'Print Artist' doesn't quite do justice to Hayley Anderson's impressive skill set, as she excels in so many different fields. The talented artisan works in Lock Stitch at our Elgin Weaving Mill, runs her own Printmaking business, Buff and Blue Prints, and travels between Scotland and Lapland as part of a multidisciplinary program that runs alongside her master's degree. As part of our Kindred Spirits series, where we collaborate with craftspeople who share our values and ethos, Hayley created a stunning exclusive linoleum print of our historic Clock Tower. 

Where did you learn your craft, and how long have you been making?

When I left school, I studied fine art. Years later, when I moved to Dubai, I bought a printmaking kit and just started playing with it. A few people saw my work on Instagram, and I was approached to teach classes at different venues for a craft company there. I started producing textiles and print design commissions for people and made a range of fabric shopping bags. We came back to Scotland in 2019, and I decided to go back to university in 2020 to get my honours degree. 

Tell us a bit about what you do.

I work in the Lockstitch department at Johnstons of Elgin, and I'm doing a master's in Art and Social Practice. I applied for a place in a programme called Living in the Landscape Arts through the Arctic Sustainable Arts and Design network. It's a joint enterprise with universities in the Arctic region, with UHI Shetland being an addition, looking at the origins and the value in the different landscapes that we live in. As part of the programme, they'll be putting on an exhibition in which my work will be featured at Arktikum, which houses the University of Lapland's Arctic Centre and is the Regional Museum of Lapland. When my funding fell through to attend the fieldwork trip to Lapland, I sought help from Johnstons of Elgin, and they proposed this project. 

Tell us a bit about the project.

It was suggested that I make a print of somewhere on the Elgin site, and the Clock Tower was floated. It's quite an iconic building, and it's very recognisable. So we decided I would make a limited print just for Johnsons of Elgin that would go into their new Guest Experience Suite.

For the print, I emulated traditional Japanese block printers’ style, utilising simple shapes and meticulously blending colours to achieve the desired effect. The print has six distinct ink layers to create texture, colour and depth. The ink layers are deliberately transparent to highlight the tactile quality of the handcrafted paper.

What similarities can you see between your craft and ours?

Both focus on traditional skills and sustainability. My primary medium for the prep work is pencil—there's no digitisation of any sketches; I just trace my sketches with paper and pencil, which are then rubbed onto the Lino and carved using hand tools. For this collaboration, I chose materials and methods to carefully align with the ethos in which Johnstons of Elgin creates its own products. 

I selected Japanese Washi paper from the Awagami Factory in Tokushima because of its environmentally friendly properties. This paper is made from natural fibres from renewable sources, resulting in significantly less environmental impact than wood-based papers. The Fujimori family, who have managed the business for seven generations, have been recognised as the 'Intangible Cultural Property of Tokushima' for their exceptional traditional craft skills as master papermakers. The family continue their longstanding washi tradition to preserve the craft and pass it on to the next generation.

I chose Cranfield Caligo Safe Wash Relief Ink, which is manufactured using a traditional dry pigment process at their facility in Cwmbran, Wales. The Craine family has been involved in the ink manufacturing industry since the 1920s, and the company was established in 1976. The production methods and machinery have remained unchanged to ensure the consistent production of high-quality dry pigment ink. The Caligo Safe Wash inks offer an environmentally friendly alternative as they necessitate no chemical solvents for cleaning and can be safely washed from equipment using simple soap and water.

Finally, the traditional battleship grey lino used to carve out the layers of the image is made from a mix of linseed oil, pine resin and wood flour backed by natural hessian. The waste material that is carved away is entirely natural and compostable. 

What does Scotland mean to you?

As well as being my home, Scotland has sparked a deep passion for my master's research. I am delving into the profound influence of the textile industry on Scottish cultural heritage, exploring the evolution of landscapes and the beautiful crafts created to mirror the colours and shapes of nature. We have a wealth of talented, creative people in Scotland, and my research is my way of highlighting just how special these craftspeople are.