Artist Interview: Venetia Higgins' Amazon Rainforest Collection

 

There are few studios more inspiring, or more challenging, than the heart of the Peruvian Amazon Rainforest. For artist Venetia Higgins, two months spent painting at the Manu Learning Centre became far more than an ambitious artistic expedition. It was an opportunity to reconnect with a place that had shaped her years earlier, celebrate one of the world's richest ecosystems, and use art as a powerful tool for conservation.

Working exclusively on Bockingford® Cold Pressed White 425gsm paper, Venetia created an extraordinary collection of paintings featuring endangered and iconic species from the Manu Biosphere Reserve. 

Watercolour miniatures by Venetia Higgins
on Bockingford

From chance encounters with armadillos, tapirs and tree snakes to the practical challenges of painting in tropical humidity and racing against sudden rainforest downpours, every artwork tells the story of a remarkable landscape and the ongoing efforts to protect it.

Ahead of the collection's launch, we spoke to Venetia about returning to the Amazon fourteen years after her first visit, the wildlife that captured her imagination, why careful paper preparation proved essential in the rainforest, and how this deeply personal project became a celebration of both ecological restoration and the restorative power of creativity.

What a great adventure spending two months painting in the Peruvian Amazon - how did this ambitious project first come about?

Before becoming a full-time artist and curator, I worked in the non-profit sector, fundraising for wildlife conservation through major art campaigns and exhibitions. Ever since making the leap into freelance life, I've wanted to bring those two worlds back together - to create medieval-inspired art that not only celebrates the natural world but actively helps protect it.

This dream project began when I was 18. I spent two months volunteering with the Crees Foundation for Manu in the Peruvian Amazon, helping ecologists survey biodiversity in the Manu Biosphere Reserve. Living in one of the most biodiverse places on Earth, surrounded by extraordinary wildlife, left a lasting mark on me, and for the last fourteen years I've been searching for a way to return.

Last year I finally reached out to the foundation with an ambitious proposal: to paint more than 120 species found in the reserve and create a collection that would raise both awareness and funds for its protection. Fifty percent of every sale will go directly back into the Crees Foundation for Manu's conservation work.

Thankfully, they loved the idea - and that's where the adventure began.

The Manu Learning Centre is known as a remarkable example of rainforest restoration and biodiversity recovery. What was it like witnessing that story first hand?

It's honestly hard to put into words. Standing in the middle of the rainforest, surrounded by the sights, smells and sounds of abundant wildlife, it's almost impossible to imagine that the Manu Learning Centre sits on land that was once heavily logged and degraded.

Over the last two decades, passive regeneration and long-term scientific monitoring have transformed it into a thriving ecosystem once again (the Crees Foundation for Manu have managed to get the area back to 87% of its original biodiversity levels!). Every dawn was filled with choruses, and the camera traps were constantly revealing tapirs, jaguars and ocelots returning to the forest. It made me realise that restoration isn't just about planting trees - it's about rebuilding an entire ecosystem.

As an artist, that was incredibly inspiring. I wasn't simply painting beautiful species; I was painting the success of decades of conservation work and proof that, with patience and long-term commitment, damaged landscapes really can recover. That's a message I hope people see in every piece I created.

What was your process for selecting and researching the 120+ endangered species featured in the series?

Narrowing it down was by far the hardest part. The Manu Biosphere Reserve is home to thousands of species, yet I somehow had to choose just 123.

I started by working through the Crees Foundation for Manu's biodiversity records since 2011 and created a longlist of 1,000 species. But in the end, I let the rainforest decide.

Every day seemed to bring a new encounter that completely reshuffled my priorities. I woke one morning to find a nine-banded armadillo wandering outside my room, so I painted him that very day. The next morning, we found fresh tapir tracks on one of the forest trails, so a tapir moved onto the paper. Then a blunt-headed tree snake attempted to slither into my bedroom, which rather insisted on becoming a portrait. One afternoon we discovered three tiny tent-making bats tucked inside a folded banana leaf in the garden, and there was no way they weren't making the series.

Very quickly I stopped looking at spreadsheets and started paying attention to what was happening around me. The forest became my curator, and I realised I wasn't just using biodiversity data - I was collecting my own.

Were there any animals that became personal favourites during the project?

Oh, so many! It's impossible to spend time somewhere like Manu without becoming emotionally attached to certain species.

One of the most special was a resident sloth called Gavin - later renamed Gavina after the team realised she'd been misidentified! I'd first met her when I was 18, and she'd become something of a mascot for the Crees Foundation for Manu. Sadly, she passed away shortly before I returned, so painting her felt like a special tribute.

Then there was the rainbow boa. One of the volunteers woke up one morning to discover a 2.6-metre snakeskin hanging above her mosquito net! We spent the next few days searching the lodge, knowing this enormous snake was still somewhere nearby. We could SMELL that it was still there, but never actually found it! I absolutely loved painting it that day because every brushstroke added to the excitement, anticipation and just a tiny bit of fear that surrounded the whole experience!

The endangered species were perhaps the most meaningful, though. Giant otters, jaguars, emperor tamarins, harpy eagles and black caimans all face increasing threats, so it's incredibly rewarding knowing the paintings don't just celebrate them - they'll also help protect them.

Which paper did you find worked best in the challenging environment of the rainforest?

Watercolour miniatures by Venetia Higgins
on Bockingford

For the entire project, I used Bockingford Cold Pressed White 425gsm, which was absolutely superb. It's an incredibly robust paper with a beautiful surface texture that really complemented the rich colours and intricate textures of the rainforest. Whether I was painting the iridescence of a butterfly's wing or the coarse fur of a giant anteater, it handled everything I threw at it.

What advice would you give artists hoping to paint in tropical or high-humidity environments?

The rainforest is just as much of a challenge as it is an inspiration! Before I left, the team at St Cuthbert's Mill gave me brilliant advice: pre-cut the paper and store it in airtight containers with silica gel. It sounds obsessive, but it completely prevented the paper from mottling in the humidity.

My other piece of advice is to always have one eye on the sky. Tropical storms appear with almost no warning, and rainforest lodges rarely have windows. I'd often be halfway through a painting in glorious sunshine before suddenly sprinting to rescue my paints and paper from a wall of rain. You quickly learn to paint efficiently - and to pack away even faster!

Was there a moment during the trip when the project took on a deeper significance than you had initially anticipated?

Absolutely. I thought I was travelling to the Amazon to create a body of work, but in many ways the rainforest restored me too.

The year beforehand had been incredibly difficult health-wise, and I only travelled after getting the all-clear from my consultants. I had to bring my medication in a specially designed cooling bag (a logistical challenge when you only have access to electricity for two hours every two days!).

What I hadn't expected was how much I needed to disconnect. I switched off WhatsApp, kept a journal every day, and immersed myself completely in life at the Manu Learning Centre. I made wonderful friendships with the local Quechua, Peruvian and Colombian staff, whose warmth and knowledge became one of the highlights of the trip.

Life wasn't exactly luxurious - there were mosquito bites, venomous species at every turn, exhausting treks and tropical storms - but I loved every second of it. When it was time to leave, I cried for nearly two hours. Those months reminded me how restorative it is to slow down, be fully present and spend time in a place so full of life. The paintings became more than wildlife portraits - they're a record of one of the happiest periods of my life.

When is the collection launching and how will people be able to buy the artworks or support the project?

I honestly can't believe I'm nearly there! Creating 123 paintings has been an enormous undertaking, but seeing the collection come together has made every late night worthwhile.

I've also collaborated with Antony James Hughes, who has handcrafted every frame from reclaimed timber and hand-gilded them. Each frame is engraved on the back with the species name, IUCN conservation status and where that animal was encountered, so every piece carries its own story.

The artworks will be available to purchase from 3 September 2026, when the complete collection will be exhibited together for the first time at The Gallery at Green & Stone in London (3–9 September 2026).

Each framed painting is priced at £375 (including worldwide postage), with 50% of every sale donated directly to the Crees Foundation for Manu. We'll also be running a raffle to win a bespoke painting of any animal, with 50% of all raffle proceeds going directly to Crees.

The entire project is built around one simple idea: that art can be a genuine force for conservation.

Please follow Venetia on Instagram for updates on the collection launch: @venetiahiggins

Venetia Higgins is a freelance artist & curator inspired by all things medieval and folk. Find out more about Venetia’s artwork via her links: 

www.venetiahiggins.co.uk 

www.instagram.com/venetiahiggins/

Find out more about Crees Manu:

www.crees-manu.org

www.instagram.com/crees.manu

To learn more about our Bockingford® range, visit our website. 

Artist Interview: Daniel Lopez on Saunders Waterford® Rolls

 

Spanish-born artist and Ambassador Daniel Lopez creates expressive, large-scale watercolours that capture the atmosphere and rhythm of contemporary urban life. Working with fluid washes, bold mark-making and the luminous white of the paper, his paintings demonstrate both the expressive freedom and technical precision that watercolour demands.

Now based in Birmingham, UK, Daniel runs painting workshops, as well as retreats in Portugal and the UK. He received First Prize at the Royal Birmingham Society of Artists Watercolour Prize (2025) for his watercolour painting 'San Vicente de la Barquera'.

An important part of Daniel's practice is his use of Saunders Waterford® rolls, which allow him to work beyond the limitations of standard sheet sizes. Their flexibility enables him to create custom formats for each series, while the paper's strength, stability, and responsive surface support his ambitious approach to scale and technique.

We spoke to Daniel about his journey with watercolour, what continues to inspire him about the medium, and how Saunders Waterford® rolls have become an essential part of his creative process.

'Act Together for a Cleaner Birmingham' by Daniel Lopez 
on Saunders Waterford

What first attracted you to watercolour as your primary medium, and what keeps you excited about it today?

It was partly circumstantial, but also driven by my desire to adapt and challenge myself. I first fell in love with watercolour as a student at art school. In 2009, I was very fortunate to receive a scholarship to attend a workshop with Aurora Charlo, and I was deeply impressed by the freedom and expressive power of the medium. As a young student, I became obsessed with it. I wanted to be able to control and “dominate” water in that way, so I studied it very intensively.

'Red Shed, Wernog Wood' en plein air by Daniel Lopez
on Saunders Waterford

However, I later put watercolour aside while at university, where my projects expanded into other mediums. I continued painting, mainly in oils, but also explored sculpture and installation. Around that time, I was awarded another scholarship to study in Cuba for a year, where I focused on ceramics, another complex discipline that requires a great deal of focus and dedication to master. I’ve always been drawn to technically demanding mediums, as I’m very interested in developing a strong command of my artistic language.

'La Latina (Fragment)' by Daniel Lopez
on Saunders Waterford

When I came to England, initially just to learn English, I didn’t have a proper studio space. Watercolour became the perfect medium because I could work anywhere. I returned to it and quickly fell in love again. Later, when I established my own studio, I naturally continued exploring the medium more deeply, pushing into larger formats. Over time, it simply became my primary medium, as it is today. That said, I still work across different mediums depending on the project - each body of work demands its own language.

'The Infinite of the Ocean, Ilha do Farol' by Daniel Lopez
on Saunders Waterford

What continues to excite me about watercolour is how alert it keeps you. I love its expressiveness and fluidity, and its transparent nature. You’re always working with the light coming from the paper; there’s nowhere to hide. It’s pure, natural, and spontaneous, with infinite possibilities. It teaches you both control and surrender at the same time.

It’s also such a delicate medium, which makes it exciting to push contrasts, transparency versus opacity, watermarks versus bold brushstrokes, the untouched white of the paper versus strong, expressive marks. And I have a particular love for the paper itself - its texture, its whiteness, its presence. I like to expose and celebrate its nature as part of the work.

What qualities of Saunders Waterford® help you achieve the effects you’re looking for in your large-scale urban watercolours?

Saunders Waterford is my favourite watercolour paper for several reasons. It’s incredibly stable, so I often don’t need to fully stretch it. It absorbs a large amount of water and holds humidity exceptionally well, yet it still dries flat, even when only “soft-stretched” using solvent-free craft paper tape. This allows me to preserve the natural deckled edges and white borders when I want to, which helps me further emphasise the beauty of the material itself.

Another quality I really value is its surface. It has a softness to the touch that feels better than any other paper I’ve used, especially when applying dry brush techniques. The way the brush interacts with the surface gives me a level of control and sensitivity that is essential to my work.

Why do you choose Saunders Waterford® rolls instead of individual sheets or blocks for certain projects?

The main reason is scale. I love working in large formats, and the rolls allow me to create works up to 1.5 metres high and even up to 10 metres long. That flexibility is incredibly important for my practice.

I do use full sheets regularly, but rolls give me much more freedom. I can cut the paper to any ratio I need. For example, I often work in square formats, preparing batches like ten 90 x 90 cm sheets for a specific series. That wouldn’t be possible with standard full sheets, so rolls are essential for that level of flexibility.

When preparing a large painting from a paper roll, what steps do you take before applying paint?

It depends on the format I’m aiming for. Usually, I cut batches of paper into large, consistent formats and store them flat on my planner. This allows me to work across different series efficiently.

For larger-scale works, I sometimes mount the paper onto stretcher bars, similar to a canvas. This approach gives the piece a more painterly presence and avoids the practical challenges of framing and transporting works under glass - especially for pieces over 120 cm.

The stretching process itself is also very helpful when working at that scale, as it stabilises the surface while painting. Once the work is complete, I finish it with varnish or wax. This protects the surface from UV light, water damage, and dust, making the piece more durable while maintaining its visual qualities.

 

'Plaza Mayor, Madrid' by Daniel Lopez
on Saunders Waterford

 

                                                                    

Watch the video! (https://www.instagram.com/p/DWglkmtisKm/)

Links 

To see more of Daniel’s work, visit his links:

daniellopezstudio.bigcartel.com

www.instagram.com/daniel.lopez.artstudio

To find out more about our Saunders Waterford® range, visit our website.

'Fish Market, Olhäo' by Daniel Lopez
on Saunders Waterford

Artist Interview: Scott O'Rourke

 

Artist Scott O'Rourke creates striking original prints that balance technical mastery with a strong sense of place and storytelling. Through his distinctive approach to printmaking, Scott explores the character of the landscapes, structures and environments that inspire him, translating observation and experience into richly detailed printed works.

Based in Norway, Scott O'Rourke is a multidisciplinary artist whose practice spans printmaking, painting, drawing and collage. Alongside his own creative work, he is a Printmaking Technician at KHiO in Oslo and is an alumnus of the Royal College of Art.

We asked Scott about his experience with printmaking and how his choice of Somerset® paper supports his work:

'The Annointed' by Scott O'Rourke
2022, etching on Somerset Velvet Soft White

How did your journey into printmaking begin, and what first drew you to the medium?

My printmaking journey began at college making drypoints onto plastic sheets, I was doing a lot of ink drawing and it was starting to look a bit flat. My tutor Max Middleton suggested intaglio would be good for me to try. I was hooked from the first reveal as it come out of the press.

I found that the process was a generous one in that it added another dimension to my mark-making. Pretty soon I was taking these plastic drypoint sheets into the life drawing classes instead of traditional paper.

'Eden' by Scott O'Rourke, etching
on Somerset Velvet White

Where do you most often find inspiration for your prints?

I get a lot of inspiration from the nature in Norway where I live. I find it so dense and fascinating, so I work towards combining the landscape with the figure and not have it recede into the background.

Alongside this, I read a lot of books and essays about biology, plant and animal life, and the natural world which helps me rethink about our relationship to our ecosystem.

How do you approach composition when creating larger or more detailed prints?

I try not to plan too much with each piece, as I can then start to ‘over-think’ and second guess my actions; this can slow me down or drag me into a lot of self doubt.

I will have a few simple motifs or discoveries I’ve made in the sketchbooks that I feel can be expanded through Intaglio processes with which to begin. After a certain period of time, the initial ideas will fail; it’s never a smooth journey, and this reinforces my belief that there is no such thing as mistakes. At this point, it becomes about trying to identify the nature of the image and what it needs in order to progress further. In these small decisions and decisive moments, this is where I feel my research, experience, skills and approach then engage with the piece to transcend the original ideas.

What do you enjoy about working with Somerset®  paper for your prints, and how does it complement your printmaking style and techniques?

Etching can be a bit unpredictable, and the way I work thrives on an element of surprise, so it really helps to have a paper that is dependable and gives consistently great results like Somerset Velvet and Somerset Satin.

I don’t have to doubt the paper; it is versatile and can withstand multiple soakings, which allows for a lot of experimentation. A lot of my work revolves around surface, and Somerset paper is definitely part of that conversation.

'The Mouth is the Prototype of all prisons' by Scott O’Rourke, 2024,
etching on Somerset Satin roll. Photo credit: Norsk Grafikere

What do you enjoy most about printing on Somerset® rolls, and what first drew you to using them in your practice?

I needed a large-scale heavy cotton paper to print my 2 metre long etching plate on, and a Somerset roll was, in my mind the only choice.

'Mutations' exhibition installation at Norsk Ghrafikere Gallery, 2024
Photo credit: Norsk Grafikere

'The First Hippy' by Scott O'Rourke, 2026,
etching on Somerset velvet Soft White

Links

To see more of Scott O’Rourke’s work, visit these links:

www.instagram.com/scottorourkestudio/

www.fineart.no/kunstner/scott-o-rourke 

norske-grafikere.no/produktkategori/orourke-scott/

To learn more about our Somerset® range, visit our website.

 

Artist Interview: Mark Buck on Millford

 

Mark Buck RSMA is an acclaimed plein air artist known for his energetic watercolour paintings, often featuring Porthmadog harbour, the Ffestiniog Railway, and North Wales landscapes.

A member of the Royal Society of Marine Artists, he specialises in capturing light, reflections, and maritime scenes on Millford paper made by St Cuthberts Mill.

Mark is represented by galleries on the Isle of Wight, Swanage and Petworth, UK, and has exhibited with The Royal Watercolour Society, The Royal Society of Marine Artists, Plas Brondanw Gallery and The TALP Open Exhibition at Patchings. In 2022, his watercolour, ‘Porthmadog Quayside’, was awarded the Artist Purchase Prize.

'Porthmadog Quayside' by Mark Buck
on Millford

We asked Mark about his experience with watercolour and how his choice of Millford paper supports his work:

'Waiting at the Crossing' by Mark Buck
on Millford

You originally trained in illustration at art college - how did your journey evolve from illustration into becoming a plein air watercolour painter?

I don’t like fumes, so watercolour was my natural medium. I used gouache mostly before art college, but liked the transparency, speed and marks of pure watercolour. 

I wanted my work to be less about finding a clever idea and more an observation. Plein air allows me to interpret what is in front of me and I let this be my inspiration. It is so relaxing.

'Ffestiniog Railway Morning Steam' by Mark Buck
on Millford

I enjoyed illustrating for theatrical posters and events and found I could do a better job if I designed them first. With these skills, I was more of an art director who had great ideas and could draw fast.

In the days before the web, I would visualise my ideas from my imagination and from life. All I did was draw 8 hours a day, everything and anything. Clients would ask to keep my original drawings, and I thought perhaps I could sell my work in a gallery situation. It seems in advertising, copywriters are aspiring writers, and art directors want to be fine artists.

Travel seems central to your practice - from Venice to the UK coastline. How do different locations shape your artistic voice? 

'Porthmadog Harbour'  April 2026 plein air
by Mark Buck on Millford

Sailing has always been a primary interest; we sailed the family boat around the coasts of Great Britain, Ireland and France. On arriving at port, I would explore with my sketchbook in hand. 

I like the way the water acts with the structures it meets: waves hitting rocks, a receding sea leaving boats scattered at jaunty angles, reflections of masts and rigging dancing in the rippling harbour water. Contra-jour sparkles of bright sunlight on water, flickering and flowing.

I like the industry, fixing boats, bringing in the catch, rigging up, adjusting ropes. The sailing of boats. The tension of the sails and the energy of passing through water.

It is so much better when you are there watching. I just go where I can find all this and some paint-drying sunshine.

'Heavy Seas' by Mark Buck on Millford

Many artists talk about the importance of paper in watercolour. What does Millford enable you to achieve that other papers don’t?

Millford has a lot of size, the paint stays on the surface for longer. I can work the colours for longer, add more paint or water, remove colour, even getting back to white.

When it dries, the intensity is close to the wet colour and vibrant.

My work looks best on Millford!

'Rounding the Headand' by Mark Buck
on Millford

For artists unfamiliar with it, how would you describe the experience of painting on Millford?

Millford is great for mark making, however you do need some experience with watery mixes. But try a bit with a great brush, a creamy mix and a bit of stealth, and it will amaze you.

Links

See more of Mark Buck’s work via these links:

markbuck.myportfolio.com 

www.facebook.com/markbuckart

www.instagram.com/markbuckart 

To learn more about our Millford range, visit our website.

'Porthmadog Harbour' 2025 plein air by Mark Buck

Giant Print at Inked Print Festival – with Jemma Gunning

 

'The Forest' giant print on Somerset® Book 175gsm

At this year’s INKED Print Festival in the Forest of Dean, UK, members of the Bristol Print Collective came together to create an ambitious large-scale collaborative relief print that celebrated the forest as a rich, living environment. Led by printmaker Jemma Gunning alongside fellow collective members Victoria Willmott, Sonja Burniston, John Coe and Theo Wang, the project invited festival visitors to take part in carving a giant lino block inspired by the textures, wildlife and layered canopy of the surrounding woodland.

The result was a print shaped not only by the artists’ vision, but by the many hands that helped bring it to life over the course of the festival.

In this interview, Jemma shares how the collective planned and carved the large relief, the technical considerations involved in printing at such scale, and how collaboration and community played a central role in the project. The finished work, 'The Forest', was printed on Somerset® Book 175gsm White paper, which helped capture the depth of the carved marks and the atmosphere of the forest landscape.

Can you describe the concept or story behind the relief piece you created for INKED print festival?

For INKED Print Festival in the Forest of Dean, we wanted to create something that genuinely responded to place. The concept behind the relief print was to celebrate the forest as a living, layered environment. 

Collective members Jemma Gunning, Victoria Willmott, Sonja Burniston, John Coe and Theo Wang, designed a composition that wove together trees, foliage, mushrooms, forest floor textures and glimpses of wildlife. We were interested in capturing both the physical density of the forest and its quieter, more atmospheric qualities, the sense of immersion you feel when walking beneath the canopy.

Because the piece was collaborative, shared making was central to the project. The Forest of Dean is shaped by both nature and the people who live and work within it, so inviting festival visitors to carve the lino felt entirely fitting. The finished print includes marks made by many different hands, making it a true collective artwork. In that sense, the process directly reflected the subject, a landscape formed through connection, contribution and time.

What was your process in planning and carving such a large relief? Did you approach it differently from smaller prints?

We began by developing the design collectively, carefully considering how it would function at scale. With a giant lino, you have to think a little differently about composition, bold shapes and strong contrasts become much more important, as fine detail can get lost when viewed from a distance.

We mapped out the image so that it would feel cohesive but also allow multiple people to work on it simultaneously. Areas were designed with varying densities of mark-making so that contributors of all skill levels could participate meaningfully.

Carving at this scale is physically different from working on smaller prints. It requires stamina, rhythm and a certain flexibility in decision-making. You also must trust the process more, stepping back frequently to assess the overall image rather than focusing too closely on one section. It felt less like making a single print and more like building a landscape together. There’s also an element of letting go, as you can’t necessarily control what people do and what people carve! 

'The Forest' giant print on Somerset® Book 175gsm

Were there any specific technical challenges you encountered during the creation of this large-scale relief, and how did you overcome them?

Scale always brings technical challenges. Maintaining consistency across a large surface was key, ensuring the marks felt unified despite being carved by many different hands.

Another challenge was printing such a large block evenly. Achieving good ink coverage without losing the clarity of the carved lines required careful inking. Working with high-quality paper made a significant difference, it needed to be robust enough to handle the scale and pressure of the print while still capturing the subtle textures of the carved marks.

We managed these challenges by staying organised and working collaboratively throughout the process. During printing, we divided responsibilities to keep everything consistent, carefully controlling the inking, checking alignment and applying even pressure. That shared focus and clarity of roles helped us achieve a clean, cohesive result at such a large scale.

How does collaboration or community play into projects like this, especially in a festival environment?

Collaboration is at the heart of Bristol Print Collective, and a festival environment amplifies that spirit. Printmaking can sometimes feel solitary, but projects like this shift the focus to shared experience.

Inviting visitors to carve transformed the lino into a communal artwork. People who had never held a carving tool before became part of the finished piece. That sense of ownership and participation was incredibly powerful.

In a festival setting, there’s an openness and curiosity that encourages experimentation and connection. The artwork becomes more than an image, it becomes a record of an event, a moment in time, and the people who gathered there. For us, that felt completely aligned with the ethos of both the collective and the Forest of Dean itself: layered, generous and deeply rooted in place.

We’re incredibly grateful to St Cuthberts Mill for generously sponsoring the paper for this project. Working at such a large scale demands a paper that is both strong and sensitive, able to withstand the pressure of a giant relief print while still capturing the richness of carved marks and ink texture.

The quality of Somerset® paper truly elevated the final piece, allowing the depth and detail of the forest-inspired design to come through beautifully. Their support made it possible for us to realise the work at this scale, and we’re thrilled with the finished result.

Links

Bristol Print Collective

www.bristolprintcollective.com 

www.instagram.com/bristolprintcollective

bristolprintcollective.tumblr.com

Inked Print Festival

www.nicholagoff.com/inked-festival-of-print 

www.instagram.com/inkedprintfestival 

To find out more about our Somerset® papers range, visit our website.