GUY ALLEN
Born in 1987 in Norfolk, United Kingdom
Guy Allen is an experimental printmaker, draftsman and talented young British artist. Working hard from his studio on the North Norfolk coast, Guy’s trademark experimental approach to printmaking presents an exciting mix of colour, gold-leaf and an original, contemporary take on the traditional art of etchings. Studying at Central St Martins from 2008 – 2011 Guy discovered the printing press on a trip to the École Nationale Supérieure Des Beaux-Arts in Paris. Finding an art form that lent itself so perfectly to his artistic aspirations was a revelation. He has never looked back. Since then Guy has won a number of prices, include the Diana Brooks Prize at the Mall Galleries in 2018.
Guy also has a philanthropic interest and supports many arts charities each year including Art For Youth, EACH, Keeping A Breast, Art For Cure, Marie Curie UK and Well Child.
2023 will welcome a calendar filled program of art exhibitions, as well as a more spacious new studio and gallery. If you would like to find out more, please do contact Guy directly on guy@guyallenart.com

"Guy’s exceptional draughtsmanship, observation of nature, combined with an innovative approach to printmaking make him one of our most popular current British printmakers/artists."
-Davina Barber
NORFOLK
Growing up in Norfolk, the countryside and his love of animals have had a lasting impact on Guy’s work.
This inspiration and drive to create is fuelled ever further by Guy’s love of the printing press. With distinctive style, striking ability and total commitment Guy has mastered his printmaking techniques. Constantly exploring the infinite possibilities and opportunities the medium offers, he breathes new life into traditional techniques and subject matter.
THE PRINTING PROCESS
ETCHING
The etching process dates from the 16th century, and no photographic aids are used. The artist draws through a resin resist (which is impervious to acid) on to a copper zinc plate with an etching needle. The plate is then immersed in acid so that it is etched along the needle lines. This etched linear drawing provides the foundation for all plates. The plates are then inked up and hand printed on to acid-free paper through an old intaglio press.
AQUATINT
Another intaglio process using acid, in which the plate is carefully and evenly covered with a powdered resin dust and heated, so that each particle of dust becomes crystallised and adheres firmly to the plate. The particles leave small exposed sections of the plate, which are then bitten by immersion in acids. Through a series of resin treatments delicate gradations of tone can be produced. The aquatint is characterised by a fine or coarse grainy texture of tones.
SCREEN PRINT
The screen printing process uses a porous mesh screen made of fabric or stainless steel stretched tightly over a frame made of wood or metal. A stencil is produced on the screen either manually or photochemically to define the image to be printed. Ink is then forced through the fine mesh openings using a squeegee that is drawn across the screen. Ink will pass through only in areas where no stencil is applied, thus forming an image on the page.
LITHOGRAPHY
Invented in the 1796, using limestone, the surface is prepared so that the image takes the ink, while the non-image areas repel it. The inked image is transferred to paper by pressure using a lithographic press. Colour lithography arrived in 1837, using a separate stone for each colour. For example, theatre posters of the 1940s.
RELIEF PRINTING
Relief printing is where the areas around the image to be printed are cut away, leaving the image on the block in relief. The raised areas are then inked and transferred onto a second surface, usually paper. For example woodcut, lino cut and wood engraving.
INTAGLIO
Intaglio describes any printmaking technique in which the image is produced by incising into the printing plate – the incised line or area holds the ink and creates the image. This is the opposite to relief printing, in that the printing is done from ink that is below the surface of the plate. Print makers generally use either copper or zinc.
TESTIMONIALS
“Since those initial drawings I have followed Guy’s career with interest, watching him master the art of etching at a rapid pace…In the journey to get to this stage of his career he has accomplished much success, ranging from his initial pencil drawings to having works exhibited at The Royal Academy Summer Exhibition for two years running. For this, I commend him for his dedication and perseverance in the often lonely world of being an artist sitting in an art studio.”
— The Earl of Leicester, Holkham Hall, Collector
"With distinctive style, striking ability and total commitment Guy has mastered his printing-making techniques. Constantly exploring the infinite possibilities and opportunities the medium offers, he breathes new life into traditional techniques and subject matter…Radiating a sense of balance and calm, it is this combination between the traditional and the contemporary, the static and the fluid, the considered and the coincidental that creates such harmony in Guy’s work. It is through both his ability as an artist and skill as an printmaker that he achieves this so beautifully"
— Georgie Grandy, Gallerist
“Guy’s dedication to his work is matched by his ability, and we at Kelling Designs were thrilled to be able to offer Guy a sponsorship package to help him develop the direction of his print making. We hope that this collaboration will add something new and fresh to his already extensive portfolio, but Guy is driven so he will succeed. Everyone should own a Guy Allen, it really will give you years of pleasure.”
— Emma Deterding, Kelling Designs
COLLECTORS
The Earl and Countess of Leicester
The Hon. And Mrs Jeremy Soames
Mr and Mrs Nicholas Deterding
Mr and Mrs Ivan Shenkman
Mr and Mrs Derek Scott
Georgie Grandy
Mr Sam Melluish MBE
Mr Steven Davies
Mrs Elizabeth Ellis-Paul
Guy and Georgie Johnson
Jamie and Alice Gorden
Chloe Sanderson and Jack Traquair
Laura Marfleet and family