Tools.

I use traditional tools with lovely names. The burin is a collective term used for all engravers tools. Within this there are the spitsticker, graver, tint tool, multiple tool, bull sticker and scorper, both square and round. All these tools have specific roles to play but they often cross over. I have collected a large number of tools over the years, but mainly use three favourites:

A spitsticker is my go-to tool and does most of the work, I use it like a pencil. It creates beautiful fluid lines, tints and stipples.

A graver I use for stippling, although it also cuts a good line.

A scorper is used for clearing large areas, although it can also create amazing textures.

I recently engraved a whole block with only a medium scorper!

Blocks.

I use traditional end grain blocks in boxwood, lemonwood or maple. Each wood has unique qualites and reacts to the tools accordingly. All three make excellent engravings. I prefer lemon wood as it is slightly easier to engrave. Wood is a natural material, you have to keep blocks cool and away from direct sunlight.

There are alternatives to wood and engravers are always experimenting with substitutes. I recently engraved an offcut of Corian kitchen worktop.

Print.

The print is the impression taken from a matrix, in this case the block. The print is pulled by hand. I ink the surface of the block and print directly from its surface. Each print is signed by me, the artist, and individually numbered as part of the edition. For example, number 10/60 means the 10th print in an edition of 60.

Paper.

All the paper I use is archival and acid-free, meaning it won’t age or yellow over time. Wood engraving is so fine, the marks are much smaller than you can get with a pen or pencil. Printing a wood engraving on a smooth paper ensures you will pick up all the minute details. When you get an engraving framed, check that your framer is using acid-free mount board to protect the print.