Through the years, my interest in art has led me to study, practice, and reflect on a wide range of art printing technologies. I’ve spent time figuring out how to incorporate aspects of these techniques into my own work—especially in the way I add colour digitally, which still feels new and inventive to me. This learning journey has been multifaceted: hands-on experiences where I’ve literally got my hands dirty with ink; the slow accumulation of knowledge through collecting antique and modern books; and giving public talks, which have required me to organise my thoughts and deepen my research.
Learning with print maker Scarlet Rebecca
Collagraph, Foil Lithography, Stone Lithography, Cyanotypes.
Years ago, Scarlet Rebecca and I shared a studio, and it was during that time that she sparked my curiosity in traditional printmaking. She encouraged me not just to appreciate it, but to actually learn and practise it. Today, she is one of the UK’s leading figures in experimental printmaking. I’ve attended many of her courses, and there’s always more to discover—her workshops continue to inspire and expand my understanding.
Later on, Scarlet wrote an article about my practice for AccessArt, which was a lovely full-circle moment in our creative exchange.
She has written the most fantastic book on printing ‘Alternative Lithography: A printmaker’s guide to working with foil, wood, lino, paper and polyester’
Learning as an art speaker 01:
Art Printing Technologies Then and Now
At Chalk Gallery Lewes
During my featured artist exhibition at Chalk Gallery in February 2025, I hosted a talk titled Art Printing Technologies: Then and Now. I shared how I first discovered traditional printmaking after moving to Brighton in 2011. My background in architecture had always involved a balance of freehand drawing and computer-aided design (CAD), but printmaking introduced me to an entirely new way of thinking about image-making.
The combination of traditional mark-making and digital tools has been incredibly rewarding. It lets me blend architectural structure with artistic spontaneity. However, it was my direct engagement with processes like foil lithography, stone lithography, linocuts, colographs, and cyanotypes that truly expanded my creative scope.
Each technique offers its own visual language: stone lithography brings subtle texture, linocuts are bold and graphic. What I find most exciting is the way these processes interact with paper—leaving behind tactile, physical marks that can’t be replicated digitally. They add richness and dimension to the work and root it in the long-standing traditions of printmaking, even as I push it in new directions.
Learning as an art speaker 02:
Alej ez Art. From Architecture to Art
At Brighton Girl GDST
As part of their cultural programme, I was invited to speak at Brighton Girls GDST about my journey from architect to contemporary printmaker. In that talk, I shared what it meant to grow up as part of the first digital computer generation. From a young age, I was surrounded by emerging technologies—my first computer was a ZX Spectrum, later followed by early Windows PCs. The arrival of tools like Photoshop and AutoCAD had a lasting influence on how I approached creative work.
At university, I worked with analogue photography in darkrooms. By 2000, while living in London, I had my first digital camera. I also witnessed the rise of archival-quality digital printers—a major shift in how we could produce and preserve visual work. Over time, I saw computing evolve and empower increasingly sophisticated digital creation.
In my architectural practice, I had always merged hand sketching with digital drafting. But it wasn’t until I arrived in Brighton in 2011 that I found a vibrant, nurturing art scene that encouraged me to delve into traditional printmaking. Techniques like foil lithography, stone lithography, linocuts, colographs, and cyanotypes quickly became central to my work.
During the talk, I explained how printmaking introduced me to the concept of mark-making: the intentional use of tools to create distinct patterns and textures on a surface, later transferred to paper. This analogue process laid the foundation for the next stage of my practice—adding colour digitally, sometimes creating collage-like scenes. That balance between tactile ink drawing and digital composition has become a rhythm I really enjoy.
Learning through collecting antique books with art prints
Another part of my journey into art printing technologies has come through collecting books—found in antique shops, second-hand bookshops, vintage markets, and online. I’ve built up a small but fascinating library that spans from the 18th century to the present. These books document a range of printing techniques: Victorian metal etchings, linocuts, woodcuts, photogravure, early 20th-century printmaking, and contemporary processes. These objects have helped me understand the historical context of the methods I use today and deepened my appreciation of the legacy I’m working within.
Printmaking Collections & Resources
Visiting museums, art galleries, and exhibitions has played a vital role in the development of my career as a printmaker. These experiences continue to inform and inspire my practice. Below are some useful resources you might find interesting:
The Metropolitan Museum of Art (The Met)
MoMA (The Museum of Modern Art)
In the South East of England:
Pallant House Gallery, Chichester
Known for its strong collection of Modern British art and works on paper, including prints and drawings.
Ditchling Museum of Art + Craft
A gem for anyone interested in traditional crafts, printing, and typography—home of the Gill and Pepler legacy.
Towner Eastbourne
Holds a growing collection of works on paper, including prints, and often features contemporary printmakers.
Charleston, Firle
The Bloomsbury Group’s country house, rich in artistic experimentation and includes original prints and painted furnishings.
The Keep, Brighton
An archive centre with excellent historical print, photography, and local artist resources.
Phoenix Art Space, Brighton
A vibrant artist-led space where printmaking is regularly featured in exhibitions and events.
East London Printmakers (a bit outside the South East proper but close enough and well-respected)
Offers great facilities and exhibitions with both traditional and experimental printmaking.
St Barbe Museum and Art Gallery, Lymington
Focuses on art from the region, often includes works on paper and local crafts.
Hastings Contemporary
Frequently showcases contemporary artists who use print within mixed media practices.
Brighton Museum & Art Gallery
Offers a range of collections including prints, decorative arts, and digital design.