David Hockney and Kenneth Tyler: The Story Behind the Paper Pools

Kenneth Tyler working on midnight pool (paper pool 10), 1978
Inks on two joined sheets of paper laid down on board
35 x 30 inches, signed, inscribed, dedicated: a combination, landscape, technical illustration, and portrait./ for Ken with love from David H/Oct 2nd 1978.
©David Hockney - Image reproduced for educational purposes only.

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The Paper Pools represent one of the most ambitious and technically innovative series in David Hockney's career. Created in collaboration with master printer Kenneth Tyler at Tyler Graphics in 1978, the works challenged the conventions of traditional printmaking through the use of handmade paper pulp, bespoke metal moulds and an experimental creative process. Rather than treating printmaking as a means of reproducing an image, Hockney and Tyler transformed it into a medium of invention, where every stage of production became an opportunity for artistic exploration. The result was a body of work that blurred the boundaries between printmaking, papermaking, painting and sculpture.

More than four decades later, the Paper Pools continue to be celebrated not only for their vibrant depictions of California swimming pools but also for the remarkable collaboration that brought them to life. From Hockney's lifelong fascination with water to Tyler's pioneering "no rules" philosophy, the series reflects a shared commitment to pushing creative and technical boundaries. This article explores the story behind the Paper Pools, the partnership between David Hockney and Kenneth Tyler, the innovative techniques developed at Tyler Graphics, and why the series remains one of the defining achievements in contemporary printmaking.

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Piscine à Minuit (Paper Pool 19), 1978

Coloured and Pressed Paper Pulp, 72 x 85.5

Unique work

©David Hockney, Image repoduced for educational purposes only

WHO IS KENNETH TYLER?

By the late 1970s, Kenneth Tyler had established himself as one of the world's leading master printers, continually pushing the boundaries of what printmaking could achieve. Known for his uncompromising "no rules" approach, Tyler rejected the idea that prints should simply reproduce paintings. Instead, he believed every printmaking technique should offer artists an entirely new way of creating art. This philosophy quickly established Tyler Graphics as one of the world's most innovative and technically ambitious printmaking workshops.

In 1973, as New York's contemporary art scene continued to flourish, Tyler relocated east and founded Tyler Graphics in Bedford Village, New York, before later expanding to nearby Mount Kisco. Equipped with state-of-the-art printing presses, specialist papermaking facilities and a team of highly skilled printers, engineers and technicians, the workshop was designed to be far more than a traditional print studio. It became a creative laboratory where artists worked alongside technical experts to experiment with new materials, invent new processes and realise ideas that would have been impossible using conventional printmaking techniques.
"With Kenneth Tyler nothing was impossible. If I said, could we, he said, yes, yes, it can be done."

– David Hockney

Rather than asking artists to adapt their ideas to existing methods, Tyler encouraged the opposite. His team collaborated closely with each artist, developing bespoke tools, equipment and techniques to bring even the most ambitious concepts to life. This collaborative approach attracted many of the most important artists of the twentieth century, including Roy Lichtenstein, Frank Stella, Helen Frankenthaler, Ellsworth Kelly and, ultimately, David Hockney, whose partnership with Tyler would produce one of the most innovative printmaking projects of his career: the Paper Pools.
HOCKNEY'S LIFELONG FASCINATION WITH WATER

Before the Paper Pools were conceived, swimming pools had become one of David Hockney's defining artistic subjects. When Hockney first travelled from Britain to Los Angeles in 1964, he recalled looking from the plane window and seeing countless bright blue rectangles scattered across the city below. As an artist raised in post-war Britain, private swimming pools were rare and often associated with extreme wealth. In California, however, Hockney realised that pools were simply another part of everyday life. What fascinated him was not just the water or its vibrant colour, but what the swimming pool represented. To Hockney, it became a visual symbol of the American Dream, embodying sunshine, leisure and a modern way of life, a stark contrast to the industrial landscape of northern England where he had grown up.

Throughout his career, Hockney repeatedly returned to swimming pools and water as central subjects in his work. Water presented one of his greatest artistic challenges: how to represent something that is constantly moving, transparent and reflective on a flat, stationary and opaque surface. This technical challenge, combined with Hockney's relentless curiosity and experimental approach to making art, ultimately led him towards one of the most unexpected printmaking projects of his career.
- A Large Diver, Paper Pool 17
- Steps with Shadow, Paper Pool 2
- Swimmer Underwater, Paper Pool 16
Image of a sketch by David Hockney detailing Kenneth Tyler using an electric mixer to mix paper pulp, c.1978.

©David Hockney Image reproduced for educational purposes only

Why Did David Hockney Create the Paper Pools?
Hockney's and Tyler's collaboration
When Hockney arrived at Tyler Graphics in 1978, his plan was simply to visit Tyler before continuing to California to paint. As Hockney later recalled, "I went to see Ken for a day to tell him that I had no intention of doing any prints or graphic work and that I was on my way to California." During the visit, Tyler showed him the paper pulp works of Ellsworth Kelly. Captivated by both their beauty and the creative possibilities of the medium, Hockney's curiosity quickly took over, transforming what was intended to be a brief visit into one of the most experimental projects of his career.

The handmade paper pulp process challenged almost every convention of traditional printmaking. Rather than applying ink onto paper, the coloured paper itself became the artwork. For an artist who had spent years exploring how to depict the movement, transparency and reflections of water, the medium offered an entirely new way to experiment with colour, texture and surface. Hockney embraced its unpredictability, working directly with liquid paper pulp that was spooned, poured, brushed and dropped onto the moulds. Together with Kenneth Tyler and the Tyler Graphics team, he experimented with unconventional tools, including dog combs, toothbrushes, kitchen basters, garden hoses and even rainfall, to create textures and effects that would have been impossible using conventional printmaking techniques.

How were the Paper Pools made?

The process, the people and the product


What is Paper Pulp?	Paper pulp is a wet mixture of natural fibres used to make paper. In David Hockney's Paper Pools, coloured paper pulp replaced traditional ink, allowing the paper itself to become the artwork rather than simply the surface it was printed on.
How is Paper Pulp Made?	Paper pulp is made by mixing natural fibres, such as cotton or wood pulp, with water to create a thick, wet slurry. The fibres are beaten until they bond together, before being poured onto a fine mesh mould to form a sheet. Excess water is removed by pressing the pulp, and the sheet is then dried to create paper.
The Workshop Team	Hockney collaborated with Kenneth Tyler and a specialist team including papermaker Lindsay Green, assistants Lee Funderburg and Kim Halliday, and engineer Duane Mitch, whose expertise helped transform experimental ideas into finished Paper Pools.
Experimental Tools	Dog combs, garden hoses, soup ladles, kitchen basters, toothbrushes, fingers, airbrushes and even rainfall were used to manipulate the coloured paper pulp.
Hydraulic Pressing	Once each composition was complete, the wet paper pulp was repeatedly compressed in a hydraulic press. This removed excess water, fused the layers of coloured pulp together and strengthened the sheet. In many cases, the works were only partially pressed, allowing Hockney to reopen the paper, make additions or remove areas before returning it to the press for further refinement. Only after numerous cycles of pressing and drying between felts and blotters did each Paper Pool reach its finished form, combining artistic intuition with remarkable technical precision.

Green Pool with Diving Board and Shadow
signed with the artist's initials and dated 'D.H. 78' (lower right); signed 'David Hockney' (on the reverse)
coloured and pressed paper pulp
50¼ x 32¾in. (127.6 x 82.2cm.)
Executed in 1978

Why Every Paper Pool is Different
What is a Variable Edition?
Although the Paper Pools are often discussed as a print series, David Hockney regarded the majority of the works as unique rather than traditional editions. While specialised metal moulds were used to establish the underlying composition, meaning each work began with the same basic structure, Paper Pools were created by applying coloured paper pulp by hand. Colours were poured, brushed, blended and manipulated individually, allowing Hockney to introduce subtle variations in tone, texture and surface throughout the production process. Although the metal moulds ensured a consistent composition, no two works were ever exactly alike.

What we do know is that several compositions were produced as variable editions. A variable edition is a group of works created from the same plate, mould or underlying design, but intentionally varied by the artist so that each example possesses its own individual character. This approach reflects Hockney's belief that printmaking could be a creative process in its own right rather than simply a method of mechanical reproduction.

One of the clearest examples is Gregory in the Pool (Paper Pool 4), where documented impressions display noticeable differences in colour relationships, surface texture and the handling of the paper pulp, despite sharing the same overall composition. Because many examples remain in private collections and have never been comprehensively catalogued, the full extent of these variable editions is still unknown. The Paper Pools therefore occupy a unique position within Hockney's printmaking career; they combine the repeatability of traditional print processes through the use of metal moulds with the individuality of handmade works, resulting in a body of art that blurs the boundaries between editions and unique works.
GREGORY IN POOL, PAPER POOL 4:
EXAMPLE OF A VARIABLE EDITION
Why the Paper Pools Changed Printmaking

The Paper Pools represent far more than just another series within David Hockney's career; they demonstrate what becomes possible when an artist is paired with a master printer willing to question every established rule. Kenneth Tyler did not simply produce Hockney's ideas; he created an environment in which entirely new techniques could emerge. Engineers, papermakers, printers and artists worked collectively to solve problems that had never previously existed. The resulting works blur the distinction between painting, sculpture, papermaking and printmaking.

Today, they remain among examples of how collaboration can expand the possibilities of artistic practice, and they continue to be regarded as a defining achievement of both Hockney's and Kenneth Tyler's legacy.
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