Print in Action: Jenny Gunning Leads the Way as Key Demonstrator at This Year’s Festival

Jenny Gunning, a Master Printmaker with a rich history in the craft, will be one of the key demonstrators at the upcoming Print in Action festival on the 26th and 27th April. With a lifelong passion for printmaking, Jenny’s expertise spans a variety of techniques, from etching to photogravure, and she’ll be showcasing these at the event. As the founder of Ironbridge Fine Arts & Framing, Jenny has created a thriving space for artists and printmakers, combining her love for traditional methods with an innovative approach to non-toxic processes. Don’t miss the chance to learn from Jenny and many other talented printmakers at Print in Action at Real Art Make Print, The Royal William Yard!

Can you tell us about your journey into printmaking — where it started and how it’s evolved - Printmaking has always been part of my world. I was introduced to it by my father, Dave Gunning, a prolific printmaker who designed and built the first Gunning Etching Press back in 1980. That early exposure to both the creative and technical sides of the process had a huge influence on me.

University was inspiring — I studied specialist printmaking degrees that really fuelled my love for the discipline — but I knew I wanted to make it in the real world, and to do that, I needed to be completely self-sufficient. That mindset shaped everything. I taught myself how to frame, became a qualified framer, and opened our own framing department. At the same time, I began teaching printmaking in all its forms and building a business that could support both my own practice and other artists.

Echoes of Industry. Aquatint Etching. Size 42 x 59.4cm Jenny Mason-Gunning

Exhibiting widely led to strong sales and commissions, and I also began offering editioning services, which I still run today. Over time, all of this came together to form what is now Ironbridge Fine Arts & Framing – our gallery, our studio, and my creative home.

Today, my dedicated printmaking studio is a space where I can demonstrate my own work, run 1-to-1 workshops, showcase our Gunning Etching Presses, and develop new products like our inks, grounds, and the Ironbridge PhotoEtch Resist.

I’m a Master Printmaker specialising in many forms of printmaking – from etching (including all types of acids and resists), photogravure, solar plate, and dry film, to relief printing, woodblock engraving, lino, monotype, and even mezzotint. I’m passionate about both traditional and non-toxic methods, and I’m proud to be part of a printmaking legacy that continues to innovate while staying grounded in real, hands-on making.

You work with several printmaking techniques — which are your favourites and why? I love etching in all its forms – it’s a rich, hands-on process that constantly excites me. From the preparation to the print, every step is engaging, and the results are always full of depth and character.

Photoetching is a particular favourite – the control it offers is incredible. I’m fascinated by the way it allows both drawn line and photographic detail to be captured and printed with such precision.

I also have a deep love for engraving and carving, especially in relief techniques like lino and woodblock. The physicality of the process and the satisfaction of seeing the colour build up through reduction or multiplate printing never gets old. The layering of tone and hue offers so much creative potential.

One of the things I’m most proud of is developing our registration systems – simple but highly effective tools that make complex print processes much easier to manage. I share these methods with everyone I teach and with artists who use our Gunning Etching Presses, helping to make printmaking as enjoyable, efficient, and accessible as possible.

Echoes of Industry. Aquatint Etching. Size 42 x 59.4cm Jenny Mason-Gunning

How does your environment influence the work you create, both thematically and technically? I’ve built my studio up over many years, and it’s something I care deeply about. Getting the space right – the layout, the flow, the way everything functions – is so important. I’ve refined the process of how I make plates to the point where everything runs smoothly and efficiently. If something does go wrong, I can usually spot the issue straight away, which means I can respond quickly, professionally, and keep things moving without losing quality.

The location is just as special as the studio itself. We’re right next to the river, and there’s something about the energy flowing past the building that brings a real calm and clarity to the space. And yes – having a lovely little pub just up the road doesn’t hurt either

What first sparked your interest in metal plate etching and traditional intaglio processes? I grew up watching Dad and Harry Eccleston (head of the royal mint for 27 years and gifted dad his etching tools before his death) working with such focus and care – dipping plates into acid, inking them up, and then pulling prints. I was completely captivated and just had to have a go. It really was that simple.

The smells, the ink, the feel of the metal, the concentration... and then that incredible moment of the reveal – I was hooked. I made my first etching when I was just seven years old, and I’ve never looked back.

Your prints often explore natural and built environments — what draws you to these subjects? I’m drawn to heritage sites and places steeped in history – locations where you can feel that something significant once happened. I’m fascinated by how these spaces exist now, often weathered or abandoned, yet still echoing with the past.

There’s something incredibly powerful about standing in a place that time has touched so deeply. When I’m there, sketching and observing, it’s as if I can almost sense the history beneath the surface. Capturing that atmosphere – the contrast between what once was and what remains – is something I love bringing into my work.

How do you approach scale and detail in your etchings? Are there particular challenges you enjoy? I always start by drawing big – it’s how I work best. I then scan the drawings into the computer and scale them down, which naturally tightens and refines the lines. I also work from photographs, especially when it’s not possible to spend long periods on site – which is often the case, as many of the places I’m drawn to are difficult to access or require special permissions.

When it comes to making larger etchings, I need to work at scale – I find it incredibly difficult to work small. I use refillable pens to draw directly, and sometimes use techniques like straw hat or coffee lift onto the plate. It allows for a more fluid, expressive process, and I genuinely love every part of it – from the first mark to the final print.

Heritage in Ruins. Aquatint Etching. Size 42cm x 59.4.Jenny Mason-Gunning

What’s a recent project or piece that you’ve found especially rewarding? I’ve developed and written a detailed, step-by-step guide for using Ironbridge PhotoEtch Resist, based on years of hands-on experience and refinement. It’s been carefully designed to support both the customers who buy the product and the artists I teach in workshops.

It’s taken a long time to perfect, and I’m genuinely proud of the results – the process is clear, consistent, and reliable. Unlike other products I’ve used in the past, this isn’t hit-and-miss. The results are incredibly strong, and it’s a joy to see others achieve success with it too.

Printmaking & Technique

Can you walk us through your typical creative process, from sketch to finished print? My process starts long before I’m in the studio. I begin by scouting out the location — places with historical significance, atmosphere, and a strong sense of presence. I always go alone, so safety is essential: I plan my route, find safe access points, and make sure at least five people know where I’m going.

I take with me large sheets of rolled-up paper, charcoal, cameras, and my filming kit so I can document the experience. It’s important to me to respond to the place directly — to really feel where I am, absorb it, and draw what I see and sense in the moment. And yes, I always carry plasters... just in case!

Back in the studio, I scan the drawings into the computer to prepare them for plate-making. Sometimes I’ll work into the drawings digitally if needed. I usually work on 4 to 8 plates at the same time, preparing the images, reversing them, and printing them out at the right size. I then prepare and make each plate, depending on the technique I’m using.

Once the plates are ready, I do a series of proof prints. If I’m not completely happy with the result, I’ll rework the plate and print again until it’s right. Finished prints are dried and flattened, then passed to my sister Sarah – the head framer here at Ironbridge – who mounts and frames them beautifully.

The final work is exhibited and sold through our gallery, and if there’s a piece I’m particularly proud of, I’ll often enter it into international competitions and exhibitions.

What role does experimentation play in your work? Are you still discovering new methods within traditional techniques? I experiment every time I make a plate — no matter the type or technique, there's always something new to learn. Each plate teaches me something, and I welcome that. The time of year alone can make a huge difference — temperature, humidity, and even how the ink behaves all shift with the seasons.

Every line, every tone, every colour layer behaves differently because no two marks are ever the same. That’s what keeps it alive for me. Printmaking is a constant conversation between you, the materials, and the process — and I know I’ll never stop learning. That’s the joy of it.

Into the Darkness The Aga Factory. Aquatint Etching. Jenny Mason-Gunning

How has your approach to printing changed over time, particularly as you’ve developed your studio and gallery? Over the years, I’ve grown more confident in the way I work. I take more time now – both in the original locations I seek out and in how I plan each stage of the process. There's a deeper intention behind everything I do.

I use higher quality materials, more refined techniques, and I’m always working towards safer, more sustainable ways of making. Non-toxic processes are a big focus for me, and I’m currently developing a non-toxic stop-out to support that goal. For me, it’s about constantly evolving – not just as a printmaker, but in how I care for the environment and the people who use the materials I create.

Can you share more about your studio set-up at Ironbridge — what kind of presses do you use, and what does a typical day look like for you? We make our own etching presses – it’s a huge part of what we do here. My dad, Dave Gunning, designed the first Gunning Etching Press back in the 1980s, and we’ve been building and selling them ever since. Over the years, my husband Dave MG has taken the original design and refined it beautifully. He’s now the lead builder and designer of all our presses, combining traditional engineering with modern functionality.

Recently, he developed the Mini Thumper – and I have to say, it’s been a game-changer. I got tired of lugging heavy presses around the country for demos and exhibitions, and I knew I wasn’t the only one. The Mini Thumper is lightweight, portable, and affordable – but don’t let that fool you. It prints everything from mezzotint to letterpress, with the same quality you'd expect from all our Gunning Etching Presses.

In my studio, I have a full range of our presses set up for different types of work and demonstration. My “beast” No. 4 prints work larger than A0 and is an absolute powerhouse. I also have two No. 2 presses – one geared, one direct drive – so I can show customers exactly how each system feels and performs. And I can’t forget my No. 1, which prints slightly larger than A3 – she’s turquoise, geared, and I love her!

The whole studio is set up to work efficiently and professionally, with glass work surfaces throughout – it’s a bit like a printmaking lab, and it works brilliantly.

A typical day in the studio? There’s no such thing – and that’s exactly how I like it.

My days are full and varied, and that’s what keeps it exciting. I could be making plates and printing my own work, making commissions or editioning plates for customers, or running 1-to-1 workshops that are tailor-made to suit each artist’s needs and goals.

I spend time writing books, manuals, and how-to guides, as well as testing new grounds, acid resists, and refining processes through step tests – making sure everything we offer works exactly as it should. Quality and consistency are everything to me.

Some days I’ll be on the phone, helping artists choose the right Gunning Etching Press for their setup, or planning out the layout for their studios. Other days, I might be packing up and travelling across the country for exhibitions and print festivals – doing live demonstrations and exhibiting my own work.

We also have walk-in customers at the gallery, so I’m often pulled in multiple directions – and I absolutely thrive on that. No two days are the same, but they all centre around one thing: sharing real printmaking, supporting artists, and doing the work I love.

The Light inside the Factory. Aquatint Etching. Size 59.4 x 42cm Jenny Mason-Gunning

Ironbridge Fine Arts & Community

Ironbridge Fine Arts is well-known in the UK printmaking community — what inspired you to create a hub for artists, workshops, and framing under one roof? The smell of ink and metal in my dad’s studio had a huge impact on me when I was a young student. It was in those early days that I realised I wanted to be a professional artist and printmaker. That environment – full of making, tools, and creativity – was incredibly inspiring.

Very early on, I understood something important: if we wanted to make this a success, we had to do it ourselves. Relying on others for presses, inks, or materials meant handing over control and profits. So we made the decision to do it all in-house – and that approach has shaped everything we do to this day.

If I’m making my own work, why wouldn’t I also make the things that help me do it? From the grounds and resists, to the inks we manufacture, the blankets we stock, the paper we cut, the presses we design and build – right through to the framing and the gallery walls where the finished work is hung. Every part of the process happens here, with care and expertise.

How do you balance being a practicing artist with running a busy, multifaceted arts business? A lot of what I do is guided by gut instinct and feeling – it’s how I work best. Whether I’m choosing where to draw, developing new materials, or solving a problem in the studio, I trust what feels right. It’s not just about process; it’s about intuition, energy, and connection.

I also have two wonderful little boys, aged 5 and 6, who are growing up surrounded by the world of printmaking. They love it – the presses, the ink, the studio life. As they like to say, “Daddy makes the presses and Mummy uses and sells them!” It’s a family business through and through, and having them be a part of it makes everything even more meaningful.

What role does collaboration play in your work — both artistically and in how you run the studio? Collaboration is at the heart of everything I do. Every day, I work alongside other printmakers – helping them in their studios, running one-to-one workshops, or planning with my sister and our amazing team here at Ironbridge.

It’s also a constant collaboration at home – my husband builds our Gunning Etching Presses, and we’re always discussing ideas, refining designs, and planning the future of the business together. It’s not just work – it’s an ongoing, full-time life choice, and we both live and breathe it.

Some days involve a customer popping in with a question, other days I’m talking with inspiring people like you, who genuinely want to support makers like me. I also collaborate with brilliant organisations like Woolwich Contemporary Print Fair and RBSA, where I’ve just seen my work hung – and it looked amazing!

We work with artists and studios all over the world – I’ve just sent another press to Saudi Arabia – and our community continues to grow. Whether it's designing presses, creating new materials, or sharing knowledge, collaboration is at the centre of it all, and I feel so lucky to be part of this global printmaking family.

What’s been your proudest moment in developing Ironbridge Fine Arts as a space for printmakers? This studio and gallery were first and foremost built for me – a space to create my own work, run workshops, carry out press demonstrations, complete commissions, and test new ideas. But naturally, it has become much more than that.

It’s now a space where I share what I do with others – whether that's through tailored 1-to-1 workshops, working closely with customers to make prints for them, or simply opening the doors to the creative process. It’s an incredibly inspiring place, and through it, I’m able to show printmakers how to make plates and print in a way that truly matches how they think and work – not just follow a one-size-fits-all class.

That’s why my diary is always full, and why, recently, my prices have had to go up. The value is in the experience – it’s not just a class; it’s about understanding, connecting, and achieving real results.

The gallery side is just as meaningful. Being able to show and sell the work of talented printmakers and artists – and give money back directly to them – is a dream come true. It’s a space built on sharing, support, and a genuine love of the printmaking community.

Print in Action Involvement

What motivated you to take part in Print in Action, and what will you be doing at the festival? Print in Action is a fantastic festival filled with brilliant, talented printmakers, and it’s a real pleasure to be invited to exhibit and take part again – thank you!

We’ll be showing a selection of my work as well as doing live demonstrations and printing throughout the event. It’s a chance to see a wide range of techniques in action – from mezzotints, photogravures, and etchings to lino and wood engraving – all pulled on our Gunning Etching Presses.

One of the most rewarding parts is giving people their first ever print reveal or helping them try a technique they’ve never done before. It’s hands-on, full of energy, and all about sharing real printmaking with real people.

We can’t wait to be part of it – see you there!

What are you most looking forward to sharing with visitors at Print in Action? My love for printmaking runs deep, and one of the things that brings me the most joy is sharing that with others. There’s always someone who says, “I’ve always wanted to see how that’s done,” or “I’ve never quite understood this process before,” — and I love being the person who can show them.

Whether it's a new technique, a long-lost process, or just that magical moment of a first print reveal, sharing knowledge and helping people connect with print in a meaningful way is a huge part of why I do what I do.

How important do you think festivals like this are for growing public appreciation of printmaking? They’re incredibly important. Festivals like Print in Action create a space where people can truly connect with printmaking – not just by looking at finished pieces on the wall, but by seeing the processes, the tools, the inks, the plates… all of it in action.

There’s something powerful about witnessing a print being pulled for the first time – the moment the paper is lifted and the image is revealed. Whether it’s someone’s first encounter with printmaking or a seasoned artist trying a new technique, festivals bring people closer to the craft in a way that’s both exciting and accessible.

They also give printmakers the chance to share knowledge, collaborate, and be inspired by one another. For the public, it demystifies the process and helps them see the skill, time, and artistry involved. For us as makers, it’s a reminder of why we do what we do – and a chance to celebrate it together.

As someone coming from outside Plymouth, how does it feel to bring your practice to a new creative community? It’s always a real privilege to bring my work into a new creative space, especially one as welcoming and vibrant as the Plymouth printmaking community. I travel a lot for exhibitions, festivals, and workshops, and every time I do, I’m reminded how valuable it is to connect with new people, share knowledge, and exchange ideas.

Every community has its own energy, and I love the opportunity to contribute something to that – whether it’s through live demos, conversations, or simply showing my work. It’s not just about turning up and presenting what I do; it’s about learning from others too. These moments of connection often spark new thoughts, future collaborations, or different ways of seeing things.

Being part of Print in Action and showing what we do at Ironbridge – from our presses to the techniques I use – is something I’m really proud of. It’s a brilliant way to grow together as a creative community, no matter where we’re based.

Why is it important that printmaking has these moments to take centre stage in the cultural calendar? Printmaking has such a rich and varied history, yet it’s often underrepresented in the wider art world. So when events like Print in Action give printmaking its moment in the spotlight, it’s hugely important – not just for the artists involved, but for public understanding and appreciation of the medium.

These moments allow people to see the depth, skill, and diversity within printmaking – from traditional etching and engraving to contemporary approaches and non-toxic processes. They highlight that print is not just a method of reproduction, but a powerful, expressive artform in its own right.

For printmakers, it’s a chance to share what we do, to connect with new audiences, and to celebrate a medium that’s often behind-the-scenes. It validates the time, dedication, and technical skill that goes into every plate and every print.

Bringing printmaking to the forefront of the cultural calendar helps to educate, inspire, and grow the community – and that benefits everyone.

Reflections & Looking Ahead

What do you hope people take away after engaging with your work or attending one of your demonstrations? I hope they leave feeling inspired, excited, and connected to the process of printmaking. Whether someone is completely new to it or already has experience, I want them to feel that spark – that sense of “I want to try that” or “now I understand how that works.”

Printmaking can sometimes feel intimidating from the outside, so my aim is always to make it feel accessible and welcoming. I love showing people how things are made – how plates are created, how inks are applied, how the press pulls it all together – and helping them see that it’s something they can do too.

More than anything, I want people to walk away with a deeper appreciation for the craft and its potential. And if they leave feeling creatively energised or more confident in their own making, then I’ve done what I set out to do.

What advice would you offer to someone just beginning their printmaking journey? Start simple, be curious, and don’t be afraid to make mistakes – that’s where the learning really happens. Printmaking is full of process, and every step teaches you something valuable. The more you experiment, the more confident you’ll become.

Surround yourself with people who are passionate about it – whether that’s through workshops, studio visits, or just asking questions. Most printmakers are incredibly generous with their knowledge, and there's so much to gain from being part of the wider community.

Take your time to find the techniques that resonate with you. There’s no right or wrong way to approach printmaking – it’s about finding what works for you. Trust your instincts, and let your love for the process guide you.

And most importantly – enjoy it! That moment when you lift the paper and see your print for the first time… it never gets old.

Are there any techniques or themes you’re itching to explore next? Of course, there always will be more to come – but right now, I’m diving into a new phase. I’ve just handed in my huge project: an 80,000-word, step-by-step studio guide to printmaking, complete with over 600 images documenting all of my processes. It’s been a massive undertaking, and I’m so proud of what it’s become.

Now it’s time to take a breath, get back out on location, and gather fresh drawings on site – something I’ve really missed while writing. I’m already working on new plates and pieces, and with a packed year of exhibitions ahead, there’s lots to do: making the work, inking, printing, framing, and getting it all ready to hang.

It never really stops – but that’s the joy of it.

What excites you most about the future of traditional printmaking in a digital world? It’s a really exciting time, and I can now happily say I’m an expert in photo-etching – something I’ve spent years exploring, refining, and teaching. With my big printmaking guide now complete, I’m looking forward to getting stuck into new work and continue helping others do the same.

There’s nothing more rewarding than watching people grow in confidence and start making for themselves. I love seeing that spark when it all starts to click – whether it’s through workshops, demos, or just a conversation in the studio. I can’t wait to see what’s next, both in my own practice and in the work of the incredible people I get to teach and support.

If you could sum up what printmaking means to you in one sentence — what would it be?

There is not enough room in 1 sentence so have 5!! aI think I like No 2 Best.

• Printmaking is the heart of everything I do – it’s where my creativity, curiosity, and love of making all come together.

• For me, printmaking is not just a process, it’s a lifelong passion – a constant dialogue between my hands, my materials, and the world around me.

• Printmaking gives me a voice, a rhythm, and a purpose – it’s how I explore, express, and share the things that matter most.

• It’s a way of seeing, thinking, and living – printmaking has shaped not just my art, but my whole life.

• Printmaking means possibility – every plate, every mark, every press pull opens up something new.