Prelo Prints

Prelo Prints is a project born from the love for letterpress and all forms of early print, its techniques and history.

Historical works printed on a reproduction 1400’s wooden hand press.

24/09/2026

My five cents and a special thank you.

20/09/2026

Knots in the wood are a big no-no. This time I might just have gotten away with it.

11/09/2026

ASMR // ha, this is what all of you lino cutters out there are missing. (Nothing against linocut, I promise!)

08/09/2026

Let’s slay, I mean, CUT a dragon, shall we?

04/09/2026

I was going to make a post announcing the available seats for the October historical woodcut workshop… but you were faster than me, and the workshop is already SOLD OUT!

So instead, this is a big THANK YOU to everyone who’s shown interest in this strange, wonderful craft and for trusting me to share what I’ve learned along the way.

This will be the last workshop of 2026, but I’m already planning new dates for 2027 together with the awesome folk at BIBLIOTEKET Rentemestervej in Copenhagen.

If you’d like to be the first to know about new workshops, sign up for my newsletter (link in bio), or drop me a message/comment, and I’ll make sure you know when new dates are announced.

Thank you! 🙏

30/08/2026

🪵🔪 Sharp tools make better cuts.

A little sharpening and stropping before (and during) a cutting session makes all the difference. Take care of your tools, and they’ll take care of your woodcuts. 😎

25/08/2026

Why don’t I tint my woodblocks?

One step you’ll often see in relief printmaking is completely missing from my process.

I don’t tint my blocks. And there’s no secret technique behind it: I simply don’t see the need. This Apocalypse block I’m currently working on is a good example. The uncut surface of the cherry wood is naturally darker, while the areas I’ve already cut are lighter. That gives me plenty of contrast to see exactly what I’m doing.

Sure, tinting the block in a vibrant red paint would make the contrast bigger, but unlike linoleum, wood (or, some kinds of wood) already gives you a pretty useful contrast between the cut and uncut surfaces. I just choose to skip that part of the process. :)

20/08/2026

Cutting the head of a severed crowned dragon in this Apocalypse block book woodblock (pun not intended!).

The audio is from ‘The Noble Lyfe & Natures of Man, of Bestes, Serpentys, Fowles & Fisshes yt be Moste Knowen’, by Laurence Andrew, ca. 1521.

A little glimpse into the making of a block inspired by the imagery of early printed books, one cut at a time.

15/08/2026

My favourite kind of torture: feathers. 🪶
WIP on the Apocalypse block · St. Michael is finally done (those feathers seemed endless!), and I’m finally ready to move on to either the dragon or the next block of text: ‘protectus ê ille draco magnus serpens…’

The entire figure was cut with the new knife, plus three gouges: the smallest V (L 12/1), and two small U’s (L 11/0.5 and L 11/1).

Dragon next, or text first? What would you choose?

13/08/2026

🪵What kind of wood would a European printmaker have reached for 500 years ago?

When we look at a 15th-century woodblock print, we often think about the image. But what about the woodblock itself? What kind of wood did the cutter choose, and why?

(Slide 8: Image of the “Bois Protat” (1370-1420) is © Bibliothèque nationale de France.)

Address

74 High Street
Glastonbury
BA6 9DZ

Website

https://preloprints.com/

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