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Easterly Artists Open Studios Trail

Easterly Studio Trail Weekend

For one weekend only the Easterly Artists Trail is a collaboration between five artists in the Lowestoft and Waveney area who are coordinating their Suffolk Open Studio days on the weekend of Saturday 16th and Sunday 17th June to provide visitors with the opportunity to visit every studio on the same day.

If you can’t make it on the weekend of the 16th and 17th of June the other weekends in June when the artists studios will be studios will be open are as follows:

  • Hilary Barry June 2nd/3rd and June 9th /10th
  • Hugh Davies & Lisa Hurcum June 23rd/24th
  • Nina Roffey June 9th/10th
  • Fiona Shreve June 2nd/3rd and June 9th /10th

Download Easterly Artists Leaflet

Please Note : Access to the studios may involve stepped access. Please call the artist beforehand  to check access arrangements

Hilary Barry

I left the Welsh mountains at 17 to go to art school, but the landscape and its history continue to influence my painting. My work is often a combination of the real, the remembered and the imagined: I aim to evoke the memory of landscape and experience.

Copperfields, Beach Road, Kessingland, NR33 7RW.

Tel: 07800 643117

Hugh Davies

Drypoint study of net covered upturned fishing boat, Pakefield, Lowestoft 2017

I am interested in drawing and mark making on paper as a means of exploring imagination, form and space. I use a range of printmaking techniques including linocut drypoint and cyanotype as a means of moving beyond recording and observation into abstraction.

29 Lyndhurst Road, Lowestoft NR32 4PD

Tel: 01502 580912

Lisa Hurcum

Working with linocut printing gives me the ability to retain a spontaneity and immediacy to the images I create. My inspiration comes from the domestic and the everyday, both observed directly from life and from the imagined details of the short stories that I write.

29 Lyndhurst Road, Lowestoft NR32 4PD

Tel: 01502 580912

Nina Roffey

I have been working on found wood for several years making sculptural assemblages. I also use found or discarded, items and place in boxes as well as paintings and collages. I often write small books to go with some larger works which are included in the sale price. Found objects are my weakness!

52 Park Drive, Worlingham, Beccles, NR34 7DL

Tel 01502 715118

Fiona Shreve

Brutalist architecture influences my ceramic designs. I create sculptural forms with under-glaze transfer prints: both are inspired by images of buildings such as The Barbican or Park Hill in Sheffield, or the iconic buildings on the Southbank.

9 Marsh Lane, Somerleyton, NR32 5QX

Tel: 01502 730837


Suffolk Open Studios

Suffolk open studios

Every year all across Suffolk over 100 Artists open their studios during weekends in June. You are invited to see how and where they work and get the opportunity to enjoy paintings, drawings, prints, ceramics and other works of art outside a gallery setting.

For information on the full range of open studio events please see or pick up a printed brochure from participating studios, local libraries and visitor information points.



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Grit Fest 2018

Brilliant Day at Grit Fest. Sparrows Nest Park was looking at its best with a big turnout and  beautiful sunny weather.

Our free drop in linocut printing workshop was busy non stop from 10.30 am till 4pm. Lots of enthusiasm for having a go from all ages four to four score plus! Lots of interest in what we are doing and our upcoming open studios in June . Hope to welcome you all then . Really rewarding day, lots of new people and old friends. A friendly atmosphere, people sitting out on the grass listening to the bands and some dancing!.

Thanks to Paula White for allowing us to include her quick sketch.

A big thank you to all the organisers who made Grit Fest happen. See you at the next one !

For anybody who missed being able to print their own we have some artists proof copies of our grit prints available in our online shop



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Editioning by paper-works*

print editioning

Paper-works* editioning work for Tessa Newcomb

Tessa Newcomb came to us wanting to produce an edition of a set of prints. She had in the past executed traditional acid etched prints with the assistance of a print studio but now wanted to revisit producing prints using new techniques.  After a day in the studio on one of our “Introduction to Drypoint” courses, she decided on using drypoint card as her preferred media and went away clutching a stack of materials.

The following week, Tessa returned on one of our members days, with twenty or so card drypoint plates. A busy morning ensued assisted by us to produce proofs of all of the prints.

We set out all the proofs in the studio. Working together with Tessa, we discussed the options for whitling the wide selection of images down to a set for editioning. Being executed on drypoint card there was a concern that any edition should be reasonably short to avoid deterioration of the plate. It was decided to go with limiting each edition to twenty. After much discussion four prints were selected as the basis of the editions.

The chosen images required some care with wiping during the inking up process as residual tone on the plate was a desired feature for parts of the image. To help keep the prints clean we decided that editioning would be a two person task. One person inking up and wiping and the other staying ink free and registering and passing the prints though the press. We estimated that we might achieve an average print rate over a day of about 6 an hour. In the end with cups of tea and biscuits! ) we achieved the full edition of 80 in about two and a half days

The prints are now all completed, signed and editioned ready to put up for sale on the website and distributed to gallerys

If you are interested in paper-works* assisting you in editioning a print please get in touch via our contact page.

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Fabriano Unica Printmaking Paper

Our current favourite paper at Paper-works* for most printmaking is Fabriano Unica paper. It is made of 50% cotton, and has been specifically developed to be suitable for all printmaking techniques. The paper is a combination of the many years experience of the Fabriano paper mills and a collaboration with a group of artists from the Opificio della Rosa , an international centre dedicated to the awareness and spread of traditional and innovative methods of printmaking.

The artists from Opificio della Rosa have tested the paper with a host of printing, engraving and other techniques, testing it to its limits. The paper  has a weight of 250g/sqm and is economically priced and available in white and cream in three different sizes: 50cmx 70cm , 56cm x 76 cm and 70cm x 100cm.

Paper-works* has been successfully using Fabriano Unica for Linocut, Drypoint, Kitchen Litho and Cyanoprint.

Individual sheets of Fabriano Unica are available for purchase from paper-works* by those attending workshops or members open days.

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Anna Atkins | cyanotype pioneer

Cyanotype photogram of fern by Anna Atkins

Anna Atkins (nee Children) was born in Tunbridge in Kent in 1799.  Her mother died a few months later. An only child Anna was brought up by her father. Following his example she took an interest in science and botany. She was a talented illustrator and provided the engravings for an english language translation of Jean-Baptiste de Monet Lamaercks ” Genera of Shells” which was translated by her father and published in 1823 when she was just 24. The following year she married John Pelly Atkins.

Following her marriage she continued her interest in Botany and at the age of 40 she became a member of the Botanical Society in London, one of the few scientific societies which was open to women.

Anna’s father and her husband were friends of the early photographic pioneers William Henry Fox Talbot and Sir John Herschel. Sir John Herschel invented the cyanotype process in 1842 and Anna immediately saw its potential to provide illustrations of her extensive collection of dried seaweed specimens . She self published the first part of her book “Photographs of British Algae: Cyanotype Impressions” just a year later in October 1843. Handwritten and produced in very limited quantities ( just 12)  it remains an influential use of cyanotype prints and the first ever book to be illustrated with photographic images, beating William Fox Talbots first photographic book by several months.  By 1850 Anna had produced 12 additional parts to the book.

Cyanotype of Seaweed by Anna Atkins
Cyanotype of Seaweed by Anna Atkins

In 1854 working with her friend Anne Dixon she produced a further publication entitled Cyanotypes of British and Foreign Flowering Plants and Ferns. Anna Atkins died in 1871.

Anna’s use of cyanotypes was both pioneering and inventive. Copies of her books remain in the worlds most prestigious libraries and due to there scarcity and significance have fetched over £200,000 in auction (2004).

Her work was featured in a recent exhibition at the Rijksmuseum in Amsterdam  entitled “New Realities Photography in the Nineteenth Century”  ( June – September 2017)

Read about the Cyanotype process


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Tessa Newcomb at paper-works*

Tessa Newcomb at paper-works*

Paper-works* are delighted to welcome Tessa Newcomb as a member of paper-works*. Tessa has been painting in her cottage in Suffolk for thirty five years, with many successful exhibitions of her paintings to her credit:  “Working on your own is not easy. I think that I have proved that  I can do it, supporting myself and my children along the way. Now I like the chance of working in other studios and with other people “.
An established and successful painter in oils Tessa sees the value of exploring and learning new skills ” “Printing offers me another strand to my work ” she volunteers,  “Its been good for me, Hugh and Lisa offered just the right  instructions and support in the airy studio, lunch and cats a bonus”.

Tessa came along on an “Introduction to Drypoint Day Course” and has been inspired to work directly on the drypoint card plates working from carefully observed preparatory pencil sketches. She has joined as a member and is now collaborating on a project with us. We hope to share the results of this with you here and in the online gallery very soon.

Work by Tessa Newcomb can be seen online at:
Crane Kalman GalleryClark Art LtdThompsons GalleriesAinscough Contemporary Art, Cork Brick Gallery

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Cyanotype Printing

Cyanotype test strips

Cyanotype Printing

Cyanotype printing is a method of image making on light sensitive paper. Unlike most photo sensitive techniques it utilises iron rather than silver based salts. It is characterised by the blue and white prints that it produces,(known as “blueprints” when used to reproduce technical drawings).

The process was invented by Sir John Herschel in 1842. His invention was initially principly taken up by botanists for the purposes of plant specimen illustration, notably Anna Atkins. Following Herschel’s death in 1871 the process was “reinvented’ and used principally as a reprographic system particularly for technical drawings up until the 1950’s. Interest in cyanotype as a photographic printing medium has grown again since the 1970’s to the present day.

Exposure times are relatively slow and the chemicals require exposure to light in the ultra violet spectrum. The long exposure times and high light levels required mean that it isn’t considered suitable for use in cameras but is instead primarily used for contact prints from negatives or direct from objects placed on the paper (photograms). Strong sunlight is an ideal light source but UV bulbs can be used as an alternative.

Preparing the photosensitive solution

The exact recipes for the photosensitive solution have varied in some respects over time. The following is a typical 20th century recipe.  Precaution:Use disposable gloves and a face mask whilst handling the powdered chemicals.

Add 25g of Ferric Ammonium Citrate to 100ml of water in a glass container

Add 10g of Potassium Ferricyanide to 100ml of water in a second glass container

The chemicals dissolve readily in cold water and are not light sensitive until they are mixed together. You will need some small electronic scales to measure the chemical quantities.

Coating your paper

You will then need to move into a photographic darkroom with a safelight or a darkened room with very low level tungsten lighting. Add each of the solutions into a third container. To enable storage of the liquid its best to use a dark brown glass jar with a light tight lid. Stir briefly to ensure both solutions have mixed together.

Now use a brush to apply the light sensitive solution to your paper. A foam brush works well. Then return any unused liquid to the dark brown storage jar and set aside your paper to dry in full darkness.( NB For longevity of the Cyanotype print its best to use a “non buffered” paper i.e. one that hasn’t had chalk/calcium carbonate added to increase its alkalinity)

Once dry keep the paper in a light tight black plastic bag or a light tight cardboard roll until required for use.

Exposure to direct Sunlight

On a bright sunny day prepare the objects, masks or drawings on acetate/tracing paper  that you want to use to create your image and get a clock or watch to hand so that you can keep an eye on the exposure time.

Remove the paper from the roll spread out in direct sunlight with the pale yellow side uppermost. Immediately work quickly placing your objects on the paper. Items placed immediately will leave white marks. Items placed later will leave marks which are  very pale blue progressively getting deeper, the later that they are placed. Areas left in full sun will be a deep blue with 3 minutes exposure to the brightest UK sunshine.

When 3 minutes is up quickly move the objects aside and put the paper back in its black plastic bag or light tight cardboard roll.

( Its useful to have created several long strips of cyanotype paper that you can use as exposure test strips , use some dark card and reveal more of the strip each 15 or 30 seconds in order to get an accurate idea of exposure times for your particular lighting conditions)


In subdued light conditions take the exposed cyanotype out of its light proof container and immediately immerse in a tray of cold water. agitate gently for several minutes. The cyanotype will reveal its characteristic cyan colouring and the water will colour slightly. Change the water for a final rinse of another couple of minutes allow excess water to drain off then place the print between two sheets of blotting paper and place under a weighted plywood board and allow to dry flat over a day or so. ( NB longevity of Cyanotype prints is increased with thorough rinsing but this should be balanced against dispersion of the blue colouring that may occur with rinsing)

Longevity of Cyanotype prints

Cyanotype prints made by Anna Atkins in the 1840s are still in existence. However some care is required for their longevity. To minimise fading of the image  take note of the following:

  • Avoid permanent display in daylight (returning prints to darkness can reverse some colour loss)
  • Rinse we’ll during processing to reduce presence of any remaining photosensitive solution or other impurities.
  • Avoid use of buffered papers ( i.e. papers incorporating chalk or calcium carbonate)
  • Do not over agitate or use running water during rinsing to minimise dispersal of the blue colour
  • The chemicals used in cyanotypes, and the use of non buffered ( i.e. neutral or slightly acidic) paper can result in brittleness of the paper substrate over time.

Read details of our next Cyanotype course.

Download Mike Ware’s authoritative book on Cyanotype









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Summer 2018 Printmaking day courses and taster mornings

summer printmaking

Paper-works* Summer 2018 Printmaking

Printmaking in a morning

To coincide with Suffolk Open Studios we are running printmaking taster sessions, 2 and a half hour morning sessions to give you a quick flavour of the different techniques. Book courses individually or choose a selection to build your own printmaking course!

All day courses are from 10am to 12.30pm. No previous experience required. Tea/coffee and all materials included. £25 All bookings on our website.

Day courses

Unleash your creativity, experiment with something different, develop a new skill and try one of our introductory printmaking courses! The day courses are held in our well equipped light filled first floor studio except the Drypoint course where in August we will be in the spacious upstairs gallery at the historic Fisher Theatre in Bungay.

All day courses are from 10am to 4pm. No previous experience required. Lunch and all materials included. £60. Bookings on our website except for the 25th August which are direct to the Fisher Theatre.


If your not local take a look at our accommodation page.


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paper-works* @ Fisher Arts and Social

Fisher Arts and Social

Great morning today with all the folks at Fisher Arts and Social Club

It was their first dabble with drypoint. Out of the block at 10.30am a quick demonstration and everyone created a print they were proud to take home. All in just two hours.

Fisher Arts and Social Club was founded by Sophie last year. They provide creative sessions for mature people and their carers. They are dementia friendly and wheelchair accessible. The group meets each Thursday morning at the Fisher Theatre in Bungay. The goal of each session is to provide the perfect mix of art, cake, friends and laughter !

Demonstrating inking up
Demonstrating inking up
Printing on the portable press
Printing on the portable press
Turning the wheel on the press
Turning the wheel on the press
Fisher Arts and Social
Inking Up drypoint at the Fisher Arts and Social Club
Fisher Arts and Social finished prints
Fisher Arts and Social finished prints

To find out more see their Facebook page

We really enjoyed the session and hope to work with them again soon.

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Spring 2018 Printmaking Day Courses

printmaking day courses

Paper-works* Spring 2018 Printmaking day courses

Unleash your creativity, experiment with something different, develop a new skill and try one of our introductory printmaking courses! Limited to just four students and held in our well equipped light filled first floor studio to make sure that you get the best out of your day.

All day courses are from 10am to 4pm. No previous experience required. Lunch and all materials included. £60.