Wanting to produce greeting cards based on some ink pen illustrations of Iris and Ivy, I approached Carolyn at Thames-side Print Studios and asked about how I could achieve this, I showed Carolyn, Nick and Bart my work and so I joined the evening etching class with Nick in 2017.
I started out making little botanical drawings with an old ink pen I got from my granddad. When my nana passed away, I was only seven, but I inherited his art box—handmade from wood, full of tiny drawers packed with pencils, pens, oil paints, and even a ceramic roller. I was totally fascinated, and it’s still one of my favourite things.
Usually, I start with a rough sketch on a piece of steel with a hard ground on it, to get my ideas going. If the etching turns out how I like, I’ll print a small batch; then, I’ll add some colour to a print to see where the image can go next.
What my etching process involves
I start with a steel plate, coat it with a hardground, and then drawing my design with my dip pen I work out composition. Where the nib scratches away the ground, the acid will “bite” into the plate, creating lines that will later hold ink.
After inking and wiping the plate by hand, I run it through a press with dampened paper. What emerges is always a nice surprise — and that’s the beauty of it. Each impression carries subtle variations, and textures unique to printmaking.
Stories Behind My Prints
Before lockdown, I was visiting an open studio of a relief printmaker in East Sussex. He had an apple tree. I took an Apple. I made several observational drawings, watched them shrivel and decay and then made a painting using acrylic paints.
Months later we were allowed back in the studio, I used the sketches to create a larger etching called Apples, I am continuing to use this theme and have subsequently made few different larger compositions.
Colour
I add colour into the prints using a technique known as aquatint. this is a process in which aa degreased plate is coated with a fine layer of rosin powder. The powder is heated from below to melt the rosin which forms spherical droplets, each dot acts as an acid resist, which when etched creates a matrix for the ink to sit in.
I add coloured ink to each section separately using a small piece of mount card or a small felt dauber, called a dolly.
I choose a limited palette, usually Ultramarine, Solferino Violet and Raw Sienna, with Burnt Umber with a little Bone Black or Sepia. Using the simple primary, secondary and tertiary colour mixing I achieve shades that work together.
Baroque Influences in Still Life Prints
Developing these still life prints, I drew inspiration from the baroque style by introducing dark, shadowy backgrounds and directional lighting. This approach helped illuminate the subject and allowed the shapes to emerge from the shadows, giving each piece a sense of depth and presence.
Why Etching Matters to Me
I love how hands-on etching is.
It’s not just about keeping up old traditions; it’s also about finding new things along the way. Sometimes a random mark or a spot where the acid bites a bit deeper ends up being what really makes the print stand out. Etching keeps me on my toes and reminds me to go with the flow, accept little surprises, and just trust how things turn out.
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