Meet the Maker: Megan Hall

I'm Megan Hall, a reduction linocut printmaker based in Plymouth, Devon. My work is inspired by water and the time I spend outdoors, particularly swimming, paddleboarding and exploring the Devon coastline. I create original linocuts that try to capture those moments when the light hits the water just right or when you feel completely immersed in a moment. 

Describe your printmaking process.

I specialise in reduction linocut, which means I create the whole print from a single block of lino. I start with my own experiences, photographs and imagination, usually inspired by somewhere I've swum or explored, and then simplify the image into shapes and layers before I start carving. I don’t often plan on paper though- much of it is in my head.

I usually print from the lightest colour through to the darkest, carving away more of the block after each layer. It definitely keeps you focused, but that's one of the things I love about it. Seeing the print gradually come together over three, six or sometimes even more layers never gets old.

How and where did you learn to print?

I studied Illustration: Design at the University of Plymouth, graduating in 2011, but somehow, I never had the opportunity to try linocut while I was there. By the end of my degree, I'd realised that commercial illustration wasn't really the path I wanted to follow, and I gradually stopped making art altogether.

I took a seven-year break from creating. I dabbled in different media now and again, but nothing really stuck. I first discovered lino printing on an evening course back in 2017. I really enjoyed it, but it wasn't until I started swimming outdoors that I found the subject matter I wanted to explore. After making a print inspired by a full moon swim, I completely fell in love with the process. It honestly felt like the stars aligned.

Since then, I've learned a lot through experimentation, chatting to other printmakers and, probably more than anything else, by making plenty of mistakes!

Why printmaking?

I've always loved making things with my hands, and printmaking just clicked with me. I enjoy that there's always an element of surprise. No matter how carefully you've prepared, lifting a fresh print is still exciting.

Reduction printing suits me because it's quite immersive. Once I'm in the middle of a print, I'm completely focused on that next cut or colour layer. It's a slow process, but I think that's part of its appeal.

Finding printmaking felt a bit like coming home. After years of trying different creative outlets, lino was the first medium that really fitted the way I think and work.

I love that it slows me down. Reduction printing asks you to commit to each decision because every layer is carved away forever. There's something really satisfying about that balance of careful planning (even if that is in my head) and trusting the process. And despite knowing exactly what should happen, peeling back each layer is still exciting every single time.

Where do you work?

I work from my studio in Plymouth, not far from the sea that inspires so much of my work. It's where I carve, print, package orders and teach workshops. It's not the tidiest space- there always seems to be drying prints, carving tools and little scraps of lino everywhere-but it's somewhere I really enjoy spending time, my happy place.

Describe a typical day in your studio.

Every day is a bit different. Some days I'll spend hours carving, especially if I'm working on a detailed reduction print. Other days are all about printing, checking registration and waiting impatiently for layers to dry.

Being a self-employed artist also means there are lots of jobs that happen alongside the creative work- packing orders, answering emails, updating my website, preparing for exhibitions and fairs and “research” trips to the shore.

How long have you been printmaking?

I've been printmaking seriously since 2019. Looking back at those early prints is quite funny now- they've definitely evolved- but it's lovely to see how much my work has grown, especially over the last 12 months since I gave myself permission to grow and hyperfocus on water.

What inspires you?

Water, without a doubt. Whether it's the sea, rivers or lakes, I'm fascinated by the changing colours, reflections and movement. Outdoor swimming has completely changed how I experience a landscape because you're not just looking at it- you're part of it.

I also find inspiration in the quieter moments: early morning light, shifting weather, the patterns left by the tide or those little details that are easy to miss if you're rushing around.

What is your favourite printmaking product?

That's a tricky one! My Pfeil carving tools would have to be high on the list because I use them every day and they've lasted brilliantly. My printing press might just be the winner though. It is one of the largest purchases I have ever made but was worth every penny and has allowed me to grow in a way I couldn’t have before. 

What have you made that you are most proud of?

That's probably the hardest question! I think, like a lot of artists, I have a bit of a love-hate relationship with my own work. My opinion of a print can change from one day to the next-sometimes I'll finish a piece and love it, only to question everything a week later. Then a few months down the line I'll look at it with fresh eyes and wonder what I was worried about.

Rather than being proud of one particular print, I'm proud that I've found a body of work that feels genuinely me. It took me a long time to find my creative voice, and now I try to stay true to the things I'm most curious about- water, light, movement and those immersive moments in nature. Knowing I'm making work that feels authentic, rather than chasing trends or creating what I think people want to buy, is probably what I'm most proud of.

Where can we see your work? Where do you sell?

The best place to see everything is through my website. I also exhibit regularly in galleries and print exhibitions, and you'll often find me at art fairs and open studio events across the South West. I am also taking part in Devon Open Studios this September and would love to have some visitors.

What will we be seeing from you next?

Last year I taught myself to use soft pastels, and more recently I've been exploring ways of combining them with a Gelli plate to create monoprints. It's a completely different process from reduction linocut, and I'm really enjoying the freedom and spontaneity of it. It's definitely something I'd like to spend more time experimenting with over the summer to see where it leads.

Alongside that, I'll continue exploring water, light and the feeling of being immersed in nature through my reduction linocuts.

Do you have any advice for other printmakers and creatives?

Make work about the things that genuinely excite and fascinate you, rather than what you think you should be making. I feel much more at peace with my creative practice now that I've given myself permission to hyperfocus on water. It might seem like a very narrow subject, but the more I explore it, the more I realise there's still so much to discover. Following your curiosity is rarely a bad idea.

It's also important to keep pushing yourself and making time to experiment with different mediums. Some experiments won't work -and that's absolutely fine- but staying curious is what helps your work evolve.

And finally, don't worry too much when things don't go to plan. Every printmaker ends up with wonky registration, unexpected colours or the occasional disaster! Those moments can be frustrating, but they're usually where the biggest lessons are learned. Just keep printing.

 To see more from Megan, follow her on Instagram!

Feeling inspired? Book a Fab Friday - Linocut: Mark Making course at Handprinted!

Alternatively, if you want to try out this technique at home, visit our website to find everything you need to get started.