Meet the Maker: Rachel Snowdon

Hello! I’m Rachel Snowdon of Rachel Snowdon Studio, a London-born relief printmaker and illustrator who has been based in West Devon since 2009.

Having recently introduced more colour into my designs, multi-block lino printing is probably my favourite process as it allows me some flexibility to experiment with different editions. Almost all of my linocuts are burnished by hand onto fine Japanese washi or Lokta papers. I do have a few small table-top presses, but still always feel more comfortable and in control when I am able to ‘feel’ the paper and the relief surface, especially as I mostly carve very detailed and fine lines.

How and where did you learn to print?

I’m completely self-taught as a printmaker, though I have a BA in Fine Art and an MA in Photography from many years ago, and feel fortunate that both those disciplines have helped me transition - mostly painlessly! - into linocut techniques. I’ve never read widely into the topic; it was just something that I threw myself into in its entirety one day after acquiring a few tools. I learned the hard (but fun!) way - through trial and error as I progressed, and printmaking is now slowly taking over my whole life, which I wouldn’t change all! 

Why printmaking?

 Initially, I wanted to use printmaking as a way to loosen the perfection and tightness that I was frustrated with as a painter. It was always very easy to paint and re-paint until I was satisfied, but with lino-printing, I’m under a different set of rules and many of them aren’t as forgiving! I enjoy the element of risk as I carve each line, and I’ve learned to embrace a more graphic, illustrative style as a result. The distinctive textures and subtle imperfections of hand printing also compliments the vintage aesthetic of my imagery. I find printmaking to be the perfect combination of art, craft, and problem solving.

Where do you work?

I’m based entirely at home in West Devon, in a very small two-metre alcove in the sitting room! My house is incredibly old, somewhat crooked, and cavernously dark even in summer - so whilst it doesn’t always make for an ideal work space, I personally love having the solitude to focus, and quite enjoy the challenge of making complex prints in such a constrained environment.

 Describe a typical day in your studio.

 It really is always different, but I’d say a typical day usually involves some sort of admin, followed by either sketching out or carving the next image. I usually wait until I can spare a couple of weeks to print or re-print various editions in one go, My absolute favourite days are the ones where I am entirely devoted to carving; here, eight hours can very easily drift past with the gentle repetition of tools on a block, chased by bottomless mugs of Earl Grey tea, and the sound of Gypsy, my dear old Border Collie, snoring away beside me.

 How long have you been printmaking?

 Just under two years from the moment I picked up my first tools. As the process can so often be slow and meditative, this both feels like no time at all and yet also as if I’ve been printing for a lifetime!

 What inspires you?

I’m deeply enamoured with turn-of-the-century decorative arts; especially the beautifully observed and whimsical Golden Age of Illustration, and aspects of the Arts & Crafts Movement that valued the natural beauty of British Isles and placed emphasis on the artist remaining truthful to their beliefs, materials, and methods. Another fondness is for illuminated botanical manuscripts, and the quiet sincerity of ancient buildings where the imagery contained within is charged by the narrative weight of history and local folklore or folk art.

What is your favourite printmaking product?

I cannot live without Japanese washi papers! Though I have been branching out into using other papers of varying weights and textures, nothing has yet to so perfectly balance the rendering of detail with the ease of hand burnishing as my favourite Kitakata does for me! I also love Pfeil tools and Caligo Safe Wash, both of which I have used since the start of my relief-printing journey, and feel very loyal to!

 My most recent print, ‘In Our Present Joy’, which is my largest linocut to date. It depicts the four seasons through both work and play, and is a subtle, humble homage to 19th century designer John Moyr Smith, who created the most beautiful decorative tiles. The image itself can be split up into four separate scenes, or kept together as one large celebration of the year.

 The title itself is also reminiscent of a Bible passage, 1 Peter 1:6, “So be truly glad. There is wonderful joy ahead, even though you must endure many trials for a little while.” It was unintentional, but certainly feels extremely fitting as this print was also my attempt to bring a comforting sense of nostalgia, gentleness, and hope, in a world that is very much in constant flux. I’m also planning to experiment with a multi-block colour version of this work, with both images to be revealed (and released!) properly in Autumn.

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

 I have a website, www.rachelsnowdon.com and am also on Instagram @rachelsnowdonstudio. I also occasionally write a Substack blog called Artist’s Proof, which started off as a way to remain accountable to all aspects of my printmakers’ work-life balance, which is for the most part one and the same!

Offline, I can be found at a number of craft and print fairs, mostly in Devon and London, but I intend to expand further afield as my practice progresses. You can also currently find a collection of work in a small number of shops in the UK and USA, with more venues in the future, I hope!

What will we be seeing from you next?

 I’ve started working on a few more seasonal, calendric-type designs based on the Pagan Wheel of the Year, which started life two years ago as one of the first ideas to be committed to my sketchbook! With more experience under my belt, the task of carving it feels much less daunting, and I’m very excited about being able to realise these pieces before the days shorten again and the winter snap approaches. 

Do you have any advice for other printmakers and creatives?

 In both your creative and personal world, I believe wholeheartedly in being unashamedly and proudly yourself! It’s very easy to fall into the trap of comparison, or to feel pressured into fitting into the same cookie-cutter mould of making the kind of work that is expected of you. Wherever possible I think it’s important to find time to create, or experiment, entirely on your own terms! Explore and embrace the eccentricities that make you and your prints so uniquely special.

Follow Rachel on Instagram or subscribe to her Substack blog. You can also head to her website to find out more about her work.