Melvyn likes to use a vast variety of mark making, always experimenting with the surface, not only using the traditional linocutting tools but also finding ways to scratching, rub and etch the surface. These textures emulate the marks of erosion on rocks, ancient chisel scars, worn symbols, the inner history and spirit of the landscape. He loves sculpture and feels there may be a sculptural quality in the printmaking process, the cutting and gouging and building of form through layering over time. When he works he's always thinking of the way the layers interact, not necessarily how one colour fits neatly within the space provided by another, but how the object or texture will project through the texture or object laid over it. He is looking for a quality of depth, the sense of history laid down in marks. It relates back to landscape, history upon history, layer upon layer, a wealth of marks left by time. All prints are hand printed on 300gsm Somerset Satin paper using a Harrild & Sons Albion press manufactured in 1860.