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Methods I Use
Etching is a process where a metal plate is covered with a thin, often waxy ground – lines and marks are made in the ground using an etching needle and then the plate is placed into a liquid (mordant) which ‘bites’ the image into the plate. 

he plate now needs to be printed by hand using an etching press.  Ink is pressed into the grooves and wiped off the surface of the metal and the plate is placed onto the press.   Damp paper is placed on top, and the when the star wheel (or press handle) is turned, the plate and paper are put under high pressure beneath steel rollers and the ink is transferred to the paper to create the print.

I work mainly on copper plate which I etch with ferric chloride or with aluminium or zinc which I etch in copper sulphate.

In 2016 and 2017 I have particularly enjoyed creating images by painting with instant coffee onto metal, before applying ground and etching.   Working with sugar lift aquatint has been great fun too.

I have used a variety of etching grounds on my plates over the years.  My current favourite is Baldwin’s BIG ground. Etching is a lovely process, allowing fine lines, textured marks and areas of tone.

My coffee lift etching ‘On bare mountain’ was selected by the Victoria and Albert museum to be held in their permanent collection and exhibited at Morley Gallery, London October/November 2017.

My etching entitled, ‘Homed and homeless’ was exhibited with the WSA in Wolverhampton Art Gallery in October/November2017 and won the Elsie Holland Prize for outstanding work.

In 2015 my etchings ‘Toasting the Night’ and ‘Into the Darkness’ were exhibited with the Society of Women Artists at the Mall Galleries in London.


This is a very direct process and rather like drawing.  All you need to create your plate is a piece of perspex, or appropriate metal, and a drypoint needle and you create your image by drawing directly into the metal of the plate with the needle and printing it (as above) on an etching press.

The lines produced by printing a drypoint are formed by the burr thrown up at the edge of the incised lines. A larger burr, formed by a steep angle of the tool, will hold a lot of ink, producing a characteristically soft, dense line that differentiates drypoint from other intaglio methods like etching which produce a smooth, hard-edged line.

One of my drypoints ‘From here to there’ was shown in my 2016 solo exhibition at the Asylum Art Gallery  

It was also in the 2017 exhibition Lasting Impressions – a selection of works from the Printmakers Council archive -  March 2017 at Scarborough Art Gallery and is now part of the permanent collection of the Printmakers Council.   It was subsequently chosen to appear on the  sites database for all UK public art collections. 


Solar prints

I have greatly enjoyed creating solar prints in the past – notably in New Mexico at New Grounds Print Workshop in Albuquerque.   I’ve used both photographic and hand drawn imagery.  One of my etchings of an old gas station is held in their permanent collection.

My trip there was funded by the Arts Council in 2007 when my submission was selected for a travel grant.   It was an amazing time researching the crumbling gas stations, motels, road signs along the desert road of Route 66. Although I seldom make solar prints these days I do make cyanotypes (blue prints) in my studio with my ultra violet ‘sun’ machine! 


I have had some exciting times creating collagraphs.  One fascinating project involved creating 5 large ‘plates’ which stretched to 10 feet (about 300 centimetres) which is much too large to print in any normal etching press.  It took me  couple of hours to ink the plates.   I was working at the Sidney Nolan Trust where we had a huge road roller and someone drove across the ‘plates’ to print them!  The prints were exhibited in the trust’s gallery in their subsequent large print show.
I generally use mount boards to create my ‘plates’ and add to or reduce the surface.   For example, I score and peel off some areas to create a dark tone. I also add textured materials such as grit or sand, card, netting, tape or textured liquid medium.   The surface is then sealed and the plate is inked and printed using my etching press.

Lino and woodcut prints

I mainly use traditional lino and Japanese plywood but have also used vinyl and ‘easycut’ on occasion.  I cut into the surface of the lino making a variety of lines and marks.   Then, unlike etching,  ink is rolled onto the surface of the lino.   Dry, thin paper is  placed on the top and then I use either a wooden spoon to rub the back or a purpose built Japanese ball bearing barren to print large prints.   For smaller prints I have a relief press.

My prints have been exhibited in various shows and a collection of my cat lino prints were included in the book The Printmakers’ Cat.


Although I did some monotype printing as part of my Fine Art printmaking degree, I also had a lot of fun printing in New York with Susan Rostow the ‘queen’ of Akua Inks.

Monotypes are usually created by painting or rolling ink onto perspex to create an image.   Paper is placed onto the perspex plate and it is printed on an etching press.  It can create some lively, painterly prints.

I created many of my garden and plant-based images in this way for my exhibition 'Florilegium'.