Category Archives: Printmaking

Featured Graduate: Catia Kelleher

Multiple plate Linocut print made during Return to Make
Multiple plate Linocut print made during Return to Make.

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

I have always loved to draw and paint. Luckily for me, I grew up in a family that have always appreciated creativity from drawing to music to architecture. Therefore, I was absorbed into the art world at a young age. I even remember being in awe at my dad’s watercolour and grandad’s oil paintings that are proudly hung on the walls of my family home. With my work now hanging up on the wall too, it has been become somewhat of a family gallery.

2. How did you get started in printmaking?

I had my introduction into Lino printing at the age of 16 at college and I immediately loved the technicality of the process. Unfortunately, I couldn’t take it much further due to a lack of available facilities. When searching for art universities, I was intrigued to find that LCC had incredible printing equipment and inductions. I was finally able to expand my knowledge of printing into new methods such as screen printing, letterpress, and lithography. Lino is still my favourite print medium, because of the textures it allows me to bring to my work.

Cutting lino blocks during Return to Make. Blocks depict a parrot and a toucan.
Cutting lino blocks during Return to Make.

3. Who are your biggest influences?

I am heavily influenced by modern artists, such as Andy Warhol, Craig Stephens and Jeff Koons. All of whom are artists that take ordinary commercial objects and transform them into art icons. I am inspired by their ability to shed new light on graphic design that we see daily, such as food labels. I find it a shame that they are often overlooked within the art world. A GCSE art project of mine consisted solely of recreating product labelling and all it’s intricate details.

The use of pop art that has been influenced by the culture of advertisements fascinates me as it is a mirror of the society at that time.

I love commercial illustrations and posters from the likes of vintage London Underground advertisements or attraction posters such as the London Zoo. I have an appreciation for dramatic composition and graphic colours – being minimal is not a talent of mine!

In my artwork, I like to experiment a lot with colours and love to show many combinations of complimentary and contrasting features. I admire the colour palettes of Van Gogh, Gauguin, and Matisse.

I have a huge appreciation for nature and have represented it in some of my artwork over the years. Works I have created recently are designed to embrace the diversity of the flora and fauna that are currently at risk due to the declining environmental situation. I am also inspired by my Brazilian heritage and want to bring awareness to the constantly rising dangers that the wonders of the Amazon face.

Editioned screen prints drying on the racks. These prints were made earlier in the course and are inspired by Stanley Kubrick's 2001: A Space Odyssey.
Editioned screen prints drying on the racks. These prints were made earlier in the course and are inspired by Stanley Kubrick’s 2001: A Space Odyssey.

4. Where do you make work now that you’ve graduated? What does your current work setup look like?

This year of 2020 has been a challenge for us all so after completing my studies and graduating during lockdown from my home, it is foggy to try and envision the near future and be motivated to create new pieces. However, during these times, optimism is the best way forward. Recently, I have had the chance to return to the LCC relief printing studio and I have found a new drive of energy to continue creating.

I have a desk set up in my living room with all my supplies, from paints to fabric. Here, I can work away surrounded by posters from exhibitions I have been to over the years. However, I find that inspiration can strike at any time of day. I have the Pocket ProCreate app on my phone to make sketches of ideas that come to mind whilst waiting for the next tube to arrive or my coffee order to be ready. Later, when I’m back at my desk I can then work on these concepts more and develop them further by resketching and painting in colour schemes.

For now, I will be putting my efforts into making as much artwork as I can to upload onto my Instagram account or sell on an Esty shop till more job opportunities open up. 

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

Any free time you get, dedicate it to something brand new or something you want to learn more about. There are always areas to explore in printing and in your own process as you constantly absorb inspirations around you. Expand, learn and develop.

Don’t shy away from opportunities to bring more awareness to your work, exhaust the list.

Finally, while I unwillingly graduated during the Covid-19 pandemic, I would definitely say don’t take the university space and facilities for granted.

Linocut of lemons and limes.
Linocut of lemons and limes.

6. Where can we see more of your work?

I post weekly on my art Instagram account @cm_getscreative where I share the process behind my current projects and then reveal the final pieces.

I also have an online portfolio, which is accessible at

Print Curiosities – No. 1: Paul Peter Piech

By Richard Roberts

Over the coming weeks I’ll be picking out and writing about a variety of print curiosities from my own collection. This post will focus on a Linocut print by Paul Peter Piech, (pronounced Peach), ‘When I Give Food To The Poor They Call Me A Saint, When I Ask Why The Poor Have No Food, They Call Me A Communist’. The Dom Hélder Câmara referred to in the print was a Brazilian Catholic Archbishop who was critical of the military regime of the time.

A framed Linocut print by Paul Peter Piech 1987
Signed Linocut Print – Paul Peter Piech – 1987

Piech (1920-1996) was a prolific printmaker and self-publisher who started out as a graphic designer. He founded his own imprint, Taurus Press, whose purpose, in his own words, was “to stimulate interest in and concern for humanity as a whole. I want to publish only work which I feel does this.” (V&A Archive)

Interestingly, he has a connection to LCC, teaching at the original London College of Printing for a time. In 2013 Four Corners Books, in association with the V&A, published The Graphic World of Paul Peter Piech which reproduced over 120 prints drawn from the collections of the Victoria and Albert Museum and the University of Reading. This book and other Taurus Press publications are held in the LCC Library.

The book cover of The Graphic World of Paul Peter Piech by Four Corners Books.
Four Corners Books – V&A Publishing

In 2016, The People’s History Museum in Manchester staged an exhibition entitled: Dedicated to all Defenders of Human Freedoms: The Art of Paul Peter Piech. A lot of his posters really resonate in these turbulent times so if you haven’t already, go and check him out. Even better, if you feel inspired, how about picking up a V gauge yourself and giving Lino-cutting a go. Go on, you know you want to! On that cheesy note I’ll sign off. Bye for now.

Featured Graduate: Izzy Smithson

Izzy in her studio at Royal College of Art, 2020.
Izzy in her studio at Royal College of Art, 2020.

This week’s Featured Graduate is Izzy Smithson. You may be thinking, hold on, I’ve seen her in the workshop this year! Izzy graduated from the BA Illustration and Visual Media in 2017, and has been working with us ever since. As a Printmaking Support Technician, she supports students across Printmaking and Screenprinting. She is frequently on duty during our popular Saturday Club sessions, and can often be found elbow-deep in ink, alongside many of our dedicated students.

Her work traverses the boundaries of installation, illustration and printmaking, layering autobiographical, found imagery, and gestural mark making on alternative, and often industrial, surfaces.

Tell us about yourself.  How did you get started in printmaking?

I have always been interested in printmaking but have never really had the time or resources to try it until studying my BA. It was at this point where I was brought up to the printmaking workshops by my tutor at the beginning of my third year. Previously I had been in the studios, but not fully dedicated to this way of working. Since the first day of being introduced, I spent every day for the rest of my third year in the printmaking workshops and have been learning and experimenting ever since.

I am an artist and printmaker from London and love to experiment with every print process and have recently been pushing to combine these with installation. I enjoy how printmaking has multiple layers and processes that can be experimented and challenged.

Photo of folded, screen printed publication 'Home', 2020.
Home, 2020 (Screen printed publication).

Who are your biggest influences?

Lubaina Himid & Amy Sillman & Mike Kelly (Educational complex) are my current influences when it comes to my recent work. Through looking at their contextual ideas and experimental ways of making work, I have taken a lot of inspiration from their materiality and focus on narratives.

My grandparents are also some of my biggest influences. Whilst visiting them as children, we would always be occupied by creating art and crafts. They would teach my brothers and I how to draw, paint and collage alongside watching them create their own paintings. Recently I have been creating a project that is based solely around the personal journey to where my grandparents’ house was. I am always interested in the interaction between humans and environments but have been able to use this experience to explore ownership of space, collective memory and journeys of loss.

Where do you make work now?

In 2018, I started my Print MA at the Royal College of Art, where I have been able to access facilities in the printmaking workshops and have a personal studio space to create a lot of work in.

In the current situation, due to COVID-19, I have been working from an office room in my boyfriend’s dads house, trying to create with what I have around me and what can be ordered in. My workspace consists of lots of stuff, as a lot of my work starts off by drawing, collaging and layering with my personal archives and this then progresses into printmaking, installation or whatever fits best.

Photo of Izzy's current set up at home, 2020.
Izzy’s current set up at home, 2020.

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

My time at LCC was influenced heavily by the technicians and friends I made around me. I gained a lot of knowledge and experience from having the technicians around me all the time, enabling me to constantly learn and be experimental. Take advantage of the vast facilities and the knowledge that they all hold, they will always be supportive and try to make your ideas come to life.

If I could go back I would say to not be precious about my work, continually experiment and push myself out of comfort zones. I always make mistakes and make work that doesn’t “work”, but I use this as key learning and motivational points.

Installation photo of 'In Uncertain Water We Are Treading', 2019.
In Uncertain Water We Are Treading, 2019.

How did you get started as a technician?  What’s it like?

I started to train to be a technician in the summer of 2017, just after graduating from LCC. I was given the opportunity to do a traineeship in the printmaking and screen printing workshops, where I gained a huge amount of experience. This then led onto helping to run workshops as part of London Design Festival at LCC, including a live drawing micro-residency. I was being asked back for multiple days to help with workshops and daily running of the studios, before gaining a regular day working as a Printmaking Support Technician, which I have continued whilst studying.

I assist with monthly public workshops at Science Museum with ScreenGrab and volunteered in 2018, for a short time, as a technician at Print Club London.

I love being a technician and find myself learning every day. Not only do I really enjoy printing, but also helping students/printers to bring their ideas to reality and enabling them to experiment and push themselves into new areas.

Installation photo of collage 'Waiting For Something To Come Bite Our Toes', 2019.
Waiting For Something To Come Bite Our Toes, 2019.

Where can we see more of your work?

Most of my work in progress can be seen on my Instagram and more “finished” work on my website.

Instagram: @izzysmithson

Selected Exhibitions Since Graduating

  • 2017 Graduate Show, London College of Communication
  • 2017 Elephant Press, London Design Festival, London
  • 2018 Print Showcase, Royal College of Art
  • 2018 Object Resurrection, Hockney Gallery, Royal College of Art
  • 2018 Sustainable Futures, Dyson Gallery, Royal College of Art
  • 2019 Work In Progress Show, Royal College of Art, Battersea
  • 2020 Against the Grain, Southwark Park Galleries

A note on paper

You get up in the morning, excited to print.  
You’ve been inspired by some AMAZING blogs and web content by your favourite technicians. 
You negotiate with housemates, and commandeer the kitchen table.  
You roll up the ink.  You might have a lino block ready, or a monoprint image to trace.   
You put down your paper, and carefully, press, press, and press.   

And then this happens:  

Photography of a poorly printed monotype of a pigeon.
Pigeon, printed poorly. Monotype, 2020.

That sinking feeling in your chest.  The bitter taste of disappointment.  The desire to give up, and turn on the TV.  Step back.  Breathe.  Try a different paper.  It might make all the difference.   

Here are ten prints, on ten different papers. Monoprinted with a pen, the handle of a wooden spoon, and the back of the spoon. Rolled up the same way each time, and printed off a thin perspex plate.

Left: monoprint on newsprint
Right: monoprint on graph paper

Left: Newsprint,  52gsm.  Nothing will ever print as well as newsprint.  It is smooth, flat, sensitive, and beautiful.  And no, there is no archival, cotton, thicker version of the stuff.  It is going to disintegrate. It is going to fade. I’ve even ripped it, bottom right corner. Truth to materials.  

Right: Graph paper, 60gsm.  Smooth, machine made, wood pulp.  I used this, because I don’t have any plain copier paper at home.  Easy to print, and I love a grid.

Left: monoprint on Simili Japon
Right: monoprint on Zerkall Smooth

Left: Simili Japon, 130gsm.  Made in the Netherlands to look like Japanese woodblock paper, it is high grade pulp, acid free, unbuffered.  Beautifully smooth, very sensitive, highly absorbent.

Right: Zerkall Smooth, 145gsm.  Mould-made, acid free, blended cotton and woodpulp.  A favourite for relief printing, but the increase in weight means a bit more work is required.  Less absorbent. Look at those spoon marks in the flat section!  

Left: monoprint on Somerset Satin
Right: monoprint on Fabriano Eco

Left: Somerset Satin, 300gsm.  Really thick, very lush, 100% cotton paper.  This is the one we recommend in the workshop, but it is HARD WORK if you’re printing any flat section by hand.  This print shows the distinctive surface pattern of a mould made paper.  It is also my fourth attempt on this paper.
Right: Fabriano Eco, 200gsm.  The hard surface of this paper, and the very slight tooth, means that monoprints look quite ‘dry’ and crayon-like.  Completely different when compared to the Somerset. You would not know these were printed with the same ink, and exact rolling technique, except that I’m tell you, it’s true!  

Left: monoprint on Hosho pad
Right: monoprint on Colorplan Smoke

Left: Hosho Pad, 90gsm.  This mid-week Japanese paper has the advantage of being designed to be printed by hand.  Soft, sympathetic, and yielding.  Almost romantic.  
Right: Colourplan Smoke, 270gsm. This GF Smith paper is a favourite amongst graphic designers, and comes in a wide range of colours and weights.  I have two colours, so I printed on both.  

Left: monoprint on Colorplan Harvest
Right: monoprint on unknown paper

Left: Colorplan Harvest, 270gsm.   Sturdy, robust, woodpulp paper, these take quite a lot of work to print a flat area by hand.
Right: Mystery paper, approx. 135gsm.  Some say Fedrigoni, others say GF Smith fluted, this random paper was under my sofa.  It prints beautifully, holding a soft line, and its lighter weight made it much easier to print than its graphic cousins.  

When you have access to the press, you take for granted the pressure, evenness, and ease, that 500 years of careful engineering have produced.  When you only have yourself, and a spoon, you have to embrace the process of uncertainty, and research the familiar in an unfamiliar way.  

Monoprint of a pigeon, printed on Hosho Pad, 90gsm.
Pigeon, again. Monoprint, 2020.

Paper choice matters.  Whether you’re making a book, a print, a drawing, packaging, poster or other publication, the physical qualities of the paper will inform your work, and place it within a wider making narrative.  This is true by press, or by hand.  Sometimes, the best-laid plans are scuppered, and other times, you find yourself pleasantly surprised by the mystery scrap you found underneath the sofa, as I have.  

A print flying off my balcony as I try to take a photograph.

PS. Moments of dissatisfaction and frustration come to us all.  Even when things are going well.  Here is the moment when I take a print onto the balcony to photograph. The wind catches it, and it’s gone.  

PPS. What papers are YOU using? Reply and let us know!

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

Make-at-Home: three hacks for better printmaking

Text written by hand on paper
Text on paper

Making-at-home can present lots of challenges when you are used to a well-stocked workshop. In fact, this period of lockdown has been the longest I have ever been away from a printmaking space, in 20 years. It means working differently, working creatively, and for many of us, working in spaces that were not designed for printmaking.

Four weeks later, here are my three hacks for better printmaking-at-home. These are especially good if you share spaces with others, as I do, and are useful when thinking how you can continue your practice after university.

1. Your window is your lightbox.

Clockwise from top left: photograph, text written by hand on paper, blank paper, ballpoint pen, roll of masking tape

You will need: a window, paper and drawing tool
You could also have: any kind of tape, an image or piece of text you have found, or drawn

Tracing an image onto a piece of paper.  Image and paper are both taped to a window.
Good for tracing a found image, or drawing to make a stencil for screenprinting or monoprinting.
Reverse tracing text on paper.  Paper is taped to a window.
Also good for reversing text for printing.

2. Your drying rack… is your drying rack.

Left: scissors, thread, an assortment of small clips

Right: two clothes drying racks

You will need: a clothes drying rack, clips, string/floss, scissors (careful of the sharp!)
You could also have: lots of clips, lots of string/floss

Photograph of a small bulldog clip tied with string, to a rail on a drying rack.
Clips tied loosely to a rail.
Left: an example of clipping two prints, back-to-back, to the drying rack

Right: a clothes drying rack full of prints
Tip: double your capacity by clipping two prints together, back-to-back

3. Your shopping bags are your paper soaking tray.

Clockwise from left: stack of paper to soak, two clear plastic bags, coloured paper tabs, a clean sponge in a bowl of water

You will need: paper to soak, a water sponge or spray, water, two plastic bags
You could also have: small paper tabs, large and heavy books

Image of paper being sponged with water.
Sponge the bag first, lay a sheet of paper on top, and then gently sponge the top of the paper.
A stack of soaked paper, with coloured paper tabs separating each layer.
Optional: stagger tabs between each sheet of paper. This will help you peel off each sheet as you need them.
A soaked stack of paper, between two plastic bags, underneath a large book.
Place the second bag on top, and then add a big book, or two. This will help with even absorption, and keep your paper from drying out.

Lazy mono printing (and some less lazy upgrades)

Mono print collages

If you enjoy sketches, accidental marks on paper and quick, slightly unpredictable results, this might be a good technique for you. I like it for its immediacy and unexpectedness. I will introduce some variations depending on how messy or organized you want to be and what materials you have available. Feel free to deviate. For some toned-down artistic inspiration, check out Tracey Emin’s early mono prints.

Tools and materials for mono printing

Tools and materials

  • a tile I found
  • a hand roller
  • water-based, non-toxic block printing ink
  • water and kitchen paper to clean
  • paper

No tile? Use a piece of perspex, acrylic or glass (but no shards, please…).

No roller? Use a rectangular piece of thick cardboard to scrape ink across the tile, just like you would use a squeegee.

No block printing ink? Use oil based ink. What is important is that it does not dry too quickly. You can use vegetable oil and kitchen paper to clean it up instead of water. 


Cover your work station in old newspaper or other waste paper (see Ling’s Top Tips for Saving Paper). Now ink up your entire tile. You want a thin, even layer coating the entire surface.

Inked up tile

Lay a thin sheet of paper on top of the tile. Ink will transfer onto your paper through pressure: this can be pressure from your hand and fingers, pencils, toothpicks, bone folders, or any mark making tool you want to try. Experiment with pressure, try drawing with different pencils and mark-making tools. Even a screw will do (but mind the sharp)! 

When you are finished, peel the paper off the tile. You will notice that marks appear wherever you touched the paper during drawing, and that the result is mirrored.

Draw – peel off – reveal

Are you worried about the pencil marks on the back of your paper? Understandable. You can use a thin sheet of paper on top of your final sheet, and use this as your drawing surface. This sheet could already have a sketch or a mirrored printout on it that you can now trace. Use some masking tape to create a hinge that allows you to flip your drawing paper over. That way, you can easily recreate the same drawing a few times.

Trace template – peel off – reveal


Depending on the type of ink you have been using, the cleaning will differ. Always check the packaging for cleaning instructions. For my block printing ink, water is enough to clean my equipment. Loosen the ink by pouring a little bit of water onto the tile and distributing it with the roller. Get rid of the majority of ink and water on your roller by running it across a piece of waste paper.

More tips

Don’t forget to let your prints dry. Depending on the ink you were using, this will take different amounts of time. 

You can touch a print carefully with your little finger to check if ink is still coming off.

To level up this technique, you could ink up a large sheet of perspex rather than a tile. Try inking up with several colours at once. Especially if you are working on a larger piece of paper, fix it to your work surface with some tape that won’t damage the paper to keep it in place. The more hands-free you can work, the better you can control your outcome. 

For some inspiration on how this technique can be applied in a much neater and beautiful way, have a look at Tanaka Mazivanhanga’s mono prints on her website.

Featured Graduate: Vytenis Semenas

Vito printing in the workshops at LCC, 2018.
Vito printing in the workshops at LCC, 2018.

Vito Semenas graduated in 2019 from BA Illustration and Visual Media (IVM). His work involves intricately carved and carefully printed linocuts and engravings, that draw inspiration from different mark-making languages and cultures. In this first Featured Grad post, he talks about how he has continued his practice after graduating from LCC.

Tell us about yourself.  Have you always made art?

I believe visual art is one of defining characteristics of the human species. As far as I can remember I have been always doing some form of visual art. Whether it was experimenting with photography or drawing anime illustrations, art has always been a big part of my life.

The body of my work contains different techniques and styles developed over the time; it can be described as a catalogue of my life. So the answer is yes: I have been doing art my whole my life whether it was intentional or not.

The Metamorphosis, 2018. 
Linocut on Somerset Velvet Newsprint.
The Metamorphosis, 2018.

How did you get started in printmaking?

During the first year in LCC, where I was studying Illustration and Visual Media, I tried numerous techniques of illustration and printmaking, just to get to know what would benefit me in professional practice. I even tried to do a digital paintings as this style of art was always fascinating to me. However, I was not able to achieve the results I was aiming at. For that reason, I kept looking for other ways of expressing myself.

In the meantime, my love for printmaking was growing extremely fast. I decided to create a series of lino carvings during the summer holidays hoping that it would help me to prepare and improve my portfolio for the upcoming year. At the time lino printing technique looked easily accessible and most affordable technique if I had to work from home.

What influences your artwork?

An artist might be inspired by one painting, a body of work, or even an entire style of art.

Finding influences and connections between artists is an important to the art I create. For me it is important that the conversation of art continues and new intuitions about art can be made whilst looking from different viewers perspectives. My illustrations are based around the idea of utilising fine line work and geometrical shapes combined with the various allegorical meanings and symbolism to books, mythology-religion, movies, personal experiences and so on. The biggest influences of my style have been my obsession with the patterns and naturalism that could be found in the nature. Sometimes influence comes by examining the descriptive attributes of art other people create. However, finding influences is a sophisticated process that involves studying.

The Story of Two Mountains, 2020.  
Linocut on Fabriano Avorio.
The Story of Two Mountains, 2020.

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

My dream and goal always were to set up my own little print studio at home. In the meantime, I was lucky to win the Thames -Side Print Studio New Graduate Prize. I also was nominated for a Royal Academy printmaking fellowship. These opportunities provide me with the access to printmaking studios 3 days a week which is more than enough knowing how slow engraving and carving techniques could be. I illustrate, plan and design my pieces at home. I also carve my blocks at home in order not to waste that precious studio time.

Planning is very important and for that reason I record my work time by using designed apps for time tracking. This comes really handy calculating how long it took me to carve each piece and makes it easier to decide on a sales price.

Photograph of Vito at Thames-Side Print Studio, holding a lino block, in front of a press.
Vito at Thames-Side Print Studio.

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

The time at LCC was the best part of my life. I gained a lot of knowledge, met a lot of amazing artists and field professionals. It also opened the doors to a lot of exciting new projects and opportunities.

I am happy that I tried so many different medias and that would be my advice to everyone studying at LCC: try as many different things as possible! Experiment and don’t be afraid of failure. That would be the advice I would give myself: is to not be afraid of things not turning out the way I was planning, because everything happens for a reason.

The Arrow Maiden, 2019. 
Linocut on Somerset Velvet Newsprint.
The Arrow Maiden, 2019.

Where can we see more of your work? 

Most of my work can be found on my Instagram profile and website, which also serves as a e-shop and portfolio.

Instagram: @wild_stork

Selected Exhibitions
2019 Final Degree Show UAL, London College of Communication
2019 WOWxWOW- ‘’Monochromagic 2’’
2019 WoWxWOW- ‘’Eternity’s Engine’’
2019 National Original Print Exhibition, London
2019 Woolwich Contemporary Print Fair, London
2019 The Masters Relief, Bankside Gallery, London