{"id":18322,"date":"2025-01-09T07:07:32","date_gmt":"2025-01-09T07:07:32","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/artist-insights-duncan-montgomery-jacksons-art-blogjacksons-art-blog\/"},"modified":"2025-01-09T07:07:32","modified_gmt":"2025-01-09T07:07:32","slug":"artist-insights-duncan-montgomery-jacksons-art-blogjacksons-art-blog","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=18322","title":{"rendered":"Artist Insights: Duncan Montgomery &#8211; Jackson&#8217;s Art BlogJackson&#8217;s Art Blog"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p>Duncan Montgomery is a London-based wood engraver. In this <em>Artist Insights<\/em> film, he shares what drew him to the discipline of wood engraving, how poetry inspires his work, and some of the techniques he has learned through hours of trial and error along the way.<\/p>\n<hr\/>\n<p>\u00a0<\/p>\n<h2 style=\"font-size: 26px;\">Artist Insights: Duncan Montgomery<\/h2>\n<p>\u00a0<\/p>\n<style><![CDATA[.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }]]><\/style>\n<p><iframe loading=\"lazy\" title=\"Artist Insights Duncan Montgomery | Jackson&#039;s Art\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/CYaMgYA9t3A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>\u00a0<\/p>\n<h2>Contents<\/h2>\n<p><strong>0:00<\/strong> Introduction<\/p>\n<p><strong>0:36<\/strong> \u201cMy interest in literature came before my interest in art\u201d<\/p>\n<p><strong>1:07<\/strong> \u201cI taught myself through trial and error\u201d<\/p>\n<p><strong>2:01<\/strong> \u201cYou don\u2019t need a lot of gear for wood engraving\u201d<\/p>\n<p><strong>2:26<\/strong> \u201cWood engraving is versatile\u201d<\/p>\n<p><strong>3:07<\/strong> \u201cSome of the projects I do are quite long-term\u201d<\/p>\n<p><strong>4:27<\/strong> \u201cIn terms of planning, I do a lot of drawing\u201d<\/p>\n<p><strong>5:14<\/strong> \u201cSketchbooks, reference photos and historical material are part of my practice\u201d<\/p>\n<p><strong>5:38<\/strong> \u201cI like the idea that images have an afterlife\u201d  <\/p>\n<p><strong>6:09<\/strong> \u201cWood engraving was a mass-production art\u201d <\/p>\n<p><strong>6:42<\/strong> \u201cBooks of the 16th and 17th centuries are imperfect objects\u201d <\/p>\n<p><strong>7:30<\/strong> \u201cIt can take me some time to get into the zone\u201d<\/p>\n<p><strong>7:57<\/strong> \u201cIt\u2019s frustrating to re-engrave a block that has already been printed\u201d<\/p>\n<p><strong>9:39<\/strong> \u201cPrinting by hand gives a nice handmade quality\u201d<\/p>\n<p><strong>10:20<\/strong> \u201cReading and writing poetry has been a big influence\u201d <\/p>\n<p><strong>12:02<\/strong> \u201cModernist poets offer some resistance to the reader\u201d<\/p>\n<p><strong>12:38<\/strong> \u201cI want to incorporate text and image more in my work\u201d <\/p>\n<p><strong>14:00<\/strong> \u201cMistakes do happen\u201d<\/p>\n<p><strong>14:21<\/strong> \u201cUsing different woods is part of the variety of the medium\u201d<\/p>\n<p><strong>15:13<\/strong> \u201cI\u2019m attracted to the detail you can achieve with wood engraving\u201d<\/p>\n<p><strong>15:55<\/strong> \u201cIdeally, you wouldn\u2019t have a preferred tool\u201d<\/p>\n<p><strong>16:51<\/strong> \u201dAlways use a tool that\u2019s slightly bigger than you think you need\u201d<\/p>\n<p><strong>17:11<\/strong> \u201cIn terms of inks, it\u2019s got to be oil-based\u201d<\/p>\n<p><strong>17:57<\/strong> \u201cKnowing when to stop is a matter of experience\u201d <\/p>\n<p><strong>18:27<\/strong> \u201cAll the wood engravers I\u2019ve met have been really generous\u201d<\/p>\n<p><strong>19:09<\/strong> \u201cThere\u2019s something about wood engraving that runs to madness\u201d <\/p>\n<p><strong>19:57<\/strong> Credits<\/p>\n<p>\u00a0<\/p>\n<p><a href=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Jacksons_Duncan_Montgomery_Secondary.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Jacksons_Duncan_Montgomery_Secondary.jpg\" alt=\"\" width=\"1500\" height=\"1000\" class=\"aligncenter size-full wp-image-1561281 lazy\" srcset=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Jacksons_Duncan_Montgomery_Secondary.jpg 1500w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Jacksons_Duncan_Montgomery_Secondary-300x200.jpg 300w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Jacksons_Duncan_Montgomery_Secondary-1024x683.jpg 1024w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Jacksons_Duncan_Montgomery_Secondary-768x512.jpg 768w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Jacksons_Duncan_Montgomery_Secondary-620x413.jpg 620w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Jacksons_Duncan_Montgomery_Secondary-192x128.jpg 192w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Jacksons_Duncan_Montgomery_Secondary-940x627.jpg 940w\" data-sizes=\"(max-width: 1500px) 100vw, 1500px\"\/><\/a><\/p>\n<p>\u00a0<\/p>\n<h2>Extract<\/h2>\n<p>I started English literature before I started wood engraving, so the interest in literature probably came slightly before my interest in art. Modern print culture was what I studied mostly at a university, and I was particularly interested in how books of the 16th and 17th centuries were produced, particularly the illustrated books. I spent a lot of time in rare books rooms, pulling up printed books and manuscripts.<br \/>The first thing I did was look at what I needed to start. I bought a book by Simon Brett, which is Wood Engraving: How to Do It and it really got me going.<\/p>\n<p>So I taught myself through trial and error, which I think on some level is probably the only way you can do it. I\u2019ve since attended courses to work on specific aspects of my printing skills. But ultimately, there\u2019s no schooling that is a replacement for just doing it, making mistakes, and not making it again.<\/p>\n<p>When you\u2019re drawing something for the fifth or sixth time, finally transferring it to the block, and engraving it very precisely over five or six days, you engage with the subject matter on quite a deep level. I always find that really rewarding.<\/p>\n<p>I work out of my home because wood engraving is relatively simple. You don\u2019t need a lot of gear. So I just have my images or drawings around me and the block in front of me on a sandbag. I sit at a desk, which is also a standing desk for comfort, because the sessions can be quite long. I can be working for eight or ten hours quite easily.<\/p>\n<p>Most of the engravings I\u2019ve worked on are relatively small. I\u2019m quite into the detail and forms of art like illustration or book plate work, where you don\u2019t necessarily go for the biggest poster-level format. Wood engravings are small and refined. And because you spend quite a lot of time refining the image and making it as crisp and bold as you can, they tend to work quite well for branding purposes\u2014like on the covers of products and stuff like that. I\u2019ve worked on wedding invites, CD covers, and album covers, that kind of thing. There\u2019s really quite a lot you can do. So it\u2019s quite versatile from that perspective.<\/p>\n<p>\u00a0<\/p>\n<div id=\"attachment_1561335\" style=\"width: 1900px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1561335\" src=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Athens.jpg\" alt=\"Duncan Montgomery\" width=\"1890\" height=\"1417\" class=\"size-full wp-image-1561335 lazy\" srcset=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Athens.jpg 1890w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Athens-300x225.jpg 300w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Athens-1024x768.jpg 1024w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Athens-768x576.jpg 768w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Athens-1536x1152.jpg 1536w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Athens-620x465.jpg 620w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Athens-940x705.jpg 940w\" data-sizes=\"(max-width: 1890px) 100vw, 1890px\"\/><\/p>\n<p id=\"caption-attachment-1561335\" class=\"wp-caption-text\"><em>Athens<\/em>, 2023<br \/>Duncan Montgomery<br \/>Wood engraving, 10 x 6 cm | 3.9 x 2.3 in<\/p>\n<\/div>\n<p>\u00a0<\/p>\n<p>Some of the projects that I do are quite long-term. Currently, I\u2019m working on a project about the history of cold-water swimming in England with a cultural historian. We\u2019ve been working together for two years or so, making prints on that theme, drawing on lots of different archival material, and mixing that with photos and drawings from our trips swimming. We\u2019ve used all sorts of visual prompts for that\u2014everything from strongarming my friends into modelling to Victorian photographs or maps.<\/p>\n<p>One thing I enjoy about this project is that it\u2019s figurative and includes people. I think wood engraving is great for figurative work, and I\u2019ve tried to incorporate as much of that as I can.<\/p>\n<p>For example, I\u2019m working on a book plate at the moment that has different motifs drawn from Morris wallpapers and the copper plate map of London. I\u2019ve drawn motifs from those sources and worked them into a single book plate for an institution.<\/p>\n<p>In terms of planning images, I do quite a lot of drawing. You\u2019re generally working within a small area where you\u2019ve got a block of a certain size and need to make everything fit. It often takes four or five versions of a design to work out. Once I\u2019ve settled on a composition that I like and have a toned drawing to remind me of the relative tone in the image, I trace that. I often cut out the tracing to have a traced outline of the major objects or areas of the image, then draw around that.<\/p>\n<p>Sketchbooks are part of my practice as are reference photos and historical material that might be referenced in the image. I don\u2019t have a single sketchbook that I fill with all my drawings. I tend to keep ideas in my head. Then once I have a clear idea for a particular image, I work it up in isolation on watercolour paper.<\/p>\n<p>\u00a0<\/p>\n<div id=\"attachment_1561338\" style=\"width: 1900px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1561338\" src=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Deer-sans-background.jpg\" alt=\"Duncan Montgomery\" width=\"1890\" height=\"1417\" class=\"size-full wp-image-1561338 lazy\" srcset=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Deer-sans-background.jpg 1890w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Deer-sans-background-300x225.jpg 300w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Deer-sans-background-1024x768.jpg 1024w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Deer-sans-background-768x576.jpg 768w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Deer-sans-background-1536x1152.jpg 1536w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Deer-sans-background-620x465.jpg 620w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Deer-sans-background-940x705.jpg 940w\" data-sizes=\"auto, (max-width: 1890px) 100vw, 1890px\"\/><\/p>\n<p id=\"caption-attachment-1561338\" class=\"wp-caption-text\"><em>He comes with hinds\u2019 feet, swiftly<\/em>, 2024<br \/>Duncan Montgomery<br \/>Wood engraving, 22 x 11 cm | 8.6 x 4.3 in<\/p>\n<\/div>\n<p>\u00a0<\/p>\n<p>When you\u2019re working from photographs, particularly Victorian and 19th-century ones, there\u2019s a strange thought that someone stood in the same place for 30 seconds in the 19th century, and that act has some kind of echo in art today. I find that quite satisfying. I just like the idea that those images have an afterlife. It\u2019s quite a rich visual resource to draw on.<\/p>\n<p>The 16th and 17th centuries are really before wood engraving was practiced. Most illustrated books in that era had either plate engravings or type ornaments. It\u2019s not until the late 18th century that people started to do wood engravings as opposed to woodcuts or other printmaking forms for illustrated books. It was really a mass production technique at that stage\u2014you could print thousands of times from an engraved woodblock.<\/p>\n<p>The thing that got me quite excited about making prints and letterpress printing, even though I\u2019m far from a letterpress printer, was the fact that the books of the 16th and 17th centuries were often printed on coarse paper. The art was not of a really high standard, and the presses were much more difficult to use efficiently than a modern press, or even a Victorian one.<\/p>\n<p>So they\u2019re imperfect objects in many ways. They\u2019re not fine printing as it\u2019s practiced today, but they\u2019re still really evocative of their era and have a beauty that transcends that occasionally scrappy quality.<\/p>\n<p>It can take me quite a while to get into the zone before I engrave. Once I\u2019m in the zone, time can pass without me noticing. Particularly if I have the radio on, I can engrave for 12 hours quite easily.<\/p>\n<p>You have to be in the right frame of mind to remember that what you are creating is not the finished object\u2014it\u2019s a stamp from which the finished object will be made. And that\u2019s really critical to doing good engraving.<\/p>\n<p>\u00a0<\/p>\n<div id=\"attachment_1561341\" style=\"width: 1010px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1561341\" src=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Public-Bathing-insta3.jpg\" alt=\"Duncan Montgomery\" width=\"1000\" height=\"1000\" class=\"size-full wp-image-1561341 lazy\" srcset=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Public-Bathing-insta3.jpg 1000w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Public-Bathing-insta3-300x300.jpg 300w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Public-Bathing-insta3-150x150.jpg 150w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Public-Bathing-insta3-768x768.jpg 768w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Public-Bathing-insta3-620x620.jpg 620w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Public-Bathing-insta3-940x940.jpg 940w\" data-sizes=\"auto, (max-width: 1000px) 100vw, 1000px\"\/><\/p>\n<p id=\"caption-attachment-1561341\" class=\"wp-caption-text\"><em>Public Bathing<\/em>, 2024<br \/>Duncan Montgomery<br \/>Wood engraving, 11 x 11 cm | 4.3 x 4.3 in<\/p>\n<\/div>\n<p>\u00a0<\/p>\n<p>When you\u2019ve got to the end of the engraving process, you\u2019ll kind of feel like there are diminishing returns in terms of the changes you\u2019re making because all the major bits of engraving are already done. At that point, I would tend to do a proof just to see where it is. After that point, you can engrave the block more, but it can be slightly frustrating. Initially, when you\u2019re cutting it, you\u2019ve blackened the surface of the block with Indian ink or something. You\u2019re cutting it away and seeing the wood colour, so you effectively see what the print\u2019s going to look like.<\/p>\n<p>Once printed, you\u2019ll generally use a solvent that dilutes the ink or a rag to get it off the surface of the block. That will push the ink into the recessed incisions where you\u2019ve cut the surface of the block away, staining the wood colour in those incisions. So you can no longer see the design staring back at you\u2014it\u2019s more like a black-stained piece of wood.<\/p>\n<p>Generally, you\u2019d use something like talc powder, put it on the surface of the block, and smooth it into the incisions so you can see where you\u2019re going again. But it\u2019s difficult to precisely manoeuvre a wood engraving tool back into a cut when you\u2019re smearing talc powder and stuff around it. So I make sure the initial print is as close as possible to the finished product because it\u2019s fiddly to do a lot of work on the block once you\u2019ve printed from it.<\/p>\n<p>When I\u2019m printing, I roll the ink out and get it onto the surface of the block using a rubber roller. I have a press, but I don\u2019t have the press in London, so I tend to print by hand a bit more. I think it does give a really nice handmade quality, if you like. It\u2019s not necessarily quite as precise as printing in a press, but you can get really good results. And particularly, I find if you use a kind of thin Japanese paper like Tsunami Senaka or Kitakata, something like that, you\u2019ll get a really decent print.<\/p>\n<p>I\u2019ve published poetry in various places over the years. My output did drop quite a lot while I was doing more engraving. But I\u2019m hoping over the next couple of years that I can rectify that, particularly as I\u2019m spending more time on art generally. And I can combine them both and kind of up my output and hopefully publish more widely.<\/p>\n<p>Reading and writing poetry, I think, has been quite a big influence on me and my wood engraving. I\u2019ve always been a fan of wood engravers who are also poets and had that kind of connection between the two forms.<\/p>\n<p>The experience of writing and the experience of doing wood engraving\u2014they do have some similarities. When you\u2019re working on a piece of formal writing, so it has like a meter or verse form or a particular line, or when you\u2019re working on an engraving, when you\u2019re at one remove from the final product and you\u2019re working on a block of wood rather than the print that comes off it, there\u2019s always an element of surprise where the form, in the case of poetry, or the process, in the case of printmaking, collaborates with you.<\/p>\n<p>\u00a0<\/p>\n<div id=\"attachment_1561342\" style=\"width: 1010px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1561342\" src=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/The-Heath.jpg\" alt=\"Duncan Montgomery\" width=\"1000\" height=\"1000\" class=\"size-full wp-image-1561342 lazy\" srcset=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/The-Heath.jpg 1000w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/The-Heath-300x300.jpg 300w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/The-Heath-150x150.jpg 150w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/The-Heath-768x768.jpg 768w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/The-Heath-620x620.jpg 620w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/The-Heath-940x940.jpg 940w\" data-sizes=\"auto, (max-width: 1000px) 100vw, 1000px\"\/><\/p>\n<p id=\"caption-attachment-1561342\" class=\"wp-caption-text\"><em>The Heath<\/em>, 2024<br \/>Duncan Montgomery<br \/>Wood engraving, 17 x 10 cm | 6.6 x 3.9 in<\/p>\n<\/div>\n<p>\u00a0<\/p>\n<p>You\u2019ll have an element of surprise and a lack of control almost, even if you try to be very precise in turning out the finished product. I always find that rewarding\u2014to see something click into place in a verse or to see a print come off the block flipped and looking quite different to how you thought it would. So it\u2019s a really nice feeling.<\/p>\n<p>The people I read most tend to be modernist poets, people like Marianne Moore and Christopher Middleton. Sometimes they\u2019re quite frustrating to the reader as they\u2019re offering a bit of resistance. It\u2019s not always the easiest reading experience, but they\u2019re interested in creating forms that keep their secrets a little bit. They don\u2019t explain everything.<\/p>\n<p>Text and image is something I have done a bit and I want to do more in my work. The fact that you include poetry in a piece of art, it kind of has a life that is slightly outside the world of poetry and particularly journals that are more specialist.<\/p>\n<p>You\u2019re putting it on the wall and It\u2019s an immediate thing that can be accessed by other people. But it\u2019s still poetry. I do think that gives poetry another way of connecting with people.<\/p>\n<p>I have this engraving of deer on the block and along the top I\u2019m going to have the first lines from a poem that I\u2019ve written about the image. And then around the bottom I\u2019ll have the rest of the poem. It will be:<\/p>\n<p>\u201cNo doubt howls at the gate of the Duke who opens Parliament\u2019s Park, whose paling prongs are high and sharp, whose thistles are official.\u201d<\/p>\n<p>And then around the bottom:<\/p>\n<p>\u201cLittle oval beds, they give his grace, his grace, and yes, we minded our conscription less when an average man would call upon our beauty.\u201d<\/p>\n<p>Or there might be a little bit of changes to that text. But that\u2019s basically what I have planned for this one.<\/p>\n<p>Mistakes can happen when you\u2019re doing wood engraving. So there\u2019s no way back. Once you\u2019ve made a cut on the surface of the block, you\u2019re just going to have to work with it. And I tend not to start again because, generally, there\u2019s so much time invested in a wood block. If you\u2019re going to start again after 20 hours, it\u2019s just dispiriting really.<\/p>\n<p>\u00a0<\/p>\n<div id=\"attachment_1561339\" style=\"width: 1010px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1561339\" src=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/LSA-Bookplate-4.jpg\" alt=\"Duncan Montgomery\" width=\"1000\" height=\"1000\" class=\"size-full wp-image-1561339 lazy\" srcset=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/LSA-Bookplate-4.jpg 1000w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/LSA-Bookplate-4-300x300.jpg 300w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/LSA-Bookplate-4-150x150.jpg 150w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/LSA-Bookplate-4-768x768.jpg 768w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/LSA-Bookplate-4-620x620.jpg 620w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/LSA-Bookplate-4-940x940.jpg 940w\" data-sizes=\"auto, (max-width: 1000px) 100vw, 1000px\"\/><\/p>\n<p id=\"caption-attachment-1561339\" class=\"wp-caption-text\"><em>LSA Bookplate<\/em>, 2024<br \/>Duncan Montgomery<br \/>Wood engraving, 12 x 8 cm | 4.7 x 3.1 in<\/p>\n<\/div>\n<p>\u00a0<\/p>\n<p>In terms of the woods, the kind of luxury gold standard would be boxwood. Lemonwood I find is similar\u2014similar hardwood. It\u2019s a nice surface to work on, similarly dense, and it cuts really nicely. So I tend to use lemonwood for most projects and then pull out the boxwood for the prestige ones or the ones I\u2019m really worried about, just because it\u2019s slightly easier to be precise on and it\u2019s just more pleasurable to engrave. There are other woods that you can use as well, like holly or pear. I think pear is used quite a lot in the United States.<\/p>\n<p>Part of the variety of the medium is using different woods and even synthetic plastic surfaces for different projects. Why did I choose wood engraving rather than woodcut? The difference between those two methods is woodcuts are done on a plank of wood. A plank is cut the same way that the tree is growing, whereas wood engraving is end grain\u2014perpendicular to the direction that the tree is growing in. So you would get typically a circular cross-section, which would be the starting point for it.<\/p>\n<p>And when you engrave on end grain rather than side grain planks, you can get a lot more detail into it. So I was always drawn to the detail you could achieve and also the kind of intimacy with your subject.<\/p>\n<p>In terms of the tools, I think ideally you wouldn\u2019t have a preferred tool. There\u2019s a saying that someone recorded: ideally, you would never have a tool in your hand long enough that it takes the warmth of your hand because you want to be making the cut, selecting another one, and really just using the right tool for the right job.<\/p>\n<p>You really should sharpen your tools all the time. If you\u2019re doing wood engraving, it\u2019s just so they cut the wood so much better. If you go back to them every couple of hours at least\u2014or more often actually\u2014and just give them a sharpen on a sharpening stone. I say that fully in the knowledge that I\u2019ll go days without doing it myself, but once I\u2019ve done it, I always notice the difference. So yeah, keep the tool sharp.<\/p>\n<p>\u00a0<\/p>\n<div id=\"attachment_1561336\" style=\"width: 1010px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1561336\" src=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Costumes.jpg\" alt=\"Duncan Montgomery\" width=\"1000\" height=\"1000\" class=\"size-full wp-image-1561336 lazy\" srcset=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Costumes.jpg 1000w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Costumes-300x300.jpg 300w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Costumes-150x150.jpg 150w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Costumes-768x768.jpg 768w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Costumes-620x620.jpg 620w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Costumes-940x940.jpg 940w\" data-sizes=\"auto, (max-width: 1000px) 100vw, 1000px\"\/><\/p>\n<p id=\"caption-attachment-1561336\" class=\"wp-caption-text\"><em>Costumes<\/em>, 2024<br \/>Duncan Montgomery<br \/>Wood engraving, 15 x 9 cm | 5.9 x 3.5 in<\/p>\n<\/div>\n<p>\u00a0<\/p>\n<p>Always use the tool that\u2019s slightly bigger than the one you think you need because ink is quite powerful. When you print from a wood block, often I tend to find it slightly overpowers the white cuts that you\u2019ve made. So always reaching for a bigger tool than the one that you think you need is a good corrective to that.<\/p>\n<p>In terms of the inks, it\u2019s got to be oil-based because if you use water-based inks to print from wood blocks, they open up the grain on the surface of the wood, and it\u2019s just not a good idea. So keep it to oil-based inks. I tend to use Cranfield ones. My favourite ones are a bit stiffer, so a bit more tacky.<br \/>It tends to be letterpress ink. I like the slightly warmer tone\u2014like Seville black, where there\u2019s a slightly orange tone to it. Or conversely, I quite like a graphite kind of black, which is a bit more grey than standard carbon black letterpress ink.<\/p>\n<p>When to stop is obviously a bit of experience worked into that. I generally tend to find out\u2014I finish engraving a little bit too early, or I\u2019ll be not sufficiently bold in the engraving, and things turn out a bit darker than I\u2019d hoped and expected them to. So generally, if I err, I err on that side, unfortunately. <\/p>\n<p>But with experience, I\u2019m getting slightly better at it. In terms of the wood engraving community, I\u2019m a relatively new entrant. In fact, I wouldn\u2019t even necessarily say I know that many wood engravers. But all the ones I\u2019ve met have been really generous, welcoming, and willing to share their secrets. There\u2019s a Society of Wood Engravers in the UK, and they tend to have exhibitions and events and so on. You can join if you\u2019re anything from an enthusiast to a practising full-time artist. Many of their members run courses as well.<\/p>\n<p>\u00a0<\/p>\n<div id=\"attachment_1561334\" style=\"width: 2460px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1561334\" src=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Artefact.jpg\" alt=\"Duncan Montgomery\" width=\"2450\" height=\"2450\" class=\"size-full wp-image-1561334 lazy\" srcset=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Artefact.jpg 2450w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Artefact-300x300.jpg 300w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Artefact-1024x1024.jpg 1024w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Artefact-150x150.jpg 150w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Artefact-768x768.jpg 768w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Artefact-1536x1536.jpg 1536w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Artefact-2048x2048.jpg 2048w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Artefact-620x620.jpg 620w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/12\/Artefact-940x940.jpg 940w\" data-sizes=\"auto, (max-width: 2450px) 100vw, 2450px\"\/><\/p>\n<p id=\"caption-attachment-1561334\" class=\"wp-caption-text\"><em>Artefact<\/em>, 2024<br \/>Duncan Montgomery<br \/>Wood engraving, 8 x 12 cm | 3.1 x 4.7 in<\/p>\n<\/div>\n<p>\u00a0<\/p>\n<p>I think there are more different blacks out there than people tend to realise. I\u2019ve done prints, for instance, where partly through organically through the process, which is a fancy way of saying through various mistakes, I\u2019ve needed to do two blocks rather than one. And one virtue you can pull out of that necessity is using different blacks. So, using a kind of fainter impression or fainter black in one area of the print and a really bold, warm black in another area can give an interesting depth to what is effectively a black-and-white print.<\/p>\n<p>I think one of the things I really look for in a <a href=\"https:\/\/www.jacksonsart.com\/colour\/printmaking\/paper\" target=\"_blank\">printmaking paper<\/a>, obviously for fine work, is for it to be really smooth. It\u2019s quite a virtue if you\u2019re printing by hand when it\u2019s really thin. Partly just because it compresses onto the surface of the block more easily. But also, you can generally see through the back of it when you\u2019re burnishing the back of the paper, and you can see where you\u2019ve made good enough contact to get a clear print.<\/p>\n<p>And Japanese papers are really good for that. So, like Kozo, for example, or Kitakata or Tsunami Senaka\u2014they\u2019re pretty thin. And some of them, while they\u2019re quite smooth, they have a really nice texture to them. I particularly think my secret weapon at the moment is Kitakata green, which is a very slightly green-tinged paper that gives a really unusual tone, quite different from using just normal white or acid-free white paper. So, yeah, there are lots of things you\u2019re juggling when looking for a good printmaking paper.<\/p>\n<p>When transferring the image onto a block, I tend to do it relatively vaguely or roughly. So, I\u2019ll draw around bits of a tracing, or I\u2019ll just put a tracing on top and put the pencil on the top of someone\u2019s head or something, move it out, and then make a little dot there.<\/p>\n<p>So it\u2019s not really very precise. When I\u2019m doing things that are more precise, I tend to use carbon paper. You just put it underneath the tracing of your drawing and trace through it again just on the outlines so that the carbon paper transfers the drawing more precisely. But I tend not to do that because often just using a ruler and doing a few straight lines or roughly delineating an object is enough for me.<\/p>\n<p>\u00a0<\/p>\n<h2>About Duncan Montgomery<\/h2>\n<p>Duncan Montgomery is a wood engraver from the North-East of England, now based in London, whose work has been shown at the RA Summer Exhibition, Woolwich Contemporary Print Fair, and the Society of Wood Engravers\u2019 Annual Exhibition. He became interested in wood engraving while studying early modern print culture and subsequently taught himself to engrave.<\/p>\n<p>\u200bCurrently he is working on a series of prints of Parson\u2019s Pleasure, a male bathing spot in Oxford. He enjoys working collaboratively and is always interested in discussing new commissions or shared projects. He also received the Quiller-Couch Award for his poetry, which has been published in PN Review, Carcanet New Poetries VI, the Sunday Times and Prototype 6.<\/p>\n<p><a href=\"https:\/\/www.instagram.com\/duncan.montgomery\/\" target=\"_blank\">Follow Duncan on Instagram<\/a><\/p>\n<p><a href=\"https:\/\/www.duncanmontgomery.co.uk\/\" target=\"_blank\">Visit Duncan\u2019s website<\/a><\/p>\n<p>\u00a0<\/p>\n<hr\/>\n<p>\u00a0<\/p>\n<h2>Further Reading<\/h2>\n<p><a href=\"https:\/\/www.jacksonsart.com\/blog\/2024\/05\/03\/how-to-make-a-wood-engraving-sampler\/\" rel=\"noopener\" target=\"_blank\">How to Make a Wood Engraving Sampler<\/a><\/p>\n<p><a href=\"https:\/\/www.jacksonsart.com\/blog\/2021\/09\/09\/what-makes-long-lasting-art-paper\/\" rel=\"noopener\" target=\"_blank\">What Makes a Long-Lasting Art Paper?<\/a><\/p>\n<p><a href=\"https:\/\/www.jacksonsart.com\/blog\/2024\/10\/11\/a-guide-to-linocut-printmaking\/\" rel=\"noopener\" target=\"_blank\">A Guide to Linocut Printmaking<\/a><\/p>\n<p><a href=\"https:\/\/www.jacksonsart.com\/blog\/2023\/12\/14\/inside-the-sketchbook-of-gemma-thompson\/\" rel=\"noopener\" target=\"_blank\">Inside the Sketchbook of Gemma Thompson<\/a><\/p>\n<p>\u00a0<\/p>\n<p><strong><a href=\"https:\/\/www.jacksonsart.com\/colour\/printmaking\/relief-and-lino-printing\/wood-engraving\" rel=\"noopener\" target=\"_blank\">Shop Wood Engraving on jacksonsart.com<\/a><\/strong><\/p>\n<p>\u00a0<\/p>\n<p><a href=\"https:\/\/www.jacksonsart.com\/blog\/tag\/artist-insights\/\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/05\/Jacksons_Blog_Banner_Artist_Insights.jpg\" alt=\"\" width=\"1500\" height=\"500\" class=\"alignnone size-full wp-image-1530146 lazy\" srcset=\"https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/05\/Jacksons_Blog_Banner_Artist_Insights.jpg 1500w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/05\/Jacksons_Blog_Banner_Artist_Insights-300x100.jpg 300w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/05\/Jacksons_Blog_Banner_Artist_Insights-1024x341.jpg 1024w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/05\/Jacksons_Blog_Banner_Artist_Insights-768x256.jpg 768w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/05\/Jacksons_Blog_Banner_Artist_Insights-620x207.jpg 620w, https:\/\/www.jacksonsart.com\/blog\/wp-content\/uploads\/2024\/05\/Jacksons_Blog_Banner_Artist_Insights-940x313.jpg 940w\" data-sizes=\"auto, (max-width: 1500px) 100vw, 1500px\"\/><\/a><\/p>\n<\/p><\/div>\n<p><script async src=\"\/\/www.instagram.com\/embed.js\"><\/script><br \/>\n<br \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Duncan Montgomery is a London-based wood engraver. In this Artist Insights film, he shares what drew him to the discipline of wood engraving, how poetry inspires his work, and some of the techniques he has learned through hours of trial and error along the way. \u00a0 Artist Insights: Duncan Montgomery \u00a0 \u00a0 Contents 0:00 Introduction [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":18323,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[1885,6436,3767,10848,10845,10844,10847,10846],"dealstore":[],"offerexpiration":[],"class_list":["post-18322","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-art","tag-artist","tag-blog","tag-blogjacksons","tag-duncan","tag-insights","tag-jacksons","tag-montgomery"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Artist Insights: Duncan Montgomery - Jackson&#039;s Art BlogJackson&#039;s Art Blog - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=18322\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Artist Insights: Duncan Montgomery - Jackson&#039;s Art BlogJackson&#039;s Art Blog - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"Duncan Montgomery is a London-based wood engraver. In this Artist Insights film, he shares what drew him to the discipline of wood engraving, how poetry inspires his work, and some of the techniques he has learned through hours of trial and error along the way. \u00a0 Artist Insights: Duncan Montgomery \u00a0 \u00a0 Contents 0:00 Introduction [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/fivemor.com\/?p=18322\" \/>\n<meta property=\"og:site_name\" content=\"Som2ny Network\" \/>\n<meta property=\"article:published_time\" content=\"2025-01-09T07:07:32+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/fivemor.com\/wp-content\/uploads\/2025\/01\/Jacksons_Duncan_Montgomery_Header.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1500\" \/>\n\t<meta property=\"og:image:height\" content=\"1000\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"18 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/fivemor.com\/?p=18322#article\",\"isPartOf\":{\"@id\":\"https:\/\/fivemor.com\/?p=18322\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\/\/fivemor.com\/#\/schema\/person\/b85e3c3dc0e1daea076524dc8810c371\"},\"headline\":\"Artist Insights: Duncan Montgomery &#8211; 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