I’m currently making a new series of videos over on YouTube called ‘Print Curious?’ about what you can borrow from printmaking to make your own practice better, and it’s got me thinking about ‘borrowing’ as a part of a practice in and of itself.

Essentially we’re all borrowing when we make art: borrowing ideas and techniques from other artists (whether consciously or sub-consciously). But what can we borrow from techniques and ways of working that are not our own, whilst staying true to ourselves and our practice?

One thing I find really helpful is to write down what it is we’re attracted to in someone else’s practice or technique.  Articulating in language exactly what it is that you love really narrows down what it is and why – so instead of sticking photographs into your work (though you can do that…) perhaps it’s actually the use of light and dark, the strong tonal contrast, the fuzzy lo-fi feel, the atmosphere or the feeling that the subject is about to move that has attracted you to photography.

I love to see artists famous for a different practice try printmaking (or at least commission someone else to print for them), because it very often brings out the essence of their art.  

When David Hockney made editions of etchings, his beautiful restrained lines took centre stage, when not overshadowed by the bright colour of his paintings.  When Howard Hodgkin made carborundum prints, similar in style to his paintings, it was a masterclass in using constraints and creative decision making (I actually prefer the prints to the paintings often) and when Barbara Rae, initially known for her mixed media painting, started monoprinting, her amazing colour sensibility absolutely shone through with the intense pigments in the printmaking inks on white paper, and simplified layers.

None of these artists completely changed their practice, they just used printmaking as a way to hone certain parts of it or bring something to the foreground.

I believe there are many things that artists can ‘borrow’ from printmaking, without having to pivot their practice completely.

For painters: you can use print to iterate and experiment without using expensive canvases or boards.  You can layer up colours and textures without creating thick relief surfaces.  And you can use print and working on paper to play with formats and compositions because it’s so easy to cut, rip and change.  Plus you don’t have to give up on big, painterly gestures – monoprint can supply these moments too.

For drawers and draughts-people: you can make lines with an amazing quality without really trying when you draw with monoprint or make a drypoint printing plate. You can make multiple versions of that spontaneous sketch you did, as well as add colour and texture to it, all in one go. And you don’t have to give up figurative art – print just gives you a little added magic to your lines.

For mixed media artists: You can take your love of texture and hoarding all those beautiful bits and pieces and make them into printing plates that you can print again and again.  You can make loads of beautiful papers to use in paintings, artists books or other projects.  You can layer up to your heart’s content and learn to enjoy and work with constraints.  You don’t have to give up your multi-passionate tendencies, just let print add to your beautiful things to play with and make it easier to make decisions.

I hope I’ve gone some way to giving you permission, encouraging you in fact, to borrow freely from other people, techniques and ideas.  And indeed to borrow what you need from printmaking.

If you want to add print into your practice, you could do worse than my course ‘Hand Printing Happiness’, opening for enrollment again in March 2027.  If you get on the priority list, you’ll hear first and get a discount. Do it here.