What is it?

Intaglio is a printmaking technique where an image is scratched, carved, or etched into a flat surface, called a ‘plate’. Ink is then applied to the entire plate, wiped clean from the surface, and forced into the grooves. Pressure from a rolling press then transfers the ink onto dampened paper.

Printing plates have a history in being a metal surface, however emerging in the 21st century, the underside of a Tetra Pak stock, milk or juice carton, evolved as a low cost, greener alternative for artists.

Drypoint (scratched) Tetra Pak printmaking is something I really enjoy engaging with. Tetra Paks are complex items to recycle. They generally consist from a multitude of layers; paper, plastic and a thin layer of aluminium, and are therefore often a single use container. I relish in the idea of creating artwork using repurposed materials rather than buying new materials; taking advantage of a source that can be useful in another way, giving this item a secondary purpose adds to my enjoyment.

Firstly, I open the carton and using scissors, cut them into a flat sheet. They are then washed in soapy water and left to completely dry.

Initially choosing a piece for my artwork can be a creative process on its own. Each piece of carton has its own creases, lines or folds that can be incorporated into the image and sometimes that initiates my creative process for that particular artwork.

For this studio exploration I chose a piece where I could make use of the creases and folds in its existing make up. My ACA class theme being; Curious beasts, Unusual Creatures. This theme brought me straight back to a childhood memory of Maurice Sendak’s children’s picture book (25th Anniversary edition in 1988), Where the Wild Things Are. Taking inspiration, I commenced few sketching and journalling ideas. Quite quickly I began to draw onto the printing plate (carton sheet) by scratching into the surface, using a sharp pointed tool (pictured). I go slow, making deliberate marks and never pointing the sharp tool near my fingers, Safety first!

Preparing for printing: Paper and Press

It would be difficult to achieve results with drypoint printing without a press of some kind. In the ACA studio, students are lucky to have access to multiple large wheel printing presses. These allow uniformed pressure to be applied across the plate and paper, pushing out the ink to create a print. An attempt to set the right pressure on the press should be done before any inking of the plate begins.

A registration sheet is a template or guide to assist in lining up the plate and paper. I create one from general photocopying paper or clean reused paper, by marking out the plate’s location and then the papers desired location over it. For this I measure with a ruler and use a pencil or felt tip pen to mark the location of the sheets corners. A Tetra pak plate has the ability to get 5 or more prints, so using a registration sheet helps to keep the print uniformly spaced on the paper, replicating each time, before they start to degrade. Clear acetate sheets are a more reusable material which I will consider using when I get my own press.

 Intaglio printing works best with the paper used is dampened first. I find the quality and type of paper I use important. I’ve always had a slight obsession when it comes to a stationery store, so sourcing paper definitely forms part of the creative process for me. There are many different brands and papers on the market, I have also had a go at making my own homemade paper. Essentially though, a paper containing some cotton content is going to be sturdier when soaked in water.

When I say soaking, 5 or 10 minutes before inking my plate is plenty. At this stage I dry off the paper using a doubled-over bath towel, with the paper sandwiched in-between, pressing down with my hands to carefully squeeze out the excess water.

The messy part: Inking the Plate

This next part can be messy and fun!

Gloves and newsprint help keep me and my work area cleaner but with career experience in Work, Health and Safety, this is also the time in the printing process where to mention some of the safety aspects to consider. Hazardous chemicals, water, spills, and caught fingers are all risks of potential incidents that can occur in a printing studio, amongst many others. Studios should be well ventilated, kept clean and well organised to prevent such incidents or injuries. I consider my safety each time I work in a studio, please do the same in your own practice.  

Essentially the process on inking the plate, involves pushing suitable ink into the scratched marks across the plate and then wiping the surface clean, but just clean enough to leave the ink within the desired marks. This part of the process felt quite individual for me. The exact process of removing the ink can be tailored depending on what size your hands are, how you hold the print, your creative vision for plate tone (the amount of ink left to the background) and other variables.

Ink suitable for drypoint printing is generally thick enough to get into the scratching’s without smudging off completely and also doesn’t dry too quickly. Inks can be either oil or water based, but water ‘washable’ is always my choice; eliminating the hazard for harsher cleaning solvents and encouraging a cleaner working environment.

Using some form of small scraper (cardboard off cuts do a great job), I apply the ink in a sweeping motion, both ways across the plate taking note to get ink into each of the scratched marks.

Next, using another piece a hard card, I scrape as much excess ink off the plate.

Using Tarlatan cloth, balled up like a wonton money bag, I wipe the excess ink from the plate. Wiping in circular motions, firmly, deliberate but also carefully. I rotate the cloth to find clean sections. Sometimes also using cotton tips for areas on the pate I really want clean. Scratches do form in the plate from this part of the process, they are light and can add movement to my art, but I’m careful not to damage the plate or wipe away too much ink. Removing more of the ink produces lighter tones areas in the final prints. It’s a balancing process, one I enjoy.

Creating the Print

Next I head to the printing press and place my inked Tetra Pak plate onto my registration sheet, lining it up in the space I marked out earlier. With a clean hand, I carefully place my dampened piece of paper on top. You get one go at lining it up squarely, so this is where the registration sheet can really assist. A scrap piece of clean paper follows, and then the presses woollen blankets to complete the sandwich. Turn the press handle, moving the sandwich through the rollers.

Plate and registration sheet on the left, Final print on the right.

A challenge I come across in the printing studio is with my process of keeping clean hands. It’s so easy to accidentally get ink everywhere!

Overall, I love this technique. Utilising a ‘difficult-to-recycle’ product to produce images ticks many of my boxes. Additionally, being a ‘free’ material, means experiments and quantity of possible artworks is much readily available and cost effective.  I can see further potential and plan to continue to explore this material with differing techniques of scratch marks into the plate. Cutting and peeling the Tetra Pak surface in different ways, creating patterns and textures with unconventional objects. As well as experimenting with different depths of plate tone (wiping the background of the image).

Unusual Creatures, Intaglio drypoint print, black ink on paper, 2026.

This is my Lino Relief printmaking process ….in pictures.

Inspired by the sometimes complex positive and negative space thought processed that come from creating a relief print image.

Finished carved lino printing plate, ready for ink.

Test and final prints emerge on the Drying rack.

One of my finished and framed prints.

A Photogram is an image made without a camera. From placing objects directly on to the surface of light sensitive materials (i.e. Ilford paper), exposing the arrangement of components to light and following the materials developing process, an image is created.

Uniqueness of these images depend on an array of variables. There is found creativity in the objects I choose, the distance they are placed from the light source and the length of time I expose them to the light.

Using an enlarger as the light source, and Ilford paper as my light sensitive material (both pictured below), I have been experimenting with this process at the ACA’s darkroom facilities.

Enlarger light source (left), Illford light-sensitive paper (right)

I’ve given-it-a-go creating Photograms before, over 25 years ago!  A quick Google search for famous Photogram artists revealed some surprising results. Contemporary British photographer, Adam Fuss gained my initial attention.

Throughout this studio exploration, I found the photography studio to be strongly process driven. Although there can be a great element of spontaneous creativity, there involves planning and processes to support an artworks success. I find comfort in this technique.

I followed these steps:

1. Collecting and idea generating: the process of sourcing components to construct the image, sketching and planning compositions to create with once in the dark room.

2. Prepare the Darkroom including setting up the enlarger & chemical baths.

3. Dark Room Time ! – Create, Expose the Paper, Develop the image.

Collecting & Idea Generating:

Spanning over a few afternoons, I collected items around my property that inspired interest for how they may translate the light onto paper, bringing them to the photography studio in a plastic takeaway container.

Collection of items used to explore creating Photograms.

Prepare the Darkroom:

The darkroom uses a low-level red light which is safe for light sensitive materials such as Ilford branded paper. Any outside light sources will damage this paper, even from your mobile phone! But before turning the lights off, I set up my workspace.

Safety first! It’s going to be dark, there are chemicals to be aware of and also slips from water on the floor. Wash your hands and keep your safety and the safety of others around you, in the forefront of your mind at all times.

Using the enlarger as the overhead light source, the first step is to create a sharp edged window of light. To achieve this, I raise and lower the enlarger head until the area of light projected covers enough for my paper size .

To set the aperture, I turned the lens all the way, and back one click (one F-stop).

The chemical setup (pictured) involves 5 steps. Each of these steps require preparation in trays with associated clean tongs by each side. Additionally clean empty trays to transport developed images to of the darkroom into natural light to review, decreasing a slipping hazard.

Using your darkroom tongs to handle the paper, move it through the following liquid baths:

1. Developer – Ilford Multigrade (1 minute): Submerge the paper and gently rock the tray. Watch as your image magically appears!

2. Stop Bath – Ilford Ilfostop (10 seconds): Stops the developing process immediately.

3. Fixer – Ilford Hypam (30 seconds): Makes the image permanent and light-safe.

4. Water Wash (5 minutes): Rinses off all the leftover chemicals.

5. Hang your finished photogram to dry

Turn the lights off - Dark room time!

Successful test strip in increments of 2 secs, totalling 16 seconds.

Firstly, a test strip! This was my most challenging part of the process and learnt much about the sensitivity of the paper. It took me 4 attempts to get a test strip (smaller piece of light-sensitive pper) that I could rely on.

Place the paper, shiny (emulsion light sensitive) side up, on the enlarger base plate. Using a thick light blocking board, I exposed the test strip in evenly spaced intervals of 2-3 seconds, up to 10 times. Following the developing process, I outlined earlier, the test strips were created. Until finally I produced a successful test strip with a suitable number of varying tones, including a crisp dark tone. This being my timer setting required to now create my photograms.

An interesting second-hand learning; after developing a test strip, a fellow student shared their experience with me, of how they accidentally exposed their test strip with the glossy side down. An interesting error which I also learnt from. The light still affected the paper,  but gave a ghostly tone to it. Something I will remember to maybe utilise in the future for a potential creativity opportunity.

It’s important to always start the studio practice with a test strip as variables between each enlarger station and timer will occur. I am talking, Seconds! Small fractions of time make a difference. I quickly learnt from my test strips that there are precise parts to creating in the dark room.

Now all set up ready to go, I arranged my items using the concepts and ideas I had planned for earlier, as well as adding anything creative on-the-go. Arranging the components of a composition in a low-light environment is an intriguing process. Essentially, I’m creating an image, by exposing light to the paper using a variable shot amount of time (I’m talking only 16 seconds), placement and shadow, moving items on and off, but nothing appears. There is no indication if I’ve created anything at all, until I now head to the developing station with my paper.

This concept, very much reminds me of the days I owned camera with film and wasn’t sure if I had captured a subject until sometimes weeks after when the film was developed!

I find it a poetic process to watching my image come to life in the developing stage. I’m eager to see what appears first, what have I created….. I wont know for a few minutes!

As an individual that has a history of being process driven, this technique allows me to feel a familiar sense of achievement. There is a start and an end. Unless I’m hand colouring or using my photo in an installation etc, the art is finished. Unlike painting or drawing, where you can always add more and there is a decision to make when to stop. For me this has been often an internal battle.

The magic of cameraless photography.

Untitled, composition of Photograms, 2026.

A second exploration in the dark room, using a negative taken and developed kindly by my lecturer, I combined my portrait and toothpicks.

Toothpicky, 2026.

Some simple things to remember when working with clay:

• Always work on a damp flat surface. Keeping the surface damp assists in not allowing the clay to dry out too quickly.

• Keep clay covered with a plastic bag at all times when not in use, to keep it from drying out.

• Trapped air will cause the piece to crack or even explode in a kiln. Knead clay (wedge technique) in the beginning to disperse any air bubbles.

• Clay shrinks when it dries, I factor this in to my creations

Coiling Technique

Using two balls of white clay, (iron makes clay pink), roll the first ball in between two hands. Now, slapping with each hand, move in a circular motion to make a flat, round pad of around 5mm thickness. Similar to making flatbread :)

Roll the second ball into a long cylindrical log of around 1.5cm in diameter. The technique to roll a log with uniform thickness, is to spread the fingers out and roll a full length of the hands. I found, rocking back and forth will leave you with awkward ovals shapes. If this does happen, twist the log and roll again to correct it.

Using a bamboo stick as a tool, (the kind my dad used as skewers on the BBQ), cross hatch around the edge to give it a roughed up surface; interestingly known as a bit of “tooth”.

Brush on some slip (watered down recycled clay) over the cross hatch. Cut the end of the log on an angle, place on the base, not overhanging the edge.

Next, I blended the coil and flat piece together, pushing the clay down with my finger. Keeping my fingers in a straight up and down motion. Blending and joining with one hand, providing support with the other.

On the outside of the vessel, I now blended upwards, smoothing as I go.

Repeat the coil process, placing the next coil on top of the other, but ever so slightly on the inside. Staggering the coil ends to provide strength.

It was at about this point, that my clay started to dry and crack. Dampening my hands, I was able to smooth the clay with my finger. Keeping light moisture on my hands. In most of my experiences working with clay my hands have dried out the clay sooner than others. So it’s something I try and keep onto of when creating.

Surface Decoration

My vessel was left to dry slowly for the week, on return to class, I used the coloured clay slip to decorate with a paintbrush and wooden tools. Choosing not to colour the clay surface but rather add motifs to the white clay coloured surface only.

Additional surface decoration was added to my second coil pot, using a scratching technique of Sgraffito. Carving lightly through my layers of blue coloured slip, revealing the contrasting white clay surface underneath.

Glazing

With glaze (liquid glass) in a deep bucket and using glaze togs, I dipped my vessels one at a time into the liquid, dipping in a way to completely cover the vessel but also pouring out the excess in one clean sweeping motion. The idea is to not get the layer of glaze to be too thick. Thick glaze can run off the item and pool at the base, sticking the item and others to the kiln.

Where the tongs made a small mark, I dabbed with my finger dipped into the glaze.

After a few minutes the glazed vessels change to a lighter colour. It’s now I can wipe off the excess glaze from the base, including a few millimetres up the side and place on the studio racks ready for a Mid Firing of 1200 degrees.

Orange Floral vessel, 160mm across, 2026.

Blue Striped vessel, 130mm across, 2026.

In this studio practice class, I started with a 1mm thick sheet of Aluminium, 10cm x 20cm.

Using the Metal Shears, I segmented this into workable pieces, exploring Hammering and Roller Mill techniques to texture the surface.

Metal Shears (left), A pair of Rolling Mills (right).

Hammering Texture Technique – Using hammers with various style heads to create textured indents into the metal sheet.

Roller Mill Technique - Using various items to imprint onto sheet aluminium after passing through a set of rollers. I had success with using light cardboard templates as well as automotive electrical wiring strands. The latter produced a multitude of grooves, reflecting the light and forming a glimmering surface.

Making note that both techniques, stretch the metal sheeExamples of my Roller Mill textures (left) & Hammering textures (middle & right)

Both techniques produced items that I will create further with. I choose the hammering samples to cut out simple shapes from. I drew an oval and then some areas cut out from this oval shape, replicating the complete shape to make a pair. I mainly choose this design to practice my saw piercing skills.

Saw pierced designs cut out of 1mm aluminium sheet.

Saw Piercing & filing

The piercing saws blade needs to have good tension to work well, keep arcuate and minimise blade breakage.

Holding the material to be cut, sturdy against the bench pegs. I use a vertical sawing motion, keeping the saw upright, continuing on moving the item being cut rather than the saw, following my designs line. Not pushing, but letting the saw do the work. To turn tight corners, I saw up and down on the spot, turning as I go.

Once my shapes have been cut out, its time to file the edges smooth. Small files are perfect for this task, eventually wrapping with sand paper to produce an even smoother finish.

Maintain a comfortable posture while sitting at the bench. Keep your shoulders relaxed. Safety glasses, or glasses of some kind, are recommended to protect your eyes from broken blades or metal dust particles.

Earring Hooks

After drilling a 1mm hole at the top of the earrings, carefully choosing a balanced location, its time to make the earrings hooks.

Using one of the premade jigs, I created sterling silver earring hooks with 0.8mm diameter wire. Cutting the wire to length and filing the sharp end.

Earring hook jigs - very useful in the studio

I have success at creating jewellery using these techniques. I'm yet to master saw-piercing, but essentially jewellery making workshop is a tiny-version of an automotive workshop. Small drill presses, media blasting, bandsaws. So it's a studio I find familiarity with and have really enjoyed creating in.

Artist Statement

Creating is where I feel most like myself. It’s a space where I’m comfortable, yet also challenged to think outside the box. For me, art is a joyful mix of imagination, technical skills, and problem-solving. Whether I'm making something beautiful, capturing feelings of nostalgia, or sharing a specific message, I always try to combine the enjoyment of making with a purposeful function.

I create with kindness and diversity in mind, aiming to tread lightly on our wonderful world. That means whether I'm traveling in Australia or working in my studio, I choose local, found materials whenever I can. I’ve always been captivated by found-object art—I love looking at a piece and marvelling at the ingenuity of the hands that made it.

My life lesson has always been about making the absolute best out of whatever is in front of me. Whether that be ‘macgiver-ing’ the side gate back together or weaving a basket for a friend, I truly believe nothing is impossible. It’s all down to perspective.

More about me.....

How do I approach my art? What techniques and material do I use?

Sculpture for me is a hugely broad term that allows me to encompass a variety of materials and techniques. Jewellery making, weaving, woodturning, and even car-customisation (differing from the rigid term restoration).

Most recently, my work outside of study related assignments have focussed around utilising items from my immediate surrounding environment. My home is a complex property which includes salvaged industrial material, cars as well as natural environments (I’ll call them messy gardens) where found objects are plentiful. Grasses to weave with or salvaged car body earrings.

I seem to have a problem finding enough time to support my endless ideas and focussing on one project. I often have 50 things on the go. I enjoy working like this, however as with everything it’s important I remind myself that a balance of all thing is the best approach.

Are there particular artists, movements or ideas that influence your work?

The Bauhaus modernist movement grabbed my attention at a young age while studying design at Uni. I was forever trying to own the later Alessi replicas. Minimalist, clean lines felt right. I guess growing up in the family house with stripped-down aesthetics, black, white, clean lines, with very little ornate decoration (dis-count the forest wallpaper in the dining room) may have supported that.

Moving to Perth, Western Australia in the 80’s, our homemade dining table consisted of two large painted grey, fibreglass drainage pipes, ceiling to floor, supporting a seemingly floating large white laminated top. Paired with standard office chairs, chosen for their utilitarian swivel function and wheels.

In later years moving back to South Australia, our families dining table upgraded to chrome and black leather cantilever dining chairs, a 1970’s reissue based on the iconic chair by Marcel Breuer, along with a matching glass and chrome table and shelving unit. Extremely unpracticable but I watched my mum polish it numerous times each day.

The Art Deco period of about the same time, 1920s–1930s, was a glamorous design movement that celebrated modernity and the machine age. Geometric designs, repeated symmetry, opulent materials and bold, futuristic elegance swept architecture, automobiles, fashion and jewellery. I’m immediately drawn to the visual drama of sweeping curves in the body styling of cars and building.

While these two movements overlapped in the 1920’ and 1930’s they had distinct philosophical differences and influences. Bauhaus emphasised pure function and rejected ornamentation, while Art Deco focused on decorative luxury and glamour.

My personal inspiration from these two movements is their commonality of embracing the machine age and modern industrial materials like steel and glass, as well as their clean lines and bold geometric shapes.

And why not, lets add into the mix my love of Australian artist, Brett Whiteley. I was drawn initially to his work through his endless blue colours of the water of Sydney Harbour. I’ve always found a loyalty to Australian artists and their work. We live in the best country of the world in terms of beauty and vast empty spaces. Exploring is endless.

..... to be continued.

Feedback & Friendship

A big thanks to those close to me, who have supported my creative journey by providing valuable feedback of my work and this website project. The spelling checkers know who they are - I appreciate you!

Thanks Everyone.