• Since Edinburgh Printmakers re-opened after lockdown, our membership has blossomed. We now have more than 300 printmakers using the studio...
    Ursula Pretsch, Under the Tuscan Sun, screenprint, 2025.

    Since Edinburgh Printmakers re-opened after lockdown, our membership has blossomed. We now have more than 300 printmakers using the studio in different capacities, and last winter we received a record number of submissions to our 2024 Members Show.

     

    To celebrate this growth, and to provide an opportunity for Members to get to know one another’s practice better, we facilitated a member-initiated Members Print Exchange.

     

    19 Studio Members were selected to participate, and were asked to produce an edition of prints for the exchange to create a folio (a collection of prints). Each participating Member receives one of each print, and the full folio will also be acquisitioned into our Permanent Collection.

     

    You can view the full folio of works in our Rear Window Gallery, with some of the prints available to purchase in our shop.

     

    Banner image: James Harrison, Disappearing Pines, CMYK screenprint, 2025.

  • [Clockwise from top left] My print ‘Remains of the tide’ is a 10 colour screen print made using various techniques...

    [Clockwise from top left]

     

    My print ‘Remains of the tide’ is a 10 colour screen print made using various techniques of stencil making. The seaweed shapes were made with real seaweed from Portobello beach where I live. I pressed it, photocopied it onto acetate and exposed it. I also used a digital photograph of the beach coal sand, hand drawn and cut paper stencils. At least 3 of the layers are blended pulls.  - Nicky Sanderson, Remains of the Tide, screenprint, 2025.

     

    The central image is taken from a relief print that I made inspired by Durer's famous apocalypse series of wood engravings. My process leans into the essence of the printmaking process; drawing come first, followed by cropping, printing, re-printing in various techniques, until the image has organically digressed so much from the original drawing it's hard to recognize. Although the final image is a screen print, the textures come directly from experiments made in relief and intaglio processes. I have enjoyed challenging myself to blend different aspects of these processes. - Jordan McQuaid, untitled, screenprint, 2025.

     

    My print is called The Canary and it is a 14 layer screen print with gilded elements. It is part of a series of paintings and prints I am working on at the moment which is about a recent trip to Spain, where I was inspired by the colours and patterns in the palaces and towns I visited, alongside the plants and wildlife I saw there. I like to blur the line between decorative and fine art, combining colours and patterns in an interesting way, and playing with real and imagined spaces.  - Jenny Martin, The Canary, screenprint, 2025.

     

    Sally Mairs, Crafter's Arc, linocut, 2025.

  • This print is taken from a sketch I took of Chinatown in Bangkok, during a period of time I spent...

    This print is taken from a sketch I took of Chinatown in Bangkok, during a period of time I spent travelling last year. With me I took a sketchbook, and a red and blue felt pen, which has inspired the colouring of this 2-layer lino reduction. My work usually depicts the familiar: I loved the challenge of recording all these new places with such a limited colour palette. I'm glad that my fleeting sketches have manifested themself into something more permanent, and it was lovely to explore the dichotomy of making this at home, in Edinburgh, whilst reflecting on of the far-away places I visited on my travels.  - Caitlin Whitaker, Yaowarat Road, reduction linocut, 2025.

     

    Erica Paterson, Newhaven Fishwives, screenprint, 2025.

     

    I have been exploring my own proximity to the natural world and how closely we co-exist - the screen print is of footprints frozen in the snow and sits beneath the stencil monoprint - as an allegory for the damage we do to our immediate environment.  Within this context, I find joy in the existence of birds and observing how they inhabit our domesticated spaces.  - Fiona Maher, Treading on Broken Ground, screenprint and stencil monoprint on pianola roll, 2025.

     

    Emily Hogarth, Spring Equinox, screenprint, 2025.

     
  • Cat Outram, The Storm Outside, etching and aquatint with watercolour, 2025. The disappearing Scots Pine trees at Beinn Eighe National...

    Cat Outram, The Storm Outside, etching and aquatint with watercolour, 2025.

     

    The disappearing Scots Pine trees at Beinn Eighe National Nature Reserve, Scotland. Until 1944 this area of forest stretched over 700 acres with trees reaching ages of nearly 400 years old. The finest areas of this old growth forest were sacrificed to make ammunition boxes during the end of the Second World War. Beinn Eighe was officially designated as the UK’s first National Nature Reserve in 1951, where the expanded woodland has since increased by 41%, creating wildlife corridors connecting the ancient fragments of woodland, allowing animals to move more freely and expand the range of rare woodland plants. - James Harrison, Disappearing Pines, CMYK screenprint, 2025.

     

    This print is a screen print with blind emboss. I use this combination quite often as I like the slightly mysterious embossing paired with the rather more graphic screen print. The colour palette has become ‘mine’ over the years as has the subject matter. The emboss is done on a copper plate which takes the best part of a day to bite sufficiently deeply. This element is printed first on dampened paper. After a week under the drying boards the screen print can be added. - Rona Maclean, Luna, screenprint and embossment, 2025.

     

    "Gavran" is a reduction woodcut, born from a sketch I made last year in Sarajevo. The name means ‘raven’ - a tender nickname my grandmother once gave me, now etched in ink and memory.  - Senada Borčilo, Gavran, relief print, 2025.

  • My contribution to the EP Members Print Exchange is titled 'Under the Tuscan Sun'. The print captures the heat of...

    My contribution to the EP Members Print Exchange is titled 'Under the Tuscan Sun'. The print captures the heat of the first spring days when the cypress trees are still fresh and green during a visit to see good friends in Tuscany last year. It is a five layer screenprint where I am exploring different textures in my layers by drawing them up with a mixture of crayons, brushes and pencils. - Ursula Pretsch, Under the Tuscan Sun, screenprint, 2025.

     

    My print title is 'Escape to Nature'. It is a screen print edition of 22 + one artist proof. The colour is a mix of Phthalo Green and Lemon. My work focuses on the subject matter of mental health and the need to spend less time on our technology/mobile phones and more time spent connected to nature. The concept for this work started late last year, incorporating emergency exit signs, alarm boxes and highlighting the action needed to combat climate change. I have a larger screenprint similar to this print currently shortlisted for the Royal Academy Summer Exhibition 2025. - Emma Griffin, Escape to Nature, screenprint, 2025.

     

    Miriam Vickers, Fanore, County Clare, The Banner, etching, 2025.

  • This print emerged from an ongoing interest in, and interrogation of, mark making - working intuitively as the marks are...

    This print emerged from an ongoing interest in, and interrogation of, mark making - working intuitively as the marks are made, responding to what's happening on the plate as it unfolds. The inclusion of tumbling letters pays tribute to my longstanding fascination with the shapes of certain letterforms and the pleasure of drawing them repeatedly. These letters function as a type of shape-making rather than forming words or text. Throughout the piece, I've aimed to convey movement and flow, punctuated with both hard and soft shapes that create visual tension.  - Emma Whigham, untitled, etching, 2025.

     

    Lee Phifer, Lost Socks, cyanotype and chine coillé, 2025.

     

    This is a tiny moth I found on the Isle of Arran last summer. The bold patterns on its wings and bright orange body make it a vivid and striking subject for a print. You can read all about the process of making it at https://douglasreed.uk/projects/making-a-moth-print/ - Douglas Reed, Small Magpie, etching and aquatint with watercolour, 2025.

     

    My print was created in three layers using traditional stone lithography for the first two layers and plate lithography for the final layer (the peach colour on the birds). For the first two layers I drew the design directly on to the stones, using neat tusche ink (for the purple line work) on one stone, and painting a tusche wash (for the green layer) on a second stone. The image was inspired by an encounter my daughter had with a flock of geese at a lavender farm many years ago. - Sheila Chapman, The Girl and the Geese, stone and plate lithograph, 2025.

  • Participating Artists