Friday, 29 November 2013

New for Volume 4: Calendars


We love these innovative advent calendars from Pirrip Press.  Forget chocolate; harness your creativity, and colour in a different arctic animal every day of the week in the countdown until Christmas.  We reckon you'll have as much fun with this as the little ones.

You'll have to hurry though!  There are only a few left, priced at only £5 each.

Find out more about this superb printing duo here.

Thursday, 28 November 2013

New for Volume 4: Calendars



Let's kick start our calendar round-up with this gorgeous original textile calendar by Elena Ortiz.  This illustrated wall chart has been beautifully printed onto brightly coloured reams of fabric, and finished with string so that you can hang it up as a vibrant addition to your home, office or studio, or give it to a loved one as a unique Christmas gift.

It's available in lots of lovely colours at only £12, so snap one up while stocks last (it's been a very popular addition to Volume 4, and we can see why!).

To find out more about Elena and her diverse range of working processes, have a read of her Meet the Printmaker interview here.

Thursday, 21 November 2013

Meet The Artist: Hannah McVicar





Please can you introduce yourself and tell us a little about your work…What sort of prints do you make?

I am Hannah McVicar and I produce colourful floral and botanical screenprints that I exhibit internationally and throughout the country.



Are you solely a printmaker or do you work in any other creative fields?

I am an Illustrator and Printmaker, I produce floral illustrations for books, magazines, greeting cards and packaging. My illustrations were recently compared to William Morris in a review in the New York Times.
I have worked for a variety of clients including The Times Newspaper, Gardens Illustrated magazine and Ebury Publishing.


What is your earliest recollection of making a print and what made you to want to do more?

My first memory of producing a screenprint was at Girl Guides. We had to cut an image out of a waxed transfer that was applied to the screen and then we screenprinted our image on to a t-shirt. I of course had drawn a flower but then I was only 10 at the time.

It was whilst I was studying at Falmouth College of Art that I really started to explore all areas of printmaking. I spent my first year experimenting with relief printmaking, in my second year I was really interested in aquatints, but it was in my final year that I branched out into screenprinting, where I started to experiment with colour.




What inspires you and are there any themes or ideas that often run through your work?

I am often asked why do I just concentrate on plants and flowers. Many believe that it is because of my upbringing around plants, visiting botanical gardens and RHS Flower shows. And yes this has had a massive influence on me. I do not think many people of my age can state that they have been to 20 RHS Chelsea flower shows. I have had the privilege of being able to walk around the showground at 7am in the morning before the gates open. The floral marquee is full of exhibits and plants from all over the world, thousands and thousands of prize winning specimens. The colour and smell is intense. Every year I find a new plant that inspires me. People may find me crazy but I like to imagine the plants as characters, dancing with one another within a garden. I think nature is amazing and the more I research the more I admire the variety of plants there are in this world. 



Could you give us an insight into where you work – your studio/workspace and where you print?

I am very fortunate to be apart of two studios within Bristol. I have a studio space at Jamaica Street Studios where I produce all of my designs and illustrations and I am also a member of Spike Print Studio. I first joined Spike Print studio in 2004 and then after a brief period of working in America, I rejoined in 2007. This print studio is one of the main reasons why I have stayed in Bristol. Not only is it an amazing facility but it also contains some of the best printmakers in Britain, who inspire and encourage me with my work.



The work of which other printmaker/s do you admire?

It is more of an era than one particular artist, I have always been influenced by the books, publications and prints produced in the 1980’s – Aubrey Beardsley, Alphonse Mucha, Edmund Dulac and Kay Nielsen to name a few. There is a beauty and romance to their work.
But the artist, who has had the biggest impact on me, is my great Grandfather Thomas Lowinsky.



Printmaking is made up of lots of different processes, which aspect do you enjoy the most?           

It is the process of creating a screenprinting that excites me. You can never quite tell how the stencils will work and how the colours will react to one another. I love to use tints and transparent colours that I layer to create depth and texture.



Do you have a favourite tool or something you find invaluable when printing?

Magnets - when I am proofing or just working out my colour combinations, I will magnet up the print on the wall and walk away from it. When I am printing I am very close to my work but this is not how someone else will view it, so I like to hang it up and walk to the other side of the room, if it draws me in then I know it is right.

Can you share a little printing trick or secret with us?

Florescent pink is the secret ingredient to most of my colours that I mix.



How would you like to develop your printmaking skills in the future?

I have always been very ambitious with my prints, with more layers and colours and bigger compositions. Since my exhibition in Japan, I have been approaching botanical gardens throughout England about producing a series of prints influenced by the planting combination within their gardens. I really want to push my colour combinations with brighter and bolder prints.



Which printed publication do you most look forward to thumbing through?

It is slightly biased of me but I do enjoy reading Gardens Illustrated magazine, it contains the best garden photography.

Monochrome or multi-coloured?

Multi coloured!



A young Hannah McVicar at Thomas Lowinsky’s retrospective exhibition,
Tate Britain, 1990.

Wow! Thanks for that insight into your wonderful botanical works, it's really great to know how much time, effort and skill goes into making your complex and highly desirable prints. Great to know you also hold the local record for visits to the Chelsea Flower Show. Its been a pleasure having your work in the shop. 

Hannah's screen prints will be on sale in the print shop until the end of the final volume, there's an excellent range of her works so pop down and take a look for yourselves. 

The Print Shop 
Unit 6 
Quakers Friars 
Cabot Circus 
Bristol 
BS1 3BU 

Open Daily 
Mon - Sat 10am - 6pm 
Sun 11am - 5pm







Tuesday, 19 November 2013

Workshop spotlight: Botanical Monoprinting


Katharina Nyilas is running a very exciting new workshop next week, giving you the chance to experiment with her Botanical Monoprinting technique. Katharina's work is hugely inspired by environmental concerns, and using recycled or unusual reclaimed materials to produce her artwork and teach workshops with.  This class is no exception! You'll be using all sorts of wonderful natural foraged things, such as fallen leaves, winter berries, and plants sourced by Katharina.

To give you a taste of what to expect, Katharina ran a bit of a demo of her workshop last week, with some beautiful results, and took some pictures to share with us.  I don't know about you, but I really want to give this a go!






Katharina's printmaking inductees produced some really beautiful prints, and were thrilled to walk away with a set of monoprinted gift-tags, cards and envelopes.

You don't have to be an artist or a printmaker to do this workshop.  You'll have a lot of fun learning new techniques, and Katharina's confident you'll get a lot out of the experience, alongside some lovely paper goods!


The workshop takes place on Tuesday 26 November, at The Print Shop in Quakers Friars from 6-9pm.

You can visit the workshop page here for more information.


Monday, 18 November 2013

Christmas Cards Round-Up #2


We've picked out some more of our favourite Christmas cards from The Print Shop this week.  Have you sent yours yet?

Here we go:

1Kate Ingham's stylised patterned stag card  | 2. Sophie Rae's colourful trio of stockings
3. 'You, me, mistletoe' by Pirrip Press | 4. A sprig of mistletoe by Dawn Cooper, to continue the theme
5. A super geometric tree from Jill Spence | 6. Hannah McVicar's screen-printed botanical bauble

Watch this space for more hot picks from Volume 4 of The Print Shop!



Thursday, 14 November 2013

New for Volume 4: Hand-printed decorations

HAND-PRINTED DECORATIONS BY LUCY DAVEY

We were very excited to see these beautiful, hand screen-printed decorations by Lucy Davey appear in The Print Shop for Volume 4.

Lucy has been busy in the Drawn in Bristol studio, printing these two-colour designs onto cute wooden hearts, which are ready to hang from your tree with a delicate brown cord.  Although they're suitably festive, we reckon you could get away with pinning them up as a lovely keepsake all year round.

There's a limited number of these for sale in the shop, so snap them up while stocks last!

To learn more about Lucy and her bold illustrative style, have a read of her Meet the Printmaker interview.

Wednesday, 13 November 2013

Meet the printmaker: John Joseph Lynch

Please can you introduce yourself and tell us a little about your work…What sort of prints do you make? 
Hi, I’m John Joseph Lynch, I’ve made a variety of types of prints since I began print making.

I mainly concentrate on fine art and experimental printmaking and have an MA with distinction in Multidisciplinary Printmaking. For my final show I took the Multidisciplinary aspect quite literally when I made a body of hybrid prints that re-synthised classic Iconography in relation to consumer philosophies. I made hybrid luxurious pieces of print work combining linocut, digital, and flock velvet print along side screen printed enamels. I screen printed acid resists then deep etched copper plates and finished this with a cloisonné approach to create printed relics made of copper and coloured glass, I used etchings onto plaster casts and continued to combine methods and print approaches.

The MA was a explosion of experimental adventures, combining a range of print processes over the three year duration of the course, in which I was also awarded a two week residency in the states studying the art of fine paper making. I have always enjoyed an experimental approach to my work and have often pushed in the other direction from ‘the norm’.
False Paradise, Ed 5, Lino Cut, Digital and Flock
After the MA I won the 'Neo Print Prize' for 'New Media In Print' and went on to be awarded the 'Peter Reddick Bursary' for 'Contemporary Relief Print' which allowed me to spend a year developing a relief print practice. It was a great time to make mistakes and develop from them.

This has recently ended and I would now say I have developed a unique and complex style of woodcut printing to take forwards and create new work, in which I use the photographic or digitally produced image in a hand-made fashion, combining traditional and contemporary methods for making art.

I really enjoy working with wood and the challenges this presents. It’s like paper: always changing. Sometimes it’s a real pleasure to work with, and other times it is a pest.


Key Block for Royal Mail.
My work is often conceptual as I have a contemporary fine art background, practice and interest.  I really enjoy the methods and possibilities within this context to explore, combine and create new types of imagery. Along with this, I love the science and elemental factors involved in fine print and the types of inks and papers that always give new results.  Sometimes it’s a feeling like painting where the elements are working with you, which is a lovely mood to be in.  

I’ve been printmaking for 16 years now and teach screen-printing and relief printing along with the odd visiting lecture, and really enjoy sharing my print knowledge with other printmakers and artists. This exchange of knowledge is really important for any creative development. 


This is why I’ve really enjoyed being part of the organising team for The Print Shop, and meeting so many great printmakers, helping to raise the profile and public understanding of print and also getting in touch with some true masters in the field, like Yuji Hiratsuka

Are you solely a printmaker or do you work in any other creative fields?
My first degree was fine art Painting and printmaking. Back then I used to really enjoy painting but it wasn’t long until the lure of printmaking grabbed me and I ended up producing a final show which was heavily print centralised. I even remember using oil based inks with screen printing to make dramatic abstract works in my teens. So, I’ve always been very attracted to Printmaking.

All the while I’ve always been really into making music and performance. After university some good pals and I soon got ourselves into a pretty outrageous band called Pink Grease. We got signed to Mute Records and toured the world, making our mark in the underground scenes and playing hundreds of shows. I love live music performance as it’s so immediately expressive and fun. I’ve put together a few music formations whilst in Bristol and had some fun gigs. I’m currently having a bit of time out of the live scene to work on new ideas, but I would say I prioritise printmaking as my main creative process these days. 

Mostly all of my work and practice is focused on driving forward my printmaking these days and recently that’s also included driving forward the profile of printmaking with projects such as The Print shop and connecting Bristol printmakers to friends at the Hong Kong Open Print Shop.


Printmaking is a language of imagery and production that suits my needs the most, I love it’s immediate historic reference and the connotations it has to so many aspects of art and modern culture. We’re surrounded by print and I’m a big believer of art being rooted in the real and reflecting society, so for me print is perfect.

Some Proofs made during the work of Royal Mail: V1
I teach printmaking and this is also a creative process to me, as I’m always surprised what people - with little or no experience in these processes - can come up with. The results of loads of mistakes and happy accidents can teach you things you’d never expect.  I think teaching and the learning of new skills is a really important aspect of all creativity. Sharing your practice is essential to it’s development and also another creative part of it. 

What is your earliest recollection of making a print and what made you to want to do more?

Foot Prints in the mud: making a mark of your own presence and place.

What inspires you and are there any themes or ideas that often run through your work?

I am usually inspired by the things that go on around us in the world, often by media and the news. I like my art to have a reflection to how I perceive the world or a given theme within it.  For example, my Criminal Prints showing a hybrid president of the united States, a mix of four presidents to create a fictional yet familiar figure head. This was also inspired by fiction such as '1984' or 'Do Androids Dream of Electric Sheep'. I love a good story for new ideas, which is why I often slightly dramatized or over fictionalise, real places or events.

Wesley, Ed2 in variations, woodcut. 
My newest print, which I have, at times been working on in the shop and is now on display in The Print Shop and the Old Fire Station in Oxford, is Royal Mail: V1.

This print was inspired by a number of things, firstly it has reference to a copy of a 1950’s post card of East Berlin I found. At that time, the vision of a utopian new lifestyle was offered and the postcard showed these amazing new flats in Technicolour. I loved the double sided edge to this image and the forced enthusiasm of the colours.

In my new print the image is an adjusted version of the old post office centre by Temple Meads, which to me stands, in its way, as an iconic monument, yet in may ways it is useless, unsellable, impossible to develop. It is places like this that always remind me of Satre’s Nausea, where he writes about the consistent forces of nature always ready to reclaim and take over wherever it can, purely acting on existence.

To me there is a poetic beauty in this type of place and a reflection of human conditions, the kind of place that can trigger hundreds of daydreams, yet in itself is the shell of it’s former purpose - like an empty crab.
Royal Mail: V1, Woodcut
Could you give us an insight into where you work – your studio/workspace and where you print?
I work in three places mostly: Firstly, at Spike Print Studio, as since being awarded the bursary there I’ve really been able to push my work and develop woodcut printmaking. It’s a truly great studio and I recommend it to anyone interested in print. The staff are all great and there is a real public approach to making work, with amazing print work happening mostly every day it’s a great place and we also do really good courses.

Secondly, I have a shared studio space at the Island Art Space where I have acquired a great screen printing set up and we also make a bit of music here. My friend Danny Le Guilcher is a great portrait painter and he paints here too. All the team running the art space are really clued up to getting the old building off the ground and I run workshops in the space too. There are always new shows, exhibitions and events happening there, so it is a great place to work, plus it’s right in the city centre.



Thirdly I must say there is nothing like a bit of sunny woodcutting in the cratch back home on the boat.

Which other printmakers' work do you admire?
Being heavily involved with the starting and keeping of The Print Shop since the outset has meant that I’ve met some really great printmakers in Bristol, who make some really amazing work. I’m so happy the shop has really brought together a range of approaches and talents in the art, raising the bar for printmaking in Bristol. It was also really great to get one of my favourite known printmakers involved for volume one. Yuji Hiratsuka’s work is truly beautiful and it was great having a Skype interview with him in the shop. 

There are so many printmakers I really admire the work of. I really like the prints by Katsutoshi Yuasa, Christiana Baumgartner, Chuck Close, Carol Summers, Thomas Kilpper and naturally I love the work of Andy Warhol and the pop art printmakers like Rauschenburg. The list goes on and I’m always finding new artists I really like. Artists have always used printmaking as a strong point for visual communication in the arts. I also really love the traditional Japanese Woodblock by artists like Hokusai, Kuniyoshi and Hiroshige and wish I could be this good.


Skeleton, Kuniyoshi, Woodcut. 
Local artists like Ian Chamberlain, Emma Stibbon, Martin grimmer, are all amazing at what they do and artists we’ve had in the shop like Hannah McVicar, Gillian Thompson,  Holly Drewett, and Coo Geller all make really interesting work with print and push it in different directions.

Our last guest also works like this. Peter Williams’s monumental woodblocks are a real homage to traditional print. He’ll be in the print shop talking about his work on the 21st.

Maybe it’s clear by the above list that I like artists who push common associations to an art and create new and exiting approaches.

Can you share a little printing trick or secret with us?
I share loads of printing magic on my courses and in the studio. Learning from others is always a good one. Most importantly, enjoy what you are doing and always stay calm when printing, although sometimes this isn’t the easiest.

I’m always booking new workshops for artists in my studio and other print studios so if you want to learn more you can get in touch with me through my website, jjlynch.org

How would you like to develop your printmaking skills in the future?

It’s a constant development for me, so I hope this continues. I always like to move out of the safety zone and see what’s new to learn so I always look forwards to the next piece of work, I hope this doesn’t change.

Which printed publication do you most look forward to thumbing through?
Printmaking Today, and exhibition catalogues.



Thank you for taking the time out to answer our questions John. It's inspiring to have not only your input and direction with the running of the shop, but also your incredible multidisciplinary approach to print-making.

John has a range of brand new work currently for sale in the shop, which is open from now until Christmas. Come and purchase his prints, while stocks last. A great personal treat or the ideal gift for a friend.

The Print Shop 
Unit 6 
Quakers Friars 
Cabot Circus 
Bristol 
BS1 3BU 

Open Daily 
Mon - Sat 10am - 6pm 
Sun 11am - 5pm

Tuesday, 12 November 2013

Workshop: Papercutting with Sarah Dennis

Sarah Dennis returns to The Print Shop this Thursday with her popular papercutting workshop.

In the workshop, you will learn the fundamental techniques and tricks for creating artwork with only a craft knife and paper, whilst experiencing the calming process of paper cutting and the dramatic aesthetic effect that the medium offers.

To give you a taste of what the class will be like, Sarah has taken some wonderful photographs of her October workshop, which we thought we'd share with you.






Sarah is offering an introductory workshop to papercutting on Thursday 14 November, and a class for slightly more experienced papercutters on Wednesday 20 November.  For more information, click here.

Monday, 11 November 2013

Christmas Cards Round-Up #1


The Print Shop is positively flowing with new festive hand-printed Christmas cards with the launch of Volume 4!

We'll be highlighting some of our favourites throughout the build-up to Christmas to show you what's on offer.  Let's get started:

1. Holly Drewett's twinkling penguins | 2. Carys Ink's fabulous elf on a bicycle 
3. A beautiful gold Christmas tree by Kerry Day | 4. One of Elena Ortiz's trademark captions 
5. A sweet little robin, new from Katy Christianson6. Lea Loyd's fabulous geometric Christmas trees

Watch this space for more wintery product features!

Thursday, 7 November 2013

Nosferatu - Live Soundtrack event

Originally released in 1922, we invite you to watch 'Nosferatu' at The Print Shop, accompanied by a sound-track sourced and sequenced live by Adam Pinfold and Dave Bain.

Expect a modern interpretation of the horrors of this defining vampire film, through a dark journey of music from the obscure to the possibly familiar.

Please bring a cushion to sit on, due to limited seating.

Monday 11th November, 8pm, £3, BYOB
TICKET ONLY EVENT - tickets available from The Print Shop

Facebook event for latest updates

Wednesday, 6 November 2013

Meet the printmaker: Lucy Davey



We catch up with illustrator and silkscreen printmaker Lucy Davey, who's back for Volume 4 of The Print Shop.

Please can you introduce yourself and tell us a little about your work…What sort of prints do you make?


I'm Lucy, I make screen prints and I work as a freelance illustrator.

Are you solely a printmaker or do you work in any other creative fields?

Most of my work is commissioned illustration, mainly book covers and images for magazines. Its nice to do some printing occasionally and focus on my personal work



What is your earliest recollection of making a print and what made you to want to do more?

When I was a teenager I started making my own stamps from the polystyrene packaging that comes with pizzas! It works surprisingly well.  At college I got into monoprinting – I would layer paper over rolled out ink and draw on it. Then I started screen printing a bit at university.

What inspires you and are there any themes or ideas that often run through your work?

I think landscape and nature are my main inspiration.  It's usually filtered through something else though; a film, book or a photograph will spark off an idea.  I love early photos of American landscapes, places I've never been. My prints are of imagined landscapes really.




Could you give us an insight into where you work – your studio/workspace and where you print?

I've been in the Drawn in Bristol studio since March.  It's great having the printing facilities here as well.  Before that I was at Snap studio and I've done a bit of printing at the excellent Spike print studio.



Which other printmakers' work do you admire?

I've got a couple of Jonny Hannah's screen prints up on my wall at home. I also love Japanese woodcut, especially Hide Kawanishi and Saito Kiyoshi. Edward Bawden is a big inspiration too.

Printmaking is made up of lots of different processes, which aspect do you enjoy the most?

I like it when you do your first pull and it actually works!



Can you share a little printing trick or secret with us?

Its not really a secret, but keep your old cardboard rolls that parcel tape comes on.  They make excellent squeegee stands.



How would you like to develop your printmaking skills in the future?

I'd quite like to re-visit lino cut at some point. And there's a lot more to learn about screen printing!



Which printed publication do you most look forward to thumbing through?

Nobrow.

Monochrome or multi-coloured?

I like colour, but no more than three please.

Thank you, Lucy!  We love your bold, graphic prints and will certainly be using your squeegee tip.

Lucy Davey returns to The Print Shop for Volume 4, which is open from now until Christmas.  Come and snap up one of her vibrant prints or handprinted Christmas decorations while stocks last!

The Print Shop
Unit 6
Quakers Friars
Cabot Circus
Bristol
BS1 3BU

Open Daily
Mon - Sat 10am - 6pm
Sun 11am - 5pm

Tuesday, 5 November 2013

It's party time!


Join us for our festive Volume 4 launch tomorrow from 5pm until 9pm

New, beautifully hand-printed festive treats, prints and products will be flooding in in the next few days, so come and be among the first to take a look at what's on offer in our new volume.  Join the event here.

Have you won a prize?  We'll also be drawing our fabulous raffle at the launch.  Here's a reminder of some of the amazing prizes you could win.  Come on down and collect your winnings (fingers crossed)!

A host of talented printmakers from the previous three volumes will be re-joining us this winter.  Take a look to see who's involved.

See you there!

Friday, 1 November 2013

Peter Williams - Terrestrial Locomotion - The Final Guest artist at The Print Shop.


Peter Williams, based in Cardiff is the Co-founder and studio director for The Print Market Project.

On display from the 6th November until the 29th November

Pete will be transforming the entire feature wall at The Print Shop into one giant woodcut as he displays a huge block from his epic body of work Terrestrial Locomotion.

As the title suggests the work began its journey as a movement across country. Carrying a tiny sketchbook and a pencil Pete would begin by setting his running watch to zero, choosing a direction and then running in that direction until he couldn’t run any longer. Whatever appeared in front of him at this point would then be the subject of his initial drawing.

The Wood block we are lucky enough to be showing at The Print Shop in Bristol depicts what is left of the LLywernog Silver mine, in the title is also the Distance, 6.38m, the step count 8594 steps and the time 54minutes 18 seconds. This numerical figure serves to the picture a kind of map reference to where the subject stands, from the point in which the artist began his run. The circular shape signifies to Pete a kind of medallion for each run in the series of works.

About the work he says that ‘so many artists spend forever deciding what to create a piece of work about and at the end of the day it could as well be anything’. This method of letting chance and stamina find the subject presents a new way of looking at the artist’s context for which they base their work.  Routed in landscape the work has a physical context not only in how the subject was chosen but also it’s method.

From a drawing about 3inches square Pete reworks the image onto a block 8ft square and then uses chisels, wire brushes, power saws and gouges to expressively recreate the image into marine ply exploiting the directions in the layers of grain and the physicality of the entire process.

It’s great to have this opportunity to show a monumental piece, where the block itself is the art and one which reflects the very essence of print, the transferal of an image from one surface to another.

LLywernog Sliver Mine
6.38m 8594s 54.18
Woodcut Block Black ink on Ply
8ft x 8ft 
2012



For More information about this work there’s a great video interview with Pete at the following link .


Written By JJ Lynch.