Tools, paper & process
Process
Design
I begin each print with extensive creating and sketching, often working at full scale before any carving begins. This allows the image to evolve slowly and intentionally, before it ever touches the block.
Transfer
Once the design is finalized, it’s transferred to the block in reverse – a necessary step in relief printmaking that ensures the final image reads correctly on paper.
Carving
Carving is a reductive process – everything removed will remain unprinted. This stage requires patience and commitment, as each cut permanently shapes the final image.
Printing
Each print is hand-inked and printed individually. Pressure, ink consistency, and paper selection all influence the final result – making subtle variation part of the work.
Drying & Finishing
Prints are carefully dried, inspected, and finished by hand before being signed.
Materials
Blocks
The design is carved into wood, linoleum, or rubber, chosen for how each material holds line, texture, and responds to pressure.
Carving Tools
I work with a small set of carving tools chosen for how they feel in my hand, sharpness, and the ability to hold a fine, deliberate line.
Ink
I primarily work with oil-based inks for their slow drying time, strong coverage, and rich color – even in black – resulting in solid, detailed prints. Many of my prints are printed in Prussian Blue, which reads as near black, but reveals a subtle blue cast in the right light.
Paper
Paper is selected based on the size of the block and complexity of the design. I tend to use heavier paper for linocuts and lighter paper for woodcuts.
Hand Printing
Rather than relying solely on a printmaking press, most of my relief prints are printed by hand using a glass baren. Hand printing allows me to respond to the paper and ink in real time, embracing subtle variation as part of the finished work. Even if I add a small press in the future, I would still return to hand printing for the physical connection it creates with each piece.