Here's a work in progress...Chapel Perilous working name, etching 15 x 18cm. Loosely based around an old engraving of a human heart with its big blood vessels, but given the form of the small abandoned chapel with trees growing through it. This proof has been reworked with crayon and watercolour, feeling my way towards its final state. Detail of Picasso's 1968 etching Suite 347 Sugar lift etching is a loose and expressive way to make marks on an etching plate. While I was le

Two of the sparks which fired up my new work...Shepherd's Haven by Joseph Webb and a small etching by Holman Hunt. I saw the Webb etching last year at the Aberystwyth School of Art exhibition and was lucky enough to be able to look through their entire collection of his work, including drawn and painted-on proofs, of intense interest to a printmaker! It's fascinating to see how the images are built up through many stages of drawing and biting. The revisions make for a richer

I tried to make a short video tour of my workshop. I found it unexpectedly hard to do. It looked as if I had strapped my phone to the forehead of a cow and then pushed the cow into the workshop to nose around and peer at things. So I have taken some photographs of the workshop instead. Here live my beloved presses - my small Hughes and Kimber litho press, my large Rochat etching press and my large Furnival direct litho press with its 30 stones of various sizes. My aquatint bo

It is wonderful to see these incredible prints from the collection of Edward Twohig RE displayed at Aberystwyth School of Art. While biting my plate, I can go upstairs and gaze the work of Durer, Palmer, Haden, Degas, Whistler, and many more. In 2018, as part of this touring exhibition, the current members of the RE were asked to make a print responding to the work of a past RE member. Jenny Ramkalawon of the British Museum selected twenty of these prints for a limited editio