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An original print is a print which is deliberately conceived as a work of art using printmaking media. A copy of another work of art such as a watercolour or charcoal drawing, on the other hand, is a reproduction. No matter which printmaking process is used to make this copy, the resulting print is a reproduction, not an original print.
Terms such as ‘giclée’ or ‘limited edition’ simply distract from the main point of whether the print is a reproduction or an original.
This is a relief printing process in which the image is cut into the piece of lino using special tools. Vinyl can be used in the same way and is a useful alternative to lino.
The remaining uncut vinyl is then inked with a roller before printing.
All my prints are made by hand using traditional processes such as collagraph, lino cut and wood block.
They are not reproductions.
Most of my work is for sale. For more information please email
There are many printmaking processes, which may be used singly or together. These include: etching, engraving, drypoint, lithography, screenprinting, wood cut, wood engraving, lino cut, collagraph and digital.
In the words of S.W.Hayter, (a renowned printmaker of the 20th century, who founded Atelier 17 in Paris), printmaking is “the media of original expression in which the print is the result, and there is no other original, nor could any other medium have given the same expression”.
The artist may make his or her own prints, or employ an experienced printmaker to do this. Either way, the artist is responsible for the image and must endorse the final prints.
This is my “jig-saw linocut” process, using Japanese vinyl. I cut out the sections of the design which need different colours, so I can ink up each piece separately. Then I put them back together again and print all at once.
I don't always use traditional lino, I often use Japanese vinyl which is a very versatile modern substitute.
I first design and print the lino cut as a monochrome print, then I scan it and design and print the background colours on my computer, working out how to use the colours in registration with the lino cut. Then once I have printed the background colours, I print the lino block on top.
Sometimes I use digitally printed background colours combined with a traditionally printed lino cut, so the piece is printed twice.
For example, the dark blue (in "Fifty shades of rain") is the lino block, the lighter blues and grey-violet etc is digitally printed.
Digital processes are widely used today and are accepted by all major printmaking authorities in Britain, as long as they are used to create original work.