Not every maker at Clayward Atelier chooses clay. Some prefer ink, paper, and a rolling brayer. The principles, however, remain the same: calm pacing, clear setup, and simple tools handled with respect. “Impressions and Small Proofs” outlines the kind of introductory print session often run alongside ceramic evenings in Stratford-upon-Avon, where artists mix disciplines and share space without hierarchy.
Printmaking in a shared studio relies on rhythm and routine. Preparation starts with clearing the surface and checking ventilation — not for toxicity, but for comfort. Our tables are covered in reusable mats to prevent slipping. The inks we keep are water-based, safe, and easy to clean. Before any roller touches the plate, participants are encouraged to visualise the process: design, mirror image, test pull, and drying line. This thought loop avoids wasted material and confusion later on.
Beginners begin with simple blocks, often soft lino or recycled packaging board sealed with acrylic medium. Carving tools are basic and stored in labelled trays. We emphasise control over pressure, just like on the wheel — too deep, and the image loses detail; too shallow, and the ink pools. Mistakes become textures, and we remind everyone that no mark is truly wrong until tested. This attitude of curiosity rather than perfection keeps the group relaxed.
When the ink finally spreads, the sound changes: quiet scraping, a soft hiss as the brayer rolls. That subtle noise becomes its own guide. Even coverage is more about feel than sight; it’s the slight resistance that signals readiness. Sheets of mid-weight paper wait beside the press, cut slightly larger than the plate to allow margins. Each participant takes turns rather than rushing, letting previous prints dry while preparing the next plate.
Our hand press, though small, teaches timing beautifully. Too much pressure blurs details; too little, and the image fades. We recommend counting seconds under the roller to maintain consistency. The first pull, called the proof, rarely satisfies. It’s pale, uneven, maybe missing edges — and that’s precisely why it’s important. Proofs reveal where to adjust, how much ink remains, and how the paper absorbs. Students pin these first tries to a drying line that runs the length of the wall, letting air and discussion move freely through the space.
During breaks, conversation drifts between technical notes and casual talk — clay shrinkage, glaze tests, or where to buy replacement brayers locally. Such cross-pollination is part of our purpose. Clayworkers often find joy in printmaking’s immediacy; printmakers discover patience through clay. The two crafts feed each other, and that mutual learning defines Clayward Atelier’s rhythm.
After printing, cleanup becomes a collective ritual. Trays of warm water and mild soap sit near the sink. Everyone rinses tools gently, wipes tables with reusable cloths, and checks that blades are sheathed before returning them. Nothing ends until the workspace is clean. It’s not just respect for the studio but also mindfulness training: finishing with care completes the creative circle.
For many newcomers, the best moment is comparing first and final proofs. Side by side, they show progress not in perfection but in understanding. Some prints still misalign, others oversaturate, yet the difference lies in confidence — learning how small corrections build control. As with wheel throwing, each repetition reinforces hand memory and attention to texture.
We document these sessions for educational use and keep them open to interpretation. Readers may follow our methods at home or in community centres, provided safety and ventilation are maintained. No registration is needed to learn; our notes are for sharing, not commercial training. All information is supplied in good faith to inspire careful experimentation.
To join or observe a mixed craft evening, contact us directly:
- Clayward Atelier
- 18 Wood Street, Stratford-upon-Avon CV37 6JF, England
- Phone: 441 789 742 613
- Email: [email protected]
Art, like clay, leaves traces. A print is just another form of impression — one that records where patience meets surface. Whether you work with ink or earth, the goal is the same: keep the process visible, keep the practice kind, and let each proof remind you that progress can be quiet and deliberate.
— Compiled by the studio contributors, November 2025.