Author Archives: Lisa Chappell

Featured Graduate: Jingyu Xu

Red, white and black graphic image of a Chinese New Year celebration card
Celebration 2018, screenprint by Jingyu Xu

Tell us about yourself. Have you always made art?
Influenced by my mother who works in the fashion industry, I was encouraged to draw at a very young age. I used to draw so much I was labelled as “the girl who can draw” in class. I love and want to pursue this creative path as a future career, so I was given support by my parents to take years of art academy classes back home. But even with all the support and approval from people around me, I still once had so many doubts on this art journey.

The art classes allowed me to get skilful at realistic and observational sketching and painting, but I never considered myself good enough to be an artist. At a time I felt lost and kept wondering whether capturing the likeliness is the only standard of good art, if so, why should we even draw when we have cameras.
I know it sounds silly but it was actually after a lot of struggling, researching and learning, for me to realize how I used to have such a narrow mindset. The systematic learning of shapes, colours and lights & shadows, of course they are beneficial, but it also restrained me to believe drawing is just reproducing the reality. It never got me to see the real creative side of art.

Later looking at the impressionism and fauvism art which I really admire, now I believe art, especially drawing, is about one’s interpretation of something, and that something doesn’t even have to be real. The emotions, the experience, the imaginations, etc., they all can influence or form an artwork.

So I believe the answer is yes, I have been making art ever since I tried doodling out my dreams at kindergarten!

Photograph of the artist screen printing in the workshop at London College of Communication
Jingyu busy printing in the LCC screenprint workshop

How did you get started in screen printing?
I was introduced to screen printing during my introduction course at LCC, this traditional approach to a print process instantly caught my interest as this was something I had never seen before!
What amazes me is the dedication that one needs to put into the preparation and printing process, and how nicely the textures and layers of ink turn out in the outcomes. Although it can be a bit frustrating when some flaws or mistakes happen, I guess that’s the charm of screen printing by hand, we are always learning as every time we print and face new challenges.

Who are your biggest influences?
Uchida Masayasu, Tatsuro Kiuchi, On Yamamoto, Jame Jean. These are several of my favourite artists/ printmakers who inspire and influence me in terms of their compositions and texture making. Their artworks are really pleasant to see.
(@uchidamasayasu, @tatsurokiuchi, @onyamamoto_art, @jamesjeanart)

Graphic image of a film poster design for Kill Bill
Up! screenprint by Jingyu Xu

Where will you make work now that you’ve graduated?
I plan to head to other open-access print studios in London but haven’t made a decision yet. Because of the pandemic and my new postgraduate publishing course going on, I might slow down my printmaking projects a bit, but I will definitely keep doing it!

Looking back on your time at LCC, what advice would you give to yourself, if you could travel back in time?
It is definitely “Don’t be afraid to make mistakes, and don’t feel too frustrated and then give up easily.” As I mentioned, it is just very common to have small flaws and mistakes when you just started printing. But back then I was too focused on the imperfection and felt bad when getting called out that I was rusty. I even stopped printing for about a year, which I really regret as this period of time could have been properly spent to practice and learn from mistakes. So I think it is important not to be afraid to try and continue making work, and always believe that practice and hard work will pay off.

Additionally, I planned many screen print works to be happening in the last term, I wish I could have known the lockdown would happen and finished the printing in the second term. But luckily, the “Return to Make” in September allowed me to carry on making two of the projects, I am very grateful for the LCC screen print team to make this happen.

Graphic image of a film poster design
Greetings, screenprint by Jingyu Xu

Where can we see more of your work?
Instagram: @thescenestealers
I am a member of The Scene-Stealers Collective and we make art for some iconic Films & TV shows. It is not about creating a movie poster that serves as a marketing tool, but about our original artistic/illustrative interpretation of a scene.

Instagram: @mchl_6

Personal Blog: I am still working on creating an official online portfolio, but for the moment I will be posting updates and process of work on my Instagram and blog.

Thank you!

Graphic image of a small dog sitting on grass with water and ducks in the background.
Kiki the Dog, screenprint by Jingyu Xu

Featured Graduates: Giant Triplets

image of rosie and maeve screenprinting at Glastonbury festival . ©photo by Alex Kurunis
Rosie and Maeve Printing for Oxfam’s sustainability initiative at Glastonbury Festival
©photo by Alex Kurunis

Giant Triplets is the collaborative enterprise of Rosie Lee Wilson and Maeve O’Brien, who met in the screenprint workshop at LCC.  They facilitate screen printing events and workshops, travelling to festivals and sites all over the country, with sustainability at the heart of their practice.

Rosie Lee Wilson, BA Illustration and Visual Media – Artist, designer and arts facilitator

Maeve O’Brien, BA Design Management and Cultures – Arts & Textiles Worker

1.Tell us about yourselves. Have you always made art?

R: I believe everyone starts off as an artist, I was lucky enough to have parents that fostered that and empowered me to see creative endeavours as a valid path. With young people it’s really more of a question of when and why did you stop?

M:  I tend to shy away from defining myself as an artist. There’s a vulnerability about it which I’m not great at embracing, and I think goes some way to answer Rosie’s question above. Part of me thinks it’s been beneficial to avoid that definition, in that  it allows for more flexibility in the work I do with community groups. I can be a print maker, set builder, slime lord, support worker – all depending on the needs and desires specific to the community I am collaborating with at the time.

2. How did you get started in screen printing?

M: Fortuitously, I really didn’t enjoy the course I was on and it’s base camp was literally right next to the screen printing studios. So, I played truant in there pretty regularly, experimenting. My mental health was completely shot a lot of the time and found the process of screen printing cathartic in that it can be physically demanding, requiring focus, precision. You need to be present when you’re printing (given there’s a multitude of points where it can mess up) and that, in conjunction with the innate novelty of stencil making, just clicked for both Rosie and myself, I think. 

On festival sites it literally feels like we’re magical print witches; every time we do a collaborative print with people, everyone – including us still, 1000’s of prints later – is like, “What is this sorcery?!” And there’s cheering and clapping and jumping up and down with excitement.

3. Who are your biggest influences?

R: It’s interesting that this question takes me firstly to people like, Sister Corita Kent, Joe Tilson, Robert Rauscenberg, Kitaj, Ray Johnson but this also speaks to this idea of the expert or fine art absolutism. Maeve pointed out that really our biggest influences are our peers, contemporaries and extended families. I had an alternative upbringing, my parents travelled with the peace convoy and my father was in an anarcho punk band on Crass records. I think there are some very obvious parallels with what I do ideologically and aesthetically to that radical peace punk scene which is a direct consequence of that counter culture upbringing. To me it’s more of a philosophy than a product. 

M: For me there isn’t any individual that I could say is my biggest influence. I never had any formal arts training, and so feel outside of that world a lot of the time. Rosie and I connected on an ideological level first, and an aesthetic compatibility second.

We’re both stans of counterculture ephemera from the 1960’s – 1980’s, and a lot of our references are drawn trawling through physical archives like Mayday Rooms or on instagram, accounts like @radical_archive and @patientcreatures.

There’s a Novara Media podcast called #ACFM and the episode, ‘Collective Joy’, touches on the countercultural and free festival movement a bit, and has definitely served as an enduring inspiration for both of us. See Red Women’s Workshop was a big part of our conversations when we started going with Giant Triplets, as well as Atelier Populaire. Cheddar Car Boot Sale is like church for Giant Triplets.

I’m currently reading Michael Thompson’s Rubbish Theory: The Creation and Destruction of Value and can see parallels with Giant Triplets’ philosophy. We use print and design as a way to extend the life-cycles of what are often landfill destined items of clothing, and the direct hands on experience creates a lasting memory which translates something initially deemed rubbish into something of value. Having done this for a few years now it’s been so amazing to see people returning with the same t-shirt we printed with them two, three years ago to continue adding to it.

Ultimately, though, it is our peers which are the biggest driving force for us, who are usually operating in resistance to structural inequalities and are striving for positive change via their practice. It’s those everyday conversations with them that inspire us to keep moving forward with our own. 

Fat Boy Slim and artist Anthony Burrill screenprinting outside at Glastonbury festival ©photo by Alex Kurunis
Fat Boy Slim and Anthony Burrill using our alfresco press at Glastonbury Festival
©photo by Alex Kurunis

4. Where do you make work now that you’ve graduated? (and how did you get started with Giant Triplets)

M: We met in the screen printing studios, Flo and Josie – who were print technicians while we were there – arranged a print marriage of sorts which we consummated by drinking slushies and dancing to cheesy pop music at London Palace Superbowl in the top level of Elephant and Castle Shopping Centre.

R: We worked with the sustainability team from Glastonbury festival on a campaign in which people swapped an environmental pledge for a T-Shirt printed on pre-loved items. Glastonbury really sets a precedent to other festivals so after this initial project lots of others followed suit and we have now worked with some of the biggest festivals and charities. 

Our initial pitches were totally fabricated, we had the shell and the idea and just took photos of screens and squeegees in the back of a van, using our design-school knowledge to create professional looking PDFs. I had been working on festivals for some years so had an idea of the jargon, budget questions and plot requirements we would need for approval, it was truly fake it ‘til you make it.

M: Since then we’ve really tried to use screen printing as a way of creating a dialogue around sustainability and fast fashion, and try to get people to connect the dots between textile production, climate crisis and migrant justice.

R: We print anywhere and everywhere; Maeve is in the midst of setting up a community print studio in a South East London Adventure Playground and my studio (Giant Triplets festival season HQ) is in an intentional community outside of Bristol, where I live, which I make available to whoever wishes to access it.

We resist the tendency to isolate practice within institutions and expensive studios. Our practice is about skilling up, empowering people to print and igniting conversations which we hope could contribute to positive change. 

We really believe that print should be a DIY and democratic pursuit. The collective is stronger than its separate parts through sharing space, resources and tools. Doing things on a shoestring to a tight deadline in between festivals has resulted in so many happy accidents.

M: The generosity we’ve been extended in asking for help has been humbling. I mean, for example, the exposure unit dying 24 hours before a job seems like hell on earth at the time, but in hindsight it would have meant we didn’t meet the old print heads in Cheddar, or Kevin at DIY Space for London, or Jonny Akers in Bristol and listened to their stories which kind of plug us in to a grassroots history, craft, community that continues to thrive in print.

image of a screen ready to print with Greenpeace slogan, "extinction means forever" . ©photo by Alex Kurunis
A screen for our set up in the Greenpeace field at Glastonbury Festival

©photo by Alex Kurunis

5. Looking back on your time at LCC, what advice would you give to yourself, if you could travel back in time?

R: Don’t take the facilities for granted, it is a long and expensive journey to be in a position where you can print and make books again. For me personally, don’t try and finalise work on the computer alone, always try and bring things back into the physical. If you believe in something don’t be moved from it, intern, pick up work outside of university and make connections

M: It can be quite difficult to keep your voice central when you are trying to take on board the advice of tonnes of other people and sometimes you can lose yourself in that. So, I would say to trust your gut – it’s inevitably correct.

6. Where can we see more of your work?

Instagram: @rosieleewilson @gianttriplets @maeveforever

Screenprinting at home: a beginner’s guide to buying a screen

image of a 90t yellow mesh screen, painted ready for monoprinting
90t yellow mesh screen, painted ready for monoprinting

Screenprinting at home, or in a personal studio, takes a bit of investment so it’s good to do some research, seek advice and make sure you’re spending your hard earned pounds on the right equipment for your requirements.

Buying a screen can be confusing, as there are lots of options to choose from, and lots of opinions about what is best! The right choice for you may not be the same as for somebody else, so think carefully about what you hope to achieve with your printing.

You will need to think about:

  • The surface you want to print on to
  • The inks you want to use
  • The design you want to print

These are all factors in finding the right screen to suit your project, and also your budget.

Screen frame

The first choice you will need to make is the screen itself; what the frame is made from.

The two options are:

  1. Wood
  2. Metal (usually aluminium)

There are pros and cons to both.



  • Cheaper
  • Can be re-stretched by hand, particularly for textile printing


  • Warps over time with constant washing
  • Takes longer to dry
  • Re-stretching by hand can be difficult to do, especially with fine mesh



  • Lasts forever
  • Dries quickly after washing
  • Lightweight
  • Stretched professionally ensures an evenly stretched weave, even with fine mesh
  • Can be re-stretched many times without warping


  • More expensive
  • Can only be re-stretched professionally


Your next decision is your mesh.

We talk about mesh in terms of mesh count: this is the number of threads per centimeter.

For example, a 120t mesh has 120 threads in each direction, per centimeter, meaning it is very fine.

A 43t mesh only has 43 threads per centimeter, meaning it is coarser and therefore the weave is more open.

  • The higher the number, the finer the mesh.
  • The finer the mesh, the more detail you can print.

This diagram shows the difference in mesh counts:

diagram showing different types of screen printing mesh

The wider openings in the lower mesh count allow more ink to be pushed through the screen. This is beneficial when printing onto absorbent surfaces such as t-shirts and tote bags, or when using a thicker substance such as flock adhesive.

The smaller openings in the higher mesh count let less ink through, so that only a thin film of ink sits on the printed surface. This is good for paper so that there is less tendency for it to cockle as it dries.

There are lots of mesh counts to choose from but the most commonly used ones are:

43t – for printing on to textiles, using flock or foil adhesive, or using alternative inks such as conductive, thermochromic and glow in the dark. At LCC we use 43t and also 55t, which is a bit finer.

77t –  the ‘in between’ screen, can be used for printing finer detail on to smooth textiles, or on to heavy paper and card stock. At LCC it is often used for printing on to bookcloth and veneer for skateboards. A good option for home printing, as it gives you flexibility across different surfaces / inks.

90t – for fine detail, printing onto paper, card and other hard surfaces such as acrylic and metal. The most commonly used screens at LCC, and the screen I am using at home.

120t – for very fine detail and fine halftone dots, on paper.

(The ‘t’ after the number is a UK measurement, so be aware that American mesh count is different, if ordering online)

It is also worth noting that the finer the mesh, the more fragile it becomes, and also more expensive!

Mesh colour

image of yellow and white mesh on rolls for screen printing. ©Photo from
Which one, yellow or white mesh? ©photo from

You may have noticed that screens have different coloured mesh on them, usually yellow or white. Which one to choose?

This is to do with the exposure of screens in a UV exposure unit, when using photo emulsion stencils.

Yellow mesh absorbs some of the UV light, and so helps create a sharper and more defined edge to the design.

White mesh can deflect the light slightly, causing it to “bounce” or “scatter” which results in lower resolution and less definition.

However, it is only really noticable on finer mesh counts, normally 77t and above, which is why textile screens often have white mesh, and screens for printing on paper tend to be yellow.

For suppliers please see our links here, and of course do get in touch with any questions!

Featured Graduate: Natasha Howie

Natasha working at home
Natasha working at home

Natasha Howie graduated in 2018 from BA Illustration and Visual Media (IVM). She now works in event production, whilst continuing her illustration practice on the side, which encompasses printmaking, photography, and graphic design.

1.Tell us about yourself.  Have you always made art?

My interest in art started at an early age, learning alongside my older brother. His ability to capture a character through loose sketching and delicate cross hatching fascinated me. Consequently, I have always appreciated work which is both subtle yet dynamic.

In recent years I have also come to really appreciate the immediacy of reportage illustration. Learning how to capture fleeting gesture, expression and the soul of a place / people. Drawing in situ presents unexpected challenges which have provoked me to become more fearless and carefree in my practice.

3 colour screen print on paper 2018
Les Valaisans (05), screen print, 2018

2.  How did you get started in printmaking?

As illustration is now considered quite an ambiguous term, I was fortunate to work alongside a hugely eclectic group of people on my course. Practices ranged from animation, photography, print, poetry and performance. This very quickly encouraged me to explore different approaches to image making and to branch away from the traditional methods of drawing. With the slight tendency to disregard the research and development stages of creative briefs, I found myself always rushing into a final piece. Given this, I was prompted by my wonderful tutor Ima to slow down and try some printmaking. It was the first time I truly became captivated by the beauty of the process and it enabled me to discover multiple ways I could transform my hand drawn visuals. I then spent the best part of my 3 years at LCC exploring various forms of print; relief, intaglio, screen-printing, risograph and letter press.

monoprint and digital image on paper
Night Swim, monoprint / digital

3.  Who are your biggest influences?

I am really interested in Dutch and Russian poster design, in particular work by the Stenberg Brothers and H.N Werkman. I find the use of muted colours, texture and simple linear drawings a very satisfying combination.

A more contemporary artist I recently discovered was Renee Gouin. Her work consists of layered elements, typically very angular in shape and coupled with a minimal colour palette, the resulting work I find captivating.

During University I chose to explore multiple briefs working on the offset monoprint press using hand cut stencils. This method created sharp, abstracted pieces which presented very similar characteristics to the Constructivist movement. This is something I hope to continue to explore when I gain access to another print studio.

linocuts on paper hanging in a drying rack
Behind Closed Doors, linocuts drying at londonprintstudio

4.  Where do you make work now that you’ve graduated? 

After graduating, I continued to make work at LCC Print Club on Saturdays and then once I had gained a new role at londonprintstudio, I used my days off to work in the studio. I spent the majority of my time there exploring linocuts using the Beever Press. I decided to try this method of printing after being very inspired by the work of graphic designer Andrzej Klimowski who I met whilst working there.

Following my time at LPS I started to work within event production and I have since been trying to keep my illustration going as my side hustle. Under the current circumstances I have had to move back to my parents’ place in East Sussex. I have a little desk set up in my bedroom and I am using my time here to work on some commissions and continuing to build up my portfolio. This is a very peculiar time however it has presented a rare opportunity for myself to fully focus on generating some new work, albeit sometimes it is difficult sleeping and working in the same room I feel very lucky to have a space to create.  

5.  Looking back on your time at LCC, what advice would you to yourself, if you could travel back in time?

I would have taken up more opportunities to work on my Adobe and graphic design skills as I do believe this really helps to secure a future career.

I would have also liked to work on more collaborative briefs, such as the Elephant Café Cook Book (which came out so beautifully!). And I wish I had kept an eye out for more competitions set by industry professionals, especially as I had the opportunity to use really valuable facilities.

monoprint and digital image on paper
Mexican Night, monoprint / digital

6.  Where can we see more of your work?  

When I graduated from LCC I took part in the Topolski Artist Residency, work from our final exhibition can be viewed here:@topolskistudio

I was selected to be part of Flock 2018 Graduate Show at Art East Gallery, where I exhibited screen prints from my Les Valaisans series.

I am also in the process of updating my website, and I continue to use Instagram to document my latest work: @natashahowieillustration

Mono Screen Printing

ink painted on a screen

Missing the screen print workshop? I know I am! But don’t worry, there are still ways of working with screen print even without our amazing facilities.

The first method I’m going to show you is mono screenprint.

Mono screenprint is a fun, versatile and spontaneous method of working, leading to some unique creative possibilities by allowing you to work in a playful and gestural way.

Working directly on to the mesh of the screen, it’s possible to paint, sponge, flick, drip and splatter ink, draw with pencils, charcoal and other water-soluble materials, to create unique prints.

overhead image of all equipment and materials required.


  • screen
  • squeegee
  • paper
  • acrylic ink
  • parcel tape or similar
  • ink pots
  • spatulas / spoons
  • brushes
  • sponge
  • water source

Optional, but helpful:

Please see the list of suppliers in the screenprint menu, or get in touch for advice before investing in more expensive items such as screens / squeegees / hinge clamps.

screen with taped border , clamped into place.
screen with taped border, using hinge clamps and board.
  1. Tape a border to create an aperture slightly smaller than your paper size. I have used this white tape but some parcel tapes can be used, such as Scotch 3M and Wilko own brand. I have hinge clamps to keep my screen in position while I print. You could ask a willing housemate to hold it still for you!
using washi tape to mark edges of printing paper
Registration marks using washi tape

2. Position your paper under the screen and mark one corner and one edge, as registration marks. I have used washi tape as the colour makes it easy to see, but you could use masking tape and colour it with a sharpie or similar.

pencil drawing on paper to be used as a guide
rough outline as a guide

3. You could draw a rough outline of the image you want to produce, or even use a photocopy/printout if you need more detail, and place this under the screen.

4. Get your inks ready. Any brand of acrylic will work, but remember you must mix it with at least 50% medium, you can’t use it straight from the tube. There are also ready mixed options available.

Here I have used some empty cake packaging (Thank you Mr.Kipling) as a kind of palette to mix small quantities in. I’ve got a selection of old brushes, sponge, bubble wrap and various other materials to use. Anything that can give you marks and textures is good, but don’t use anything sharp that could damage the screen mesh.

screen propped up
screen propped up away from the paper, using roll of washi tape

5. Prop your screen up slightly so it is not resting directly on the paper or board. I have used my roll of washi tape, but you could use something else.

6. You are ready to start painting!

painted image on the screen with tools
Image painted on the mesh

As acrylic inks dry quite fast so you will need to work fairly quickly. Don’t let the ink dry on the screen! Fill in as much of the mesh as you can. Any empty areas will allow the marks to smudge and drag as you pull the squeegee across. If you want blank areas, just use plain medium to fill in the gaps.

the squeegee positioned ready to print
Medium at the top of the image, ready to print

7. Once you have finished applying the ink, pour some printing medium at the top of the image. Remove the prop (my washi tape) from under the screen to lower it onto the paper. Without flooding the screen, just press down and pull the squeegee towards you to print. Once is enough.

the print on paper being revealed
the print is revealed

8. Lift your screen to reveal the print!

detail of print showing marks and textures
detail of marks and texture

There will now be residue of ink in the mesh, which allows you to print again to create one or two “ghost” prints. These are definitely worth printing as they can be used as a base layer to continue working on top of, with more printed layers, or drawing, or cutting up for collage.

Squeegee positioned to print again
printing the residue with tinted medium

Without flooding the screen, you can either add fresh medium to the top, or as I have done here, scoop up the now tinted medium from the screen and print again.

Scoop up as much ink as you can, and save into a new pot. Don’t throw it away!! It can be used again as a tinted medium, or you could add more acrylic to it to make a new colour.

Now you can choose to wash and dry your screen before starting again, or continue to add more ink.

Here I have carried straight on, using the ghost on the mesh as a rough guide, to create a similar image.

This technique can be used in combination with paper stencils or photo stencils too, or as a base layer for another process. Try drawing with charcoal or graphite sticks on the mesh for more linear work (carefully, don’t press too hard or the mesh might tear!)

For further inspiration, have a look at Katy Binks, Augustine and Bridgland, Charlotte Cornish and Alice Hartley

If you prefer live action, there’s a nice little video by American artist David Manje here .

mixed ink in a pot
Save your ink!

Practice, not perfect. (having a go at making some boxes)

Last February I took part in a box making workshop with our fantastic Book Arts team, and have not found the time since then to put those skills into practice. 

Until now. 

I had a plan in my head to make some boxes to hold teaching samples for our conductive & reactive ink workshops, and thought I would do this during the Easter break, with the help of Tilly and Rahel.

It was not to be. 

A hurried Plan B came into being as we were told we’d be working from home, and that plan was, quickly grab some materials and worry about the rest later.

What could go wrong?

My first task was to take over the kitchen table, and set everything up nice and neatly to try and emulate the serene environment of the @book.arts.workshop. I felt very pleased with myself at this point. I even Instagrammed.

Ariel view of table with tools laid out

I had tools, some materials, the box I’d made a year ago as a reference, and I’d also managed to find my scribbled notes from that workshop. Ready.

First obstacle. No board chopper.

I set to work with a sturdy craft knife and ruler. (carefully and making sure to keep my fingers out of the way of course)

Slow progress but not impossible and soon I was ready to start gluing.


Washable PVA does not dry quickly.

I swapped to a multi purpose PVA, still water based, but thicker and stronger and happy to dry quickly. 

If you only have washable, don’t worry it will work, just much slower.

Image of two types of glue, washable and multi purpose PVA.

Time for covering.

I had brought some book cloth from the workshop, and had some at home already.

Following my notes, and I cut some shapes and made some folds.

I tested the folds, and then had to cut some slightly different shapes.

Glue time again and then, ta-da!!

It’s a bit uneven and the corners look best from a distance, but it worked!

(I’d like to point out that it is meant to be 3 sided, I didn’t just make a ridiculous mistake)

3 sided crate style box, covered with book cloth

And repeat.

3 boxes, covered in book cloth

Time for the case, and I followed the hardcover guide from the book arts workshop.

I found some left over Christmas wrapping paper to line the boxes and the cases.

Old prints or any scrap paper big enough would work well too.

moving image of box being opened

And repeat.

Three boxes ready for filling with examples!

 3 finished boxes, with an example of contents

So, I had a go, I made mistakes, I swore a bit (a lot) and ended up with 3 functional boxes.

They’re not perfect, but they do what they’re supposed to do and more importantly I learnt from the process, with my skills improving with each one.

One last, and well-known tip worth remembering:

Measure twice, cut once.

Or in my case measure twice, and measure again, just to make sure.

box showing wrong measurements by mistake

Keep practicing…..