My paper cuts all come framed because they are very delicate and easily damaged. Framing them keeps them in good condition and means they can be sent and delivered safely.
All my beautiful frames are made by my partner Steve Hogarth in his workshop at the bottom of our garden.
Elin's paper cuts are particularly delicate and require specialist framing to preserve them and display them properly. I use acid free mount board for all frames.
All my frames are solid natural wood, British and European species where possible. These are traditionally joined to provide a stronger frame with only the natural beauty of the wood grain to compliment the artwork.
I use a method of framing where the papercut is placed within two pieces of glass. This is either left backless like a window or a spacer is put behind the glass before the back is placed in. It creates a lovely floating affect and allows you to see the papercut very clearly. It also allows for some interesting shadows. I really like how these frames maintains the character of the papercut as a discrete object.
Steve is a very talented woodworker and makes beautiful things. His work can often be found on his instagram and he's gradually building up enough for an online shop. If you are interested he is available for commission, he can be contacted at .
We are aiming to become more collaborative in our work and create a mutual business, both in the commercial sense and also making things together. Watch this space and keep an eye out for Price-Hogarth Workshop!
I always wish more artists would talk about the equipment and materials they use because firstly, its interesting, and secondly its really useful for you to improve your own skills. I'm not going to pretend I'm an expert but with a little trial and error and research I have come up with a collection of personally chosen tools and materials that I find work for me.
Your scalpel is obviously a pretty crucial piece of equipment. I love the equipment that Swann Morton have to offer and plus they are a local, British company. However I have also heard very good things about Excel knives and blades.
My primary scalpel is a Swann Morton B3 handle with 10A blades. The blades come in a variety of shapes, I find this one the most supple. I like this handle because it is small and unobtrusive in the hand but there is still something to hold on to. I order my blades in bulk online. The scalpel I hold in my left hand is a regular Jakar craft knife, it doesn't really matter which knife I use for that job. Obviously with this you need a cutting mat, preferably self healing. They're easy to find on the internet or in art shops. I find the bigger the better really, mine is A1 but A3 will do for most things. Its worth noting that whilst self-healing mats do last a long time there comes a point when they can heal no more, once you are making little holes in the mat then the time has come to replace it. Its quite good to get quite a bright coloured mat because then there is a nice contrast between the paper and the mat, providing you're cutting out of black or white of course.
I use a variety of different paper. I tend to stick to white or black paper for cutting. Anything around 100gsm is good, over 130gsm and you're starting to give yourself a hard time and under 80gsm is pretty delicate and fiddly. I tend to go in phases but at the moment I am using Daley Rowney 96gsm smooth drawing paper. I am currently experimenting with Japanese Washi paper.
I can choose what I like for my background paper - canford, fabriano and murano papers come in a lovely range of colours and they're good and thick which makes for a strong background. I get most of my paper from Fred Aldous in Manchester but I'm a bit of a paper collector so it comes from everywhere.