Centre for Fine Print Research University of the West of England Centre for Fine Print Research
 

Linsay Proctor

PhD Student


linz

Commenced October 2015

Research topic: The causes and impact of declining craft industries on the heritage process of lithography: how heritage, industry and culture can be revitalised through digital technologies.

The central hypothesis for this PhD project is that, even when a heritage process remains valued for its methods and products, global changes within the wider economics of manufacturing are impairing the unique chains of specialist crafts and knowledge that are necessary in sustaining their futures. Traditional lithography has shrunk to a relatively small worldwide community. Linsay will undertake a comprehensive evaluation of the craft dependencies, interconnectedness and stability of material, tool and process infrastructure. The findings will be used to investigate how digital technologies can be integrated to improve the sustainability of heritage networks, supply chains and craftsperson knowledge.

Linsay previously worked for the Centre for Fine Print Research in 2013/14 on an Arts and Humanities Research Council (AHRC) funded project called 'Combining Digital Print Technologies with 18th Century Underglaze Ceramic Printing to Retain an Industrial Heritage Process'. This project was led by Professor Stephen Hoskins and David Huson in collaboration with Burleigh Pottery in Stoke-on-Trent to combine the digital capabilities of flexographic printing technology with traditional printed underglaze tissue method to transfer images onto ceramics. The project helped to consolidate a commercial future and retain the unique skill-base for this historic process whose development is part of a uniquely English form and thus of our cultural heritage. Underglaze tissue ceramic transfer printing was first developed in the mid-18th Century and involved the use of engraved or etched metal plates, from which the tissue was printed with a cobalt blue colour- the famous 'Willow Pattern' being a well-known example. Underglaze tissue has a very distinctive, subtle quality – it is an integral part of English ceramic history and cannot be replicated by any other means.

Linsay graduated from Gray’s School of Art in 2004 where she studied Fine Art/Printmaking. She previously worked as studio technician at Edinburgh Printmakers and workshop manager at Peacock Visual Arts in Aberdeen. After spending a number of years collaborating on projects and teaching print processes to workshop users, Linsay developed a keen interest in Lithography. In 2008, after successfully applying for support from a number of funding bodies, she attended the prestigious Tamarind Institute in New Mexico. Here she gained a wealth of experience and technical instruction. As a professional collaborative printmaker, she has worked with many prestigious artists from around the UK.