Printmaking Workshops Tessa Lynch – August 2026

maryann277
16 hours ago
5 min read

Last week, I had the pleasure of running printmaking workshops for children at the Barra Youth Café. Over three days, we explored different printing techniques inspired by the Muir is Tir research, focusing on sustainability by reusing materials and utilizing waste products.

Day 1 – Monoprinting and mythmaking.

We started by looking into the myth of "How Time Was Lost in the Fairy Knoll" from Tales from the Coddy. It tells of a man from Brevig who lost decades of time by entering a fairy knoll. Everyone then thought of predictions of what life would be like on Barra and Vatersay in the future – writing predictions on slips of paper. We then pulled out a random slip of paper and made a monoprint in response to the prediction.

We made backgrounds for our prints – creating abstract sunsets on our printing paper with washes of watered down ink. The sunsets hinting at the future and what it may hold.

The monoprinting process was simple: ink rolled onto scrap plastic sheets, printing paper placed on top, and designs drawn from the back. We used Caligo Safe Wash inks, made from vegetable oils, offering traditional print characteristics without harsh chemicals. Children got the hang of the process quickly and got experimental!

Future predictions included flying cars, ducks taking over, islands submerged, and even the end of Donald Trump—a productive and imaginative day.

Day 2 - Make-up etching and the Machair

On day two we experimented with making etchings with old lipsticks. We were looking at the flowers and plants of the machair and how important they plants are to the eco-system. We were looking particularly at the sites of Traigh a Bhaigh, Eoligarry and Borve graveyard where the protection of these plants is vital in aiding the stabilisation of sand dunes.

Children scratched their designs on to re-usable clear plastic sheets to create etching plates. They used etching tools to do this but something like a compass point or screwdriver could make similar effects. Using clear plastic sheets means you can trace over found imagery, so you don’t have to be the best at drawing.

Amanda Vestergaard, Muir Is Tìr's field-based researcher, brought along some dried plant samples from the machair and we tested putting the plastic sheets directly over these samples and etching around them to create more accurate botanical prints.

These printing plates were then flooded with lipstick – essentially the whole etched surface was covered with lipstick, this was great fun. The majority of the lipstick is then removed with scrim so the colour sits in the scratches. To make an etching you need damp paper and a printing press. You lay your damp paper over your etching plate and then cover in tissue paper and a felt blanket before rolling through the press with quite a lot of pressure. The children really liked the professional feel of using the printing press and were taking their time to ensure their prints came out beautifully clean. One commented – “You are lucky because you get to do this everyday!”

The resulting prints of plants and landmarks featured unique pinks, reds, and browns, resembling a map of Barra's waste lipsticks! Lipstick is quicker and cleaner to use than traditional inks, making it ideal for workshops. By the end, participants were experimenting by drawing directly on plates with lipstick as a crayon. These etching plates can now be inked in various colours and printed hundreds of times – a great technique for editioning work.

Day 3 – Peggy and Printing Patterns

On day three, we created linocuts and reflected on the printmaking legacy of artist and educator Peggy Angus. Angus spent long summers in Barra, hosting parties, taking drawing trips to Mingulay, and involving others in her projects. She was best known for her printed wallpaper, created by painting lino blocks with emulsion paint and hand-pressing them onto pre-painted lining paper.

The children tried creating their own lino block patterns based on what made them proud or joyful about living in or visiting Barra and Vatersay. We saw designs of football pitches, sea eagles, fish, and the CalMac ferry. They experimented with various lino cutting tools to make different marks, learning to cut safely away from their fingers. After inking the surface, they laid the blocks flat, wet side up, and pressed thin, smooth paper on top using their hands and small tools called barens. Some even achieved repeat prints in the style of Peggy Angus, creating wonderful patterns.

Now that these lino blocks have been created, they can be printed multiple times on various materials. They work well on flat cotton as well as paper, and once dry, they can even go through the wash.

Sharing event – Learning Centre

We had a sharing event on the Friday after at the learning Centre. Where the work was laid out and participants got to show their work to their family.

I was keen to show some of the print works and small sculptures I’ve been making back in my studio in Glasgow and have conversations with folk about my artistic involvement with the Muir is Tir project in general.

We held a sharing event the following Friday at the Learning Centre, where participants displayed their work to their families. Alongside this, I shared prints and small sculptures from my Glasgow studio - I presented a series of screenprints created with sand, dried bladderwrack seaweed, and collected sea plastics. The sea plastic works are inspired by Peggy Angus’ Barra stones project—a venture designed to boost the local economy by painting stones with Celtic and Pictish symbols to sell for profit. This approach cleverly utilized local materials to generate income. I've begun testing an updated version, using waste sea plastics and applying imagery to them. All pieces were found on Traigh Eais and are beautifully smoothed like sea glass. It was great to discuss my artistic involvement with the Muir is Tir project with attendees and explore future possibilities.

The week was brilliant—it was wonderful to see the growth in confidence and creativity among the children who participated, and it was great to have parents and grandparents join us too. The workshops sparked conversations about island life, school, and future hopes, as well as observations of the changing environment.

If you are interested in this work or want to share stories of Peggy Angus on Barra, please get in touch. I’m eager to build on this project and welcome contributions of waste materials like lipsticks, tetra packs, aluminium cans, old emulsion paint, scrap plastic and more for relief printing.

lynch.tessa@gmail.com

Instagram - @lynchtessa

Facebook - Tessa Lynch

Comments from participants

Isla

This workshop is very cool. We got free lipstick (and lip gloss).Yesterday was really cool because the ink got in my finger nails.

Also it was cool because we used lipstick to make art.

I got lipstick in my teeth.

The whole process was fascinating!

The pictures of barra for the etching was inspiring and certainly a picture.

Amy got lipstick in her teeth.

It was so fun!