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. 

Artist Interview: Emma Tildesley on Botanical Art

 

Ambassador Emma Tildesley is a UK-based botanical artist, working primarily in coloured pencil and watercolour.

Surrounded by the rich diversity of plants and wildlife in rural Worcestershire, she draws daily inspiration from the natural world. Her signature style is defined by intricate detail and vibrant colour, capturing the true beauty of nature with gentle care and authenticity.

In addition to her personal practice, Emma is actively involved with the Society of Botanical Artists, recently taking on the role of Co-President. She also shares her passion for art with students around the world through her Patreon channel.

We asked Emma about her experience of botanical art and how Saunders Waterford® supports her work.

Tree Peony by Emma Tildesley
on Saunders Waterford

Botanical art demands both scientific accuracy and artistic sensitivity. How did you first come to botanical art, and what continues to draw you to this discipline today?

Creativity has always been a part of my life, though botanical art came much later in my journey. I previously worked in corporate settings, which left little time to deeply explore different art styles and mediums.

2018 marked a turning point, when I began working with botanical subjects and learning the techniques of watercolour and coloured pencil. It was a much-needed change, and it has since blossomed into completing the SBA Distance Learning Diploma Course and opening doors to many other exciting opportunities.

Capturing the beauty of plants is a delicate process that relies on planning, careful study, and a keen eye for small details. I’m fascinated not only by their aesthetic appeal but also by their scientific behaviours. From blooming roses to fungi, each specimen has its own unique character. My goal is to portray my subjects in such detail that their essence lives on through my art for years to come.

Flower Arrangement by Emma Tildesley
on Saunders Waterford

When starting a new botanical painting, what qualities are you looking for in a paper before you even make the first mark?

Before I make a single mark, I’m looking for a paper that feels dependable and controlled with the brush. I want a surface that can hold water evenly, has enough strength to tolerate multiple layers, and offers a subtle texture that supports fine detail without overshadowing it. For botanical work, the paper needs to be extremely dependable so that I can focus entirely on refining my technique and preserving accuracy.

How does Saunders Waterford® support the level of detail and control required when working with fine watercolour brushes and coloured pencils?

Saunders Waterford® gives me a remarkable level of control. The surface allows very fine brush points to stay crisp, which is essential for veins, edges and delicate tonal shifts. When I use coloured pencil, the paper grips just enough to build colour gradually without feeling scratchy, allowing for precise marks and soft transitions that are essential in botanical illustration.

Clematis by Emma Tildesley
on Saunders Waterford

You often combine watercolour with pencil. How does Saunders Waterford® perform when switching between wet media and dry techniques?

That versatility is one of the reasons I trust it and use the paper in wet and dry mediums. After multiple watercolour washes, the paper still feels receptive to dry media and there is no breakdown of the surface or resistance to pencil. I can move back and forth between wet and dry techniques seamlessly, refining details and adjusting colour without worrying about damaging the paper.

What reassurance does a 100% cotton, archival paper like Saunders Waterford® give you as an artist thinking about the future life of your work?

Helianthus annus By Emma Tildesley
on Saunders Waterford

Using an acid-free, archival paper gives me confidence that the many hours invested in an art piece are protected. I enjoy reflecting on my earlier works and visualising how my approach has changed over time. Saunders Waterford® paper allows me to do this without worry.

Also, botanical paintings are often collected, exhibited and passed on, and it matters to me that the work will remain in excellent quality for years to come. There are many wonderful historical pieces we have the pleasure of viewing today that could have been lost if painted on a medium that deteriorated over time. 

Knowing the paper is made to last allows me to fully invest in my creativity, with the reassurance that the artwork has the best possible foundation for a long life.

Immature Blueberries by Emma Tildesley
on Saunders Waterford

Links

See more of Emma’s botanical work, or sign up for her classes by visiting her links:

emmatildesley.com

www.patreon.com/EmmaTildesley 

www.instagram.com/emmatildesleybotanicalart 

www.facebook.com/emmatildesleyart/

www.youtube.com/c/EmmaTildesley 

www.tiktok.com/@emmatildesleyart 

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

Artist Interview - Alan Woollett, drawing on Saunders Waterford® Hot Pressed

 

Alan Woollett is a leading figure in contemporary hyperrealism, known for his exquisitely detailed coloured pencil drawings that blur the line between drawing and photography. His work demonstrates a deep mastery of observation, tonal control, and patience, resulting in images that feel both precise and quietly powerful. Through his art and teaching, Woollett has become widely respected for his clear, disciplined approach to realistic drawing.

In this interview, we speak with Alan about his drawing process and his long-standing preference for Saunders Waterford® Hot Pressed paper. He shares why surface quality matters so much in hyper realistic work and how this particular paper supports fine detail, smooth layering, and subtle value transitions essential to his practice.

'Snowy Owl' by Alan Woollett
on Saunders Waterford HP

What first drew you to wildlife and bird subjects, and why do they continue to captivate you?

I have been interested in birds and wildlife since childhood and would spend hours poring over picture books of animals.

I think the interest in birds began at that time too and my mother was an avid feeder of the birds in our garden. This gave me real access to a world of amazing creatures just outside the kitchen window. A world that still fascinates me today.

It’s wonderful to be able to share my passion for birds and other wildlife through my art and hopefully make others aware of the beauty of the natural world.

How do patience and observation play a role in your creative practice?

Working in coloured pencils is not a medium for people in a hurry! It can be a precise and slow process to achieve a satisfactory result - for me accurate observation is the key. Many of my subjects I have been lucky enough to observe in their natural habitats; aspects of behaviour, movement and presence are things I strive to convey in my drawings.

I generally start from a selection of my photos and thumbnail sketches which I will juggle around until I hopefully arrive at a pleasing composition.

'Sacred Ibis' by Alan Woollett on Saunders Waterford HP

Could you walk us through your technique for building depth and form in your wildlife drawings?

I generally start with an accurate line drawing on Saunders Waterford paper which I will then build up using light layer of colour in the same style as watercolour artists do.

Background subjects are usually drawn using a Grisaille method building up form using a single colour, usually a warm or cold grey.

Once that’s complete, I will then build up the colour and detail.

'Velvet Stag with hairdressing crew' by Alan Woollett 
on Saunders Waterford

You’ve shared with us that Saunders Waterford® Hot Pressed is excellent for drawing on. What are the qualities of the paper that you enjoy?

I find Saunders Waterford Hot Pressed paper suits my style of drawing with its smooth surface which has the right amount of tooth to allow good coverage and also, durable enough to allow me to add many layers and fine detail as well.

It’s an excellent quality paper that always allows me to work to the best of my abilities whilst delivering the highest quality.

'Dad's Tools' by Alan Woollett on Saunders Waterford HP

Links 

To see more of Alan Woollett's work, visit his links:

alanwoollettart.com  

www.facebook.com/alanwoollettbirdart/

www.instagram.com/alanwoollettart/ 

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

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Why Watercolour Paper Makes a Meaningful Gift

 

At first glance, giving paper might seem simple, but to a watercolour artist, it’s one of the most thoughtful gifts you can give. Fine watercolour paper is the foundation of every painting; a trusted companion that supports creativity, experimentation, and expression. Artists can never have too much of it, and the quality of the sheet beneath the brush can transform the entire painting experience. Beautiful, practical, and enduring, it’s a gift that shows a genuine understanding of an artist’s craft.

Looking for an experienced artist or to inspire a friend?

Paper is a valuable commodity for both experienced artists, or as a necessary inspiration for a friend.
 
• Artists can never have enough: Paper is a fundamental and consumable supply that artists use frequently, making it a consistently useful gift.

• Impacts art quality: The quality of watercolour paper directly affects how colours appear and blend, and without a good surface, the painting process can be frustrating and lead to poor results.

• A consumable they'll use: Unlike paints that can last a long time, paper is a material that gets used up, ensuring the gift will be put to good use.

• Can be a luxury item: High-quality paper, especially 100% cotton paper, can be expensive. Giving it as a gift allows an artist to use a superior material they might not buy for themselves. 
If you don’t know the recipient's favourites, opting for a CP (NOT) surface is a safe bet. This surface is suitable for a wide range of artworks. And a 300gsm (140lb) weight is a practical weight for artists to use.

At St Cuthberts Mill, we only make high quality watercolour papers, so everything in our range will help assist a watercolourist in their artistic journey.

Bockingford® is an excellent choice, offering a great all-round painting performance at a more economical price. Not to be confused with amateur papers, this sheet gives all the high performance of a MOULD MADE paper with archival properties and a great painting performance. This paper contains no animal ingredients, so a great choice for those who avoid animal products.

This small pad is 260x180mm (10x7”) with 12 sheets inside. A nice starter to experiment with using a high quality paper.

Saunders Waterford® is a gold standard for a high-quality 100% cotton watercolour paper.  Its painting performance is second to none, and will guarantee absolute pleasure to those painting with it. A very strong paper, that will withstand very rough treatment. A true professional grade paper made with MOULD MADE technology to an archival standard.

This is a 230x310mm (9x12”) pad with 12 sheets inside. A great introduction to a professional level watercolour paper, where they can experience the sumptuous joy of watching pigments blend beautifully on the sheet.

For something a little different, Millford is a great choice for experimentation. It is usual, as it is designed to stay in its wettest state for longer, allowing artists more time to manipulate pigments in the wash. Again, a paper created with MOULD MADE technology to archival standards. It also contains no animal ingredients, so attractive to those wishing to avoid animal products.
 
This is a 310x230mm (12x9”) block with 20 sheets. It is glued on all 4 edges to aid the paper to dry flat. A great choice for someone who loves experimenting.

Watercolour paper is more than just a thoughtful gift, it’s an invitation to create. Whether it sparks a beginner’s first brushstroke or supports the mastery of an experienced artist, high-quality paper gives confidence, control and joy in every mark made. At St Cuthberts Mill, each sheet is crafted to bring out the best in the artist and their materials. When you give the gift of watercolour paper, you’re not just offering supplies; you’re giving someone the chance to explore and express their creativity.

Artist Interview: William Sim

 

As fans of William Sim’s watercolour paintings of imaginary houses that transform the everyday into the fantastical, we were keen to ask him what inspires his work and about his use of Bockingford® paper.

William, the creator of Merchant of Happiness, lives in Singapore and is a best-selling author of titles such as ‘Colouring the Lion City’ and Botanical Singapore’, which merge his love of illustration, storytelling and the natural world. 

Ion Orchard by William Sim
on Bockingford

Please tell us about your artistic journey and how you developed your distinctive style in watercolour?

I have been working with watercolour as my main medium for over 30 years. Through years of practice, I discovered that building up transparent layers of colour glazing one over another creates a “fresh and clean” effect that has become characteristic of my work. This layered approach perfectly suits the way I like to express myself in watercolour.

Your illustrations often feature whimsical, imaginative scenes. What inspires the subject matter of your work?

Cats, nature, and my love of collecting toys are constant sources of inspiration. I enjoy creating different types of houses to hold the things that are dear to me. The character of the Watermelon Boy is a metaphor for myself, he inhabits these little worlds I build. Many viewers tell me they feel a sense of warmth and cosiness as they explore the details in my paintings.

Moss house by William Sim 
on Bockingford

You’ve been known to use Bockingford® paper for your work. What qualities of Bockingford® make it your preferred choice for watercolour?

Bockingford®  paper is ideal for my “layer on layer” technique. Its whiteness enhances the colours beautifully, making each layer appear crisp and vibrant. It holds washes well and allows me to achieve the clarity and freshness I aim for in my work.

Travel cart by William Sim
on Bockingford

What advice would you give to artists who are just beginning to explore watercolour, particularly in choosing paper?

Choosing the right paper is essential for maintaining consistency and quality. Once you become familiar with how your paper responds to water and pigment, you can work more confidently and avoid unwanted surprises. Good paper supports your technique, it’s the foundation of every successful painting.

LINKS

To see more of William Sim’s work visit:
Website merchantofhappiness.com
Instagram www.instagram.com/merchantofhappiness

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

Images reproduced with permission from William Sim. Work copyrighted and not to be replicated in any form.