“I don’t like colour. The real factories that I love, they’re black-and-white experiences. Colour putrefies them… I really love the oil-impregnated earth, you know, where the earth is gleaming with black oil and there is steel and brick and glass and these machines, and smokestacks and the smoke and the fire. It’s an amazing, phenomenal thing.”

David Lynch

Continue reading ‘David Lynch’s factory photographs’

"Radiant Dusk" by Dan Mumford

“Radiant Dusk” by Dan Mumford

Following on from last year’s Radiant Dawn print, I’ve just received this lush new Dan Mumford print from the same series (although my backlog of pictures to frame isn’t getting any smaller). Stunning colour palette and tight composition.

I’ve just completed this identity for my good friend Lindford Lowe’s new video production company.

Lowe Motion Logo

Check out his showreel here:


I was a bit gutted that this amazing Soundgarden poster by Dan Mumford was sold out by the time I found out about it but luckily, I bagged the equally impressive screen print “Radiant Dawn” from his online store. All is well.

'Radiant Dawn' by Dan Mumford

‘Radiant Dawn’ by Dan Mumford


We’ve recently completed an identity project for Goose Green Clinic in East Dulwich, South London which culminated in a website, postcard, business stationery and banner. The identity is inspired by the holistic nature of the clinic and the complementary therapies and classes they offer with an emphasis on healing and energising colours.

goose green clinic website

ggc-business-cardgoose green clinic postcard


The Trees

Not sure where to start with Kim Høltermand’s incredibly serene landscape and architectural photography because there’s so much of it and it’s consistently impressive, although some of the series could have been edited down a bit. His exploratory approach really appeals to me. I particularly like the fact that he creates series of images with a similar theme and explores different facets of that theme within fairly tight parameters.

Here are some individual examples, all from larger series that you can see on his site.






Deserted City


Beach Stations


Copenhagen Architecture


Etching course


I recently did another 3 day etching course. It was great to be back amongst the inks and smells of the etching studio at Camberwell College of Arts, but 3 days is hardly enough time to get your juices flowing with a process as slow and methodical as etching. (Many thanks to the tutor Brian Hodgson for his generous input and direction).

This time I tried taking an impression of some scrim (rough fabric used in the inking process) using a soft ground on a zinc plate, then etched it in stages to create some deeper lines and some more delicate ones. The most successful prints were the ones where I inked the plate using a couple of different rusty colours, and the blind embossings. The prints are reminiscent of tributaries and turbulent geographical features.
First versionblack etching

Second version – printed with colour gradientrusty etching

Third version – after some lines were etched for longer deep black etching

Fourth version – blind embossing blind embossed etching close-up


My other experiment was using a photo-polymer plate, a type of light-sensitive plate which can be exposed using a UV exposure unit (normally used for screen printing) and washed in water.. so no harsh acids. The potential for bringing digital media into the workflow but retaining the physicality and unpredictability of printmaking is very exciting. I did a few tests with this flower image which gave a very dark print even though the original image was quite light. There doesn’t seem to be as much creativity in the inking process as there is with acid-etched plates but still something I’d like to play around with more, especially as you don’t need access to an etching studio to produce the plates.

photo polymer plate etching


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