“Be original or die.”

A bold mantra from printmaker, artist, and graphic designer Richard Wise, whose creative journey spans decades of design, teaching, and fine art printmaking.

In this interview, filmed at Ochre Print Studio, we catch a glimpse of his vibrant, intuitive screen printing process — from gestural mark-making to that electric moment of reveal. With stories ranging from studying at The Slade to experimenting with textures found on train platforms and bathroom flannels (yes, really), his practice is a rich mix of humour, honesty, and raw visual exploration.

The full video, A Morning at the Studio with Richard, is now live on our website — head there to discover the full conversation, see more of his stunning work, and hear what keeps him inspired after 40 years in the creative world.

Roya Pourzadi Gilham
July 2025

Tell us a bit about yourself. How did you get into printmaking?
Whoa, well, I’ve always been involved with art and had a creative career spanning the last 40 odd years. After studying graphic design at the London College of Printing (LCP), I went on to The Slade School to study Fine Art Printmaking. The graphic nature of the LCP had a group of us inspired by printmaking, partly inspired by the student who had just left when we joined—Neville Brody.

When I finished Slade, I picked up a position as artist in residence for a year at Christ’s Hospital, Horsham. After I finished there, I was offered various part time lecturing across London and Holland, teaching design, Illustration and printmaking.

I set up various printmaking workshops in colleges while running my own small studio in South London, as well as at Acme Studios in Bethnal Green and Deptford. Lack of income pulled me back into graphic design. I founded my own studios, then worked my way up through various design groups, from group art director to creative director. But fine art never left me—I was still deeply engaged, working closely with top commercial printers.

Redundancy hit a year ago (and annoyingly just before my sell-by-date), I once again threw myself back into fine art and printmaking.

What inspires your work? What drew you to this particular art form?
OMG, Roya—just about everything and anything. I never know what I’m going to see, hear, do, or take in that will shift my perspective and spark a new route into work. I absorb as much as I can, constantly. Art is my life (aside from my wife and family, of course).

For example—and this might be too much information—but the other night, I was sitting on the toilet, and in the dim top light, a hanging flannel caught my eye. It looked absolutely fabulous. Surreal, even. Bland, but beautiful. I took some photos before bed, and hey presto, it may well inspire an entire series of banal, contemporary objects. I might even translate them into photopolymer plates and print onto recycled textile material. You never know where ideas will come from — the key is staying open to them.

I was drawn to printmaking by the process itself—the journey into the unknown. I love having a solid grasp of various techniques (and I’ve been fortunate to learn from some of the best), but the real magic happens in the execution. At this stage in my practice, there are far more failures than successes, but the journey remains hugely enjoyable.

What materials and techniques do you prefer to use? Can you walk us through your screen-printing process?
I gravitate towards materials that allow for a great range of texture and gestural mark-making: Akua carborundum gel (for collagraph and acetate plates), hand drawn and painted acrylic on acetate sheets, and other experimental materials that lead me down unexpected creative paths.

For me, screen printing is akin to painting or drawing. I start with paintings and drawings in my sketchbooks, studying them intensely before committing to a screen. I then create acetate-based drawings and paintings using black acrylic or touche, inspired by those remembered sketches. These hand-drawn and photoemulsion screens are then exposed and developed. The fun and torment then begins.

I try never to plan a print too rigidly; spontaneity is essential. The artwork unfolds as a journey, often taking unexpected turns before arriving at a final form (or failing spectacularly). For me, I find planned prints a bit sterile—if you already know the outcome, why start? I don’t mind if I end up with a monoprint, a disaster, or a set of five. It’s all part of the adventure. I strive to follow the maxim set by Madame
Yevonde (a 1930s portrait photographer): “Be original or die.” Harsh? Maybe. But a solid goal.

Like painting, printmaking is an ongoing dialogue. Each mark or colour affects the next, and the piece remains in flux until it either reaches completion or is ruined entirely.

Do you have a favourite step in the process? If so, why?
Like most printmakers, my favourite (and most nerve-wracking) step is the reveal—that moment when you lift the paper to see the first print. Whether it’s intaglio, litho, screen, or potato printing, it’s always a surprise, ranging from euphoric epiphany to crushing disappointment. It’s a rush either way.

But another great joy? Mixing colour. I LOVE colour. Colour mixing is a huge part of the enjoyment and the creative journey. I approach mixing like a chef creating a dish, instinctively adjusting the “flavours” without measuring every gram. Playing colours off one another is an integral part of my creative journey.

How do you decide on colours and composition in your prints?
This comes from a lifetime of observation. I collect ideas in sketchbooks, paintings, and photos. I’ve even done brass-rubbing-like imprints from cycle road markings, manhole gratings, and engraved granite curbs.

A while back, on my daily commute through Guildford Station, I documented the tile adhesive left behind after tiles were removed. These marks, made unconsciously by a tiler, were beautiful—like accidental art. An almost child-like unselfconscious creative process. I try to tap into that same unconscious creativity when I work.

Are there any upcoming projects you’re excited about?
Yes! The big one: moving to Holland. My wife and I are reconnecting with the art scene and friends there. I also hope to set up an online printmaking channel, running courses and projects to help others get into art and drawing.

What advice would you give to new printmakers?
Immerse yourself in as many processes as possible. Learn them well, then let go and find your own path. Embrace the unexpected, and don’t get caught up in convention.

What’s your studio setup like? Do you have any must-have tools or creative rituals?
My studio? A cold garage, a converted mangle/press, and an inventive spirit.

Must-have tools: A 10A Swann-Morton scalpel, a range of dry brushes, and a multisided rubber drawing squeegee. (Oh, and a sneaky iPad with a pencil and Procreate software—brilliant for developing layers and ideas.)

Where can people find or purchase your work?
Nowhere yet! But once we settle in Holland and I build a body of work that meets the ruthless critical standards of my wife and I, I’ll set up an online shop. Watch this space?

What do you like about working at Ochre Print Studio?
The sheer freedom and access to a wonderful and supportive print studio. I genuinely LOVE this place. You can’t imagine how my heart is lifted, opening up, breathing in the atmosphere and being thrown back into the body of my former self as a fourteen year old, that went with my dad to Leeds College of art – and felt instinctively, I AM HERE AND I HAVE FOUND MY TRIBE.

Thank you Richard