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Drypoint is an intaglio printmaking technique which involves incising fine lines into a plate using a sharp point.  This process creates a slightly raised edge to the line called a burr. When the plate is inked intaglio and wiped, this burr holds the ink and gives the print a distinctive velvety look. This burr is delicate and repeated printing will flatten it. For this reason, only small editions are produced, stopping before the burr is crushed. I often combine my drypoints with woodcut, linocut, monotype and collagraph plates.


Collagraphy is a very versatile printmaking technique which involves applying textures to a plate that can be printed either intaglio, relief or combination of both. I use offcuts of mountboard for my base and apply paints, recycled papers and reused fabrics to create the plate for printing.   


Mokulito is a planographic technique similar to stone lithography, but  it uses wood as the plate instead of limestone. It was developed in Japan by Professor Seishi Ozaku in the 1970’s under the name Mokurito. Unlike traditional stone lithography, each print pulled will vary slightly due to the absorption qualities of the wooden plate.  The dominance of the wood grain and its unique pattern all add to the final image and this will vary depending on the type of wood selected for use.


Mokulito is an exciting and transformative process which produces a small number of unique limited edition prints. This is in part due to the wooden plate degrading during the inking process and the unpredictable nature of using wood. In my work I like to use reclaimed wood where possible and add additional layers of linocut or monotype.. 

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