Looking back to our botanical mono printing workshop

For anyone who missed last week's botanical mono printing workshop led by Katharina Nyilas, or wants to find out more, here are some colourful photographs to give you a taster of what can be achieved during the workshop.

Katharina will be holding another botanical mono printing workshop in February at Hamilton House. For more information, bookings or to sign up for her newsletter to keep up to date with workshops please email her at knyilas@yahoo.co.uk.

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

Meet the printmaker: Abi Ponton (Pigeon Illustration)

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

I am lucky enough to be a member of Drawn in Bristol and make use of their screen-printing studio in Hamilton House.  I love drawing and generally make bright and colourful prints of the charismatic creatures I draw.  I like the freedom drawing gives me as a starting point and love the challenge of having to restrain this is a number of ways for screen-printing.  The more I print, the more I learn about the medium and what a range of things you can do with it.  I’ve learned to think in print and get excited about experimenting with the medium in different ways.

When I’m not drawing or printing, I’m always looking forward to my next drawing trip, which generally involves hiding myself away in dark corners of museums and discovering exciting artifacts that kickstart creative ideas.  I’ll draw anything that catches my imagination at the time, whether it’s because of its form, texture, colour or historical/narrative content.

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

I love working in a range of media. I experiment with different techniques depending on what I think best fits the idea I have in my head, which could be drawing, print, collage, textiles, sculpture, an impromptu tap dancing performance or the occasional painting.

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

Apart from potato printing in Primary school, my early memories of printing are from college and university, and looking at my mum’s borrowed library books of Edward Bawden’s beautiful prints.

I have always loved hand-printed work, but it took me a while to get into printing as a technique because there is so much that can go wrong and it is so time consuming.  I wanted to make everything quickly in a fit of inspiration, but two of my tutors at university were avid printmakers and showed me the beautiful, earthy and soulful art that they made and I loved it. 

I was soon drawn to the mysterious Victorian machinery and the smells of the inks and equipment of the campus print room.  I began to love the flow of the processes, the unpredictability of the outcome and admire the happy accidents.

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

Animals and pattern are an obvious theme to my work, but I also think a lot about character and colour when making my work.  I like the details that can bring the charm and character out of a living creature or an inanimate object, such as the damage on an ancient artefact, the asymmetry of a cactus, or the wonky eye of a badly stuffed hare!

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

I really enjoy drawing from real life, so I go on a lot of drawing trips to galleries, museums, parks, cafes and anywhere I can get out of the house and wander around, gathering sketches, information and ideas.  I develop these drawings by experimenting in different materials at my desk at home, before planning the layers of colour, if they are destined for the print room.

Which other printmakers' work do you admire?

Locally, I love the work of Jane Ormes, Simon Tozer and Charlotte Farmer, because their work is full of colour and character.  I've also come across John Kilburn's work in this volume of The Print Shop, which I love for the same reasons.

Printmaking is made up of lots of different processes.  Which aspect of printmaking do you enjoy the most?

I like planning the layers and mixing printing inks; it gets me excited to envisage how the print is going to turn out.  Colour is very important to me and I don’t start to print until I have a vivid image in my head of the exact tones I want to use.

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

Patience and strength of mind.  Printing is a physically and mentally demanding process!

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

Save some cake or a snack for when you’re almost finished to see you through the final processes of cleaning, tidying and packing up.

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

I'd like to experiment more with texture and over-lapping colours...and also learn how to be tidy and organised!

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

I like buying Vogue and Home Magazines to read and dream about that perfect life, before cutting them up for collaging!  Zines are a little obsession of mine too.  I don’t buy a specific one regularly, I just like to pick up the lesser-known names that have caught my attention, for whatever reason.

And finally, monochrome or multi-coloured?
Multi-coloured for sure!

Thank you, Abi!  It's great to know more about your love of colour and your love and enthusiasm for printing.

Abi Ponton (Pigeon Illustration) will be at The Print Shop for the rest of Volume 3.  Come and snap up one of her vibrant prints, while stocks last!

The Print Shop

Unit 6

Quakers Friars

Cabot Circus

Bristol

BS1 3BU

Open Daily

Mon - Sat 10am - 6pm

Sun 11am - 5pm

Meet the printmaker: Katharina Nyilas

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

I have been living and working as an illustrator in Bristol for one year since graduating from University of Westminster, with an honours degree in Illustration.

Nature, wildlife and our environment inspires most of my work, which I believe is of vital importance.  My illustrative work is intricate detailed and delicate, which is why I love to explore with screen printing, which by the nature of the process creates much stronger bolder shapes and lines, allowing my work to make a different impact.

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

I also work in the field of illustration, and as a creative workshop coordinator.

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

My earliest recollection of printmaking was at the age of 16 at Somerset College of Art and Technology.  The printmaking tutor, Chris Tucker, chose me from a group of students studying fine art to produce an etching.  It was a long process, as most printmaking processes are, and took a lot of time, attention to detail and methodical precision.  The process suited my work as, with etching, very fine lines and details can be produced.  I enjoyed being absorbed by the process and the excitement of seeing the outcome of the first print.  I still enjoy this aspect of the print-making process including the opportunity to experiment.

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

The influence and control people have over our environment intrigues me and I like to research different aspects of this, whether it happens to be regarding fishing policies, our urban wildlife, pollution or poaching.

I am also interested in re-using and recycling materials, and have been experimenting with utilising them in my printmaking.  I have used found wood, fabrics and ripped sheets of billboard, which I have found hanging billowing in the wind and littering the ground.

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

Over the last year I have been creating illustrations from my desk at home. Since joining the Drawn in Bristol illustration collective over the summer, I have been hot-desking and screen-printing in the studio at Hamilton House.  I am now looking forward to joining the Drawn in Bristol studio at the beginning of November.

Printmaking is made up of lots of different processes. Which aspect of printmaking do you enjoy the most?

I mostly enjoy planning and drawing the print, experimenting with materials and the excitement of seeing the outcome!

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

Being organised and clear from the start with the result you are trying to achieve is very important.  Creating a good print involves a lot of planning and work before the print can actually be made.  For example, pulling a screen-print is the fastest part of production after the methodical process of preparing.

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

At the moment I am experimenting with screen-printing, and using different found materials to work with.  I would like to carry on experimenting with screen-printing for the time being, as it is such as versatile technique. Almost anything can be printed onto, which suits me, as I enjoy making my own illustrated products.  In the future, I may take up a printmaking course and learn other processes.  The variety and versatility of the other printmakers' work at The Print Shop has definitely intrigued me and inspired me to learn more!

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

Wrap magazine is one publication I love to look at, for the variety of colourful work.  I like the fact that it gives artists and printmakers a slightly different platform to showcase their work, in contrast to other illustrated publications.  The artwork is showcased on its own in a large format.  The best thing about it is that it also doubles up as wrapping paper.  Although, I always think the work is too beautiful to use as wrapping paper and could be used to decorate your walls instead!

And finally, monochrome or multi-coloured?

Although some of my prints are in monochrome, most of my prints utilise colour.  Mostly I tend to use monochrome alongside colour.

Thank you for giving us some insight into the environmental inspirations behind your beautiful work, Katharina!

Katharina's work will be appearing in The Print Shop for the rest of Volume 3, ending on 3 November.  Come and experience Kati's work for yourself at our shop in Quakers Friars!

The Print Shop

Unit 6

Quakers Friars

Cabot Circus

Bristol

BS1 3BU

Open Daily

Mon - Sat 10am - 6pm

Sun 11am - 5pm

Meet the printmaker: Dawn Cooper

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

My name's Dawn Cooper, and I work as a freelance illustrator in the beautiful city of Bristol. I produce screen prints of my illustration work, and get a lot of enjoyment out of making screen-printed products. So far I've experimented with making letter writing sets, placemats, notebooks, gift-tags and postcards, but I'd like to explore textiles and stationery a little further!

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

I'm primarily an illustrator.  I draw everything by hand in my sketchbook, and assemble my drawings on screen to make multi-layered illustrations with lots of digital colour and texture.  I like to dabble in screen printing (which is becoming a far more frequent exercise since joining The Print Shop!), and it can be quite a challenge translating my work into a limited colour screen-print.  I also love typography and packaging design, which I like to apply to my screen printed products.

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

I suppose I started screen-printing at university, and I was thrilled to be able to walk away with a finished product after a hard day's work learning lots of new processes.

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

My work is quite heavily inspired by natural history and botanical illustrations, and the natural world.  I am also a lover of quotes, and telling stories through a singular image.  I always find a good brisk walk brings lots of ideas to the fore, and couldn't recommend it more!

'Be Yourself' by Dawn Cooper

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

I work with the other very talented folk at the Drawn in Bristol studio, in Hamilton House, Stokes Croft.  I love the open-plan nature of the space, as I hate to be without conversation when I'm working.  I also enjoy the screen-printing facilities there, and the fact that there's always friendly and open advice on hand if you get in a jam!

Screen-printing in Hamilton House

Which other printmakers' work do you admire?

I absolutely love the work of Karolin Schnoor, a German illustrator, designer and screen-printer, currently based in London.  There's something very smart, beautiful and seemingly effortless about her image-making and bold colour combinations.  I recently bought some beautiful letterpressed notebooks of Karolin's, but I can't bare to use them!

Letter-pressed notebooks by Karolin Schnoor

Printmaking is made up of lots of different processes. Which aspect of printmaking do you enjoy the most?

I just love it when it goes well!  That, and seeing all of the layers come together, one by one.

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

I think it's invaluable to remain calm and collected when printing, and have recently made a concerted effort not to get flustered during the process!  I think a tidy work space is a good way of achieving this, but I'm still working on that.

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

I'd like to continue exploring new hand-printed products and gifts, and learn how to utilise and overlay single colour layers to create additional colours and tones.

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

The Here Gallery in Stokes Croft always has an amazing range of design magazines and independent publications.  A good friend of mine bought me a subscription to Oh Comely magazine, which is always a fascinating read, and although I'm not a cyclist, I enjoy the illustrated content of Bristol's Boneshaker magazine.

And finally; monochrome or multi-coloured?

I am a colour addict, unquestionably.


Thank you for sharing your working process and inspirations, Dawn!

Dawn will be at The Print Shop for the rest of Volume 3 with all of the above work for sale (while stocks last!). 

The Print Shop

Unit 6

Quakers Friars

Cabot Circus

Bristol

BS1 3BU

Open Daily

Mon - Sat 10am - 6pm

Sun 11am - 5pm

Meet the printmaker: Dave Bain

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

I enjoy taking on a challenge, which is what has held my interest in exploring illustration and the associated grey areas that it merges into, such as design and more conceptual or character artwork. Sometimes it's a tricky job to try and personally define where my work sometimes falls. More often than not it's focus is illustrative and I think even when I'm creating a piece of artwork from my own imagination, there tends to still be a purpose, meaning and attempt-to-explain a wider concept or story.

Flock (detail), 4 colour screen-print

Drawing out 'Flock'

Recently, I've tried to include my screen-printing know-how into my practice more and more. I fell in love with the way screen-printing can force a limitation (depending on what limits I set) on how I create an image. It's focused me even more on the colour palettes I choose and I've had fun discovering the layers that build up an image and how I can reduce those layers down, without losing the complexity and clarity. You can see a range of my screen-prints here.

James the Elephant, 3-colour screen-print

Are you solely a printmaker or do you work in any other creative fields?
I have always loved producing things in a traditional manner and have drawn and painted as long as I can remember. Painting and drawing is certainly always the starting point with all my projects. It's interesting to be translating these skills into printmaking methods.

Two of the layers, drawn in 4B pencil of 'James the Elephant'

Two of the layers, drawn in 4B pencil of 'Twits'

What is your earliest recollection of making a print and what made you to want to do more?
Creating little rubber stamp letters at school is my earliest print memory. In recent times, simply seeing the wealth of print talent in Bristol alone is such an inspiration for any budding print-maker. Since moving here, I've been enjoying learning new techniques from masters in this craft.

What inspires you and are there any themes or ideas that often run through your work? 
Colour is an obvious inspiration. I often draw on themes of optical illusions and geometrical shapes, as well as my long-term fascination with bird-life, nature and texture. I also love expressions and dark fairy stories.

12 Bikes - A 12 colour screen-print

Could you give us an insight into where you work – your studio/workspace and where you print? 
I have been part of setting up the Drawn in Bristol studio and print studio space, which is situated inside the Hamilton House building in Stokes Croft. Drawn in Bristol occupies a large area of one of the floors with over 20 people working within a lovely open plan space. I create all my work and print work from this studio, as well as inducting new members of the print studio into the space.

Printing 'Twits' in the Drawn in Bristol studio

Wrestlers, in the print rack, at the studio

The work of which other printmaker/s do you admire? 
Too many! But if I have to be specific, Simon Tozer, Hannah McVicar and Paul Farrell - all Bristol print-makers - have been a long-term source of advice, inspiration, support and general loveliness. Please check their work out. Hannah is also currently part of The Print Shop.

Printmaking is made up of lots of different processes, which aspect do you enjoy the most? 
I think it's the puzzle of working out what should be on each layer of a multi-layer print. I've always liked puzzles!

Tracing paper layers for my bird cards

Do you have a favourite tool or something you find invaluable when printing? 
I purchased two mini-squeegees in India, which I love using, when it's appropriate as they are so light-weight and fit well on the lip of the screens I use. Acetate is invaluable when I'm working out registration.

Can you share a little printing trick or secret with us? 
I always try to not print when tired - too many mistakes happen otherwise. Music is really important to me and having a good sound-track when printing can often help focus my mind. I've recently been getting into Forest Swords.



How would you like to develop your printmaking skills in the future? 
There's always more to learn and to improve on - I love discovering new tricks. I often feel like I'm at the start of a fun print-making journey and am excited about what's next. I definitely want to challenge myself by creating some much larger prints.

Raven Skull, 2-colour A2 screen-print.

Which printed publication do you most look forward to thumbing through?
Juxtapoz is always interesting, as well as Digital Arts. I really enjoy the free comic compilation Off Life too.


Monochrome or multi-coloured?
Multi-coloured mostly.


Thank you Dave for giving us an insight into the working process behind your colourful screen-prints. Particularly fascinating to see the drawings behind the work.

Dave will be at The Print Shop for the rest of Volume 3 with all of the above work for sale (while stocks last!).

The Print Shop

Unit 6

Quakers Friars

Cabot Circus

Bristol

BS1 3BU

Open Daily

Mon - Sat 10am - 6pm

Sun 11am - 5pm