When I look at wildlife, I see exciting shapes, colour arrangements and endless possibilities for creating interesting compositions.
My aim is to capture the defining characteristics of each animal in simplified straights and curves; to make up a final design of satisfying geometry and colour combinations.
A pencil, drafting compass and ruler are my go-to tools to begin the sketching process, before moving onto my laptop to translate the illustration digitally.
After the animal is complete, I illustrate the skeleton using anatomical diagrams, books and online resources for reference. This intricate layer represents the true anatomy of the animal, whilst contrasting the bold, geometric animal beneath.
We develop our colour palette layer-by-layer to make up the final print. We strive to find the perfect background colour that ties in with both the animal’s habitat and the other prints in the series.
I’ve always had a very meticulous and detailed approach to my printmaking. The exciting process is messy yet clean, frustrating yet rewarding.
In order to do Ed’s illustrations justice, I’m striving for the most accurate outcome when creating each and every edition of screen prints.
Once Ed finishes illustrating a species, he sends me the files and we’ll work together to separate the illustration into layers. These layers are digitally printed in black ink onto transparent acetates, then used to expose the mesh screen print screens with light sensitive chemicals.
After the screen has been exposed, it’s onto colour mixing. The art of colour mixing is a time consuming process where you need natural sunlight to properly assess the colours (living in Scotland during winter doesn’t make this process very easy).
The screen is then mounted onto the printing press and the paper is aligned underneath. I use a palette knife to spread the ink across the bottom of the screen, then use the squeegee to both ‘flood’ and ‘pull’ ink through the screen, transferring it through the mesh onto the paper below.
The backgrounds are always printed first, with the layers built up on top of one another which make up the final print (there is a high chance of misprinting somewhere along the line!) Once the whole edition is complete, the prints are trimmed, numbered and finally embossed with our logo.
There is something satisfying about the process going from hand-drawn to digital illustration to hand-printed. From start to finish, our process is a true labour of love.Explore Prints