In the UK, printmaking continues to be a beloved art form. Our friends attribute its popularity to a deep connection with cultural heritage, the slower pace of life, and a genuine appreciation for artistic craftsmanship. Having lived in Bristol for two years, we have had the chance to interact with numerous printmaking artists who have generously shared their knowledge and expertise and introduced us to a wide range of tools, paints, papers, and studios. They identified themselves as printmakers, embracing their role as creators in this field.
我們的版畫以Lino塑膠版平版單色印製；繼續沿用日本雕刻刀，也會用到版畫師最喜歡的瑞士牌子Pfeil；顏料是英國製的Cranfield油性無毒顏料，可用肥皂清洗，清潔容易這一點非常重要；至於紙材則偏好傳統英國製Somerset printmaking paper 300gsm、velvet soft white，愛它光滑實在。我們印刷一般都是在自己的工房進行，也幸運地到過當地辦學藝術中心Spike Print Studio交流印畫，他們有各種傳統印刷工具，版畫印製主要用的是1842年London出產的Albion Press壓印機，印製較大篇幅的版畫也沒問題。使用這部歷史悠久的壓印機，會有一種原始性的精神和美好在內。
In our printmaking practice, we employ the linoleum relief printing technique, focusing on creating monochrome prints. We use both Japanese carving knives and the renowned Swiss brand Pfeil carving knives which are highly favored by printmakers. For our color palette, we rely on oil-based paints from Cranfield, a reputable British manufacturer. These paints are non-toxic and easily cleaned with soap—an essential consideration in our artistic process. When it comes to paper selection, we have a preference for the traditional Somerset printmaking paper, a 300gsm velvet soft white, known for its smooth texture. Typically, we conduct our printing in our own studio. We have also been fortunate enough to have visited the local art center, Spike Print Studio, for collaborative ventures. The establishment houses an array of traditional printing tools, and for the printmaking process, they primarily utilize the Albion Press. Produced in London in 1842, this historic printing press allows for the production of larger-scale prints. Working with it evokes a sense of raw spirit and inherent beauty.
For creators, the closer they are to the source of the materials they use, the more they can invest their hearts and passion into their work. Knowing that, here in the city, there is a thriving community dedicated to craftsmanship and the preservation of traditional skills, it becomes a source of immense joy and inspiration, propelling you forward in your artistic journey.
We use printmaking as a medium to document life. Sometimes, we ponder if printmaking itself is not our art, but rather a reflection of the very essence of our lives. It is through printmaking that we interpret and exhibit this essence. What captivates us about printmaking is its ability to create stark, direct, and powerful imagery through the use of black and white. In the simplicity of these two tones, we see the interplay of light and shadow, leaving a lasting impression in our minds.
去年夏天，我們把生活日常見過的樹，安靜屹立在眼前的那個景象，甚至曾經被感召的一刻，用細緻的線條以鉛筆畫描繪記錄，再轉成版畫，作品曾展示於香港的Parallel Space Gallery和英國的Kingshill House。那個創作過程比起過往的方式，更像是一趟靜觀內視的經歷，重複而細微的描繪與雕刻的動作讓我們著迷。這種無法停止，然後不停前進、創作、經歷的感覺，正是在這個城市中從事工藝創作的人身上常有的，或許大家都能（與生命本質相連的方法）以雙手創作出屬於自己感知得來的作品。難怪這邊的工藝師經常可以如此專注地將生命投放在一項工藝之上，那一定是一種深刻的連結。
Last summer, we embarked on a creative journey to capture the beauty of the trees we encountered in our daily lives. Whether it was the serene and majestic presence of towering trees or moments that profoundly moved us, we depicted them through pencil drawings and then transformed them into prints. These works were exhibited at both the Parallel Space Gallery in Hong Kong and Kingshill House in the UK. The creative process itself was like a contemplative introspection, involving repetitive and delicate actions of drawing and carving which deeply fascinated us. It felt like an unstoppable journey, continuously moving forward through the act of creation and the experiences it brought. This journey is not unique to us alone; it is a shared experience among artisans in this city. There is a common thread of connecting with the essence of life through our hands and creating works that are deeply personal and meaningful. It is no wonder that artisans here devote themselves so wholeheartedly to their crafts—it is a profound connection that drives their dedication.
版畫創作在英國之普遍，也讓我們展開了與當地創作人的連繫和溝通。我們分別以版畫設計參與過幾個不同單位的合作，如當地Farm to table的活動圖像；英國Road Rat Magazine內的某一個專欄插畫；本地Forest Bakery的logo設計，還有我們剛完成在英國的第一場版畫工作坊。漸漸感覺到，那條maker的根，又再向外生長一點和深入一點。
The vibrant printmaking community in the UK has provided us with valuable opportunities to forge connections and engage with local artists. We have collaborated on print design projects with various organizations. For instance, we have created visuals for local Farm to Table events, contributed illustrations to a column in the British magazine Road Rat, designed a logo for the Forest Bakery, and recently conducted our first printmaking workshop in the UK. With each collaboration, we sense our identity as creators taking root and spreading its branches, a sense of belonging slowly growing.
