”


Absolutely 100% my favourite local linocutter is a lady called Hannah Forward, whose work I first discovered and wrote a bit about two years ago, if memory serves.

Hove-based, and actually working at the shop where I get all my arty supplies, it transpires, I was drawn to her work after seeing a print she’d done of a busy crowd at the cinema.

Hannah nails the colours in her prints, which I guess is what drew me in. She’s also very, very, very good at drawing, working both from memory and her own photographs. Her prints are jam-packed, but never chaotic, and the shades she uses evoke a sort of 1950s/60s fantasy land that really strikes a chord with me. They look sort of old fashioned, but the little details keep them really modern.


I’ve also been enjoying all the work Hannah puts up online and was really pleased to hear she’s been seeing good returns from selling her work too – the links are at the bottom of this interview…


When did you first start linocutting?

I did a short course at Bip printmaking studios in Brighton four years ago. I’d recently got a job working for Lawrence Art Supplies in Hove and was intrigued by linocut as a technique for creating images. I’d worked as an illustrator after graduating from uni and had quite a well honed sense of my own drawing style. Someone I worked with at Lawrence’s suggested I try out linocut as he thought it would really suit my style and be a great way of producing work to potentially sell.


Did you like it from the start?

Absolutely! I loved every minute of the course and took to the process immediately. I loved how simple the technique was to learn, but how the possibilities for experimenting felt endless. I mainly just printed with black ink at first, then wanted to learn how to layer separate colours over the top of each other.

This layering was what really captivated me. The first layered colour linocut I produced was a small piece called Tokyo. It’s a four-layer print, and by the time I’d finished the final layer and saw the image I was utterly hooked. To see the idea I’d had come together so well, but also in a way I kind of didn’t predict, felt kind of magical.

What other linocut artists would you recommend people take a look at?

All the printmakers associated with the Grosvenor School – Claude Flight, Sybil Andrews, Cyril Power, Ethel Spowers and Lill Tschudi are a really inspiring place to start. I remember discovering these kind of prints for the first time, and the modernist subject matter, the intriguing technique of colour layering and incredible sense of movement and energy really struck a chord.


What kind of formal art training do you have?

I have a degree in Graphic Design from Brighton Uni which really helped me develop my interest in unusual composition and colour. I like to paint and draw, usually acrylic or gouache paint on board. It feels so completely different to paint with a paintbrush after a big printmaking stint, and the slowness of an image gradually taking shape in a relatively unplanned way is really pleasing.

Is linocutting a full time job for you?

No, although it’s my job for most of the week. I still work two days at Lawrences, where I’m surrounded by amazing printmaking supplies like the extensive range of Awagami Japanese printmaking papers or the Lawrence relief printmaking inks. There’s so much there to feel inspired to try out, it really is a pretty incredible day job to have as a printmaker!

What sort of printing set up do you have?

I print at my home studio in Hove. When I moved in I chose the biggest, brightest room as a dedicated space to create work in. I have an A3 sized bookpress, ball drying racks hanging from the ceiling and a large work bench. I also have large shelves for paper and print storage.

What inks and paper do you prefer?

I like the Lawrence oil-based relief inks, and usually use Japanese printmaking paper for my work. I like how the ink soaks in to actually become part of the paper. I’m always up for trying out new inks and paper because it’s really fun to see what a difference this makes to the final results.

What sort of things inspire your prints?

I’m inspired to create work where the idea is executed in a very bold and simple way, but also in an original, new way that I haven’t seen done before. I think that’s my main source of inspiration – create work that’s different to what’s been made or is being made already.

It’s this newness that really excites me to create. A new colour combination or composition or subject matter I haven’t ever seen as a print before. No one else will think of these ideas and create this work – so it’s got to be me!

How relevant is being from Brighton to your work?

I’m originally from South East London but have lived in Brighton on and off for about 10 years and absolutely consider it my home now. There’s a real sense of freedom for the individual, and the city’s packed with artists, musicians, freelancers and small businesses. People who perhaps don’t feel they fit in other places have found their home here. The overall attitude seems to be ‘don’t judge – everything’s acceptable’. I think this very Brighton sense of celebration for the individual has definitely found its way into my work.


How do the prints you make from memory differ to those you work up from photos?

Ideas that just come into my mind are usually inspired by quite a pure feeling I’ve had about something I want to try to capture. I want to get across the essence of that feeling in the simplest way I can, so every line, shape and colour matters. When I’m using photographs it’s more free and experimental. I don’t really know what I’m aiming for – I just do lots and lots of drawing and collage them together until the final design reveals itself. It’s more like painting, in a way.

What tips would you give to any printers looking to sell work?

Have a variety of different print ideas at different sizes and prices so you can see what’s popular. What sells might surprise you. Keep creating new work all the time to keep things fresh, keep the ideas rolling. Use social media (daily if possible) to attract attention to what you’re doing – people really are genuinely interested. Direct your followers to your online shops or exhibitions, let them know what you’re up to. Start a mailing list.

Selling on Etsy for me has generally been quite slow and sporadic, although it’s picked up a little more lately thanks to regular posts on Instagram (and having a direct link to my Etsy shop on my Instagram profile – top tip). Etsy is generally quite gift focused and trend-oriented, so whether it’s the best platform for artists to sell their work online is debatable. However, I know there are artists and printmakers that sell very well on Etsy so it is totally possible.

Artfinder has been incredible. I’ve now sold over 250 prints since joining a year ago and posted them to people all over the world. It’s been a really exciting first year, and I can’t really emphasise enough how rewarding it’s felt and how encouraging the people at Artfinder have been. They’ve helped feature me and my work at seemingly every opportunity, and basically become this perfect link between my work and people who want to buy it. I just can’t wait to see what happens in 2017.


Do you find relief printing therapeutic?

I find all creativity very therapeutic. I think you reach a sort of meditative state while making. Whether I’m drawing or carving out lino or painting or working out a new idea, I enjoy that feeling of calm slowness as you think about nothing else except focusing on what you’re bringing into existence.

Have you any other exhibitions coming up?

Not yet, but I have ambitions to team up with a painter I know and have a group show together in Brighton this year. Watch this space! I’d also love to try opening the doors to my Hove house for the Artist Open Houses in May one year in the not too distant future. I live with two other artists so this is a really fun prospect for all of us.



Link yourself up!
Hannah’s Etsy shop and Artfinder shop are right there. Or you can always see more at her website.