What a great post, Wuon-Gean!
Before last week’s visit to Liege, all I knew about Belgium was that it was a country famous for beer, chips, chocolate and Tintin… Now I know that it should be also renowned for super warm and friendly people, grand old buildings, and the Liege printmaking festival!
The station itself is a wonderful piece of architecture by Santiago Calatrava which was rebuilt in 2009. Covered partially in snow from a heavy fall 2 days ago, the light filtering down was like some complex binary pattern.
You can even see the rocket from Tintin to the far right of this shot…
The gallery where the international printmaking festival show is held is in the Musee des Beaux Arts, Liege, or BAL for short. It’s very central, just set back from the river by less than 100 metres, and a very grand large space.
I was pleased that they had hung so…
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Working under the alias Savage Wolf, John Powell-Jones works from his studio in Hotspur House Manchester. After missing him at the Manchester Print fair in October, I decided to meet up with him following a recent exhibition in New York to talk in more depth about his latest residency, Tintin and the Church of the mystic egg.
Can you tell me a little bit about your printing history?
Erm, I haven’t been to a university. I started off doing a lot of band illustration but found that people weren’t really willing to pay for that sort of thing if you are not already an established illustrator but what people did seem to be asking for was say if I did a design on a t shirt was getting that screen printed or a poster screen printed.
I got in touch with a guy called Nick Rhodes. He has got a print studio called Switch Open and he does amazing gig posters. So I got in touch with him and asked if I could come and learn, intern for him for free to come and learn how to use his facilities. He sent me a link to a load of books and then put me in touch with a place called Hot Bed Press where I went and did a weekend course and I just fell completely in love with the whole process.
I reduced hours at my job and finally quit the job that I was doing and got a bar job just so I could completely concentrate on screen printing and took it from there. It was quite quick after that really. I think I had only been printing maybe eight months when I started my own screen printing course. I completely immersed myself in it. I bought out all the books that I could and you tube is really good resource. I guess like what you’re doing now. There is a really good print community and people are willing to help each other out. I just did that got in touch with people, printed as much as I could.
I eventually got my own bed which was in my spare bedroom. I’d expose the screens at Hotbed press, take them home, print, wash them out in the bath and then kind of just grew on that until more work started coming in. I eventually got a light box to expose the screens with. That took over where the dining room table was and then I got this studio which is still relatively new. I think I have been here thirteen months something like that. That’s about it really. It’s been quite quick. I guess I got to a certain age and decided that this was definitely what I wanted to do. I wanted to get more serious about it as doing screen printing contextualised my illustration, what I was doing and why I was doing it. Being involved in print rooms and seeing different mark making and print disciplines really made me think about what I was doing and then I got much more involved in it. I’ve been doing it full time now for nineteen weeks.
What issues have you come across when printing?
Erm, I think obviously being completely self-employed is quite daunting at times and worrying where money is going to come from. It hasn’t been so bad but there have been a few months where things have been a bit hairy. I think maybe the biggest obstacle is that screen printing is a buzzword and a lot of clients want something screen printed but don’t really know what that means. They want a digital copy of something. For me, what I love about screen printing is you know you can get pretty much bang on perfect but you are reproducing an image and every single one is going to be individual because you have hand printed every single one. Some people don’t really get that but it is just about talking to them and talking through the process. I try to keep a print of every single thing that I have done and other people’s work to show them what can be done
Where did you get your equipment from? I know a few people who have had to keep their ears to the ground…
Definitely! It really is like one man’s junk is another man’s treasure. A lot of things you will pay a hundred pounds for then next week of something exactly the same being put in a skip because someone found it in the garage. The screen beds I bought from Nick Rhodes. The exposing unit was a really lucky find on Ebay, actually. A guy from just down the road had a full print set up that he had bought for his wife a few years ago that she didn’t use so I got that from him. Yeah, it really is just about making contacts and keeping an eye out. It’s also about having the space because you come across stuff and you think “I’ll take it” but then where would you put it?
Where do you aspire to be in the future?
I guess just doing basically what I am doing but just maybe in a bigger studio, definitely in a bigger studio. I’d like to steer further away from doing the commercial printing to concentrate more just on my own illustration and artwork. I’d like a Unicorn as well… But I guess that would be the dream; just to be able to just concentrate on that.
Who inspires your illustrative style?
Oh, so many people! I guess my biggest influence would be like 1950’s horror comics, Tintin, Chris Ware, more recently a guy called Gary Panter, Charles Burns; you know I try and surround myself with books, constantly buying stuff. Daniel Klaus is a huge influence. I also like modern gig poster artists such as J Ryan, Daniel Danger…I really like his use of colour and his of screen printing process. In the UK, I like Luke Draws, Sean Warp…I do Saturdays at the Richard Goodall gallery and that has kind of opened my eyes up to all these different gig poster artists. I have also started guest lecturing on the illustration course at Salford University and I also teach a screen printing course at Hotbed Press. That’s another thing that I really like to get involved with is the teaching side. I find it very rewarding as it makes you think more about what you are doing as an artist.
What experiments have you done with your printing?
I did a load of screen print paintings where I just painted straight onto the mesh and I made most of them into a series of Zines. I went to New York recently to be part of an exhibition called Happy Accidents curated by Dr Me. I just used open screens and painted directly onto it. I really like it. I should probably do some more.
Do you ever use methods similar to this such as the using hand cut stencils onto the screen when teaching?
The course I teach is called “Poster printing” at Hotbed press so it’s much more about mass production and larger editions which paper stencils don’t really work for. I touch on it very briefly but it is predominantly photo screen printing.
How many people do you normally take for a workshop at Hotbed?
At the moment, it’s a maximum of 7 people. I recently did a workshop for Kopparberg which was a drop-in where everybody came to screen print and I got them to print their own poster and t-shirt of a design that I had created for Kopparberg and I think that had about 50 people turn up. That was pretty stripped down so people literally came in and queued and then printed.
Do you do a lot of live printing?
Live printing? Not so much. I’ve done a few bits. I find it a bit of an odd one. It’s a bit hit or miss. It can be depending on…Although the Kopparberg one was great, I’ve done it in the past where it has been quite a bad experience and people don’t really understand. They’ve asked you to come and live print and then there is nothing like no water supply or anything. It can be quite stressful getting everything down to wherever you’re going. I do enjoy it a lot but I think a lot of planning has to go into which then obviously reflects in the cost of it.
I can totally empathise with you on that one. At a recent event, I had to wash out my screens in the kitchen sinks so thank god I wasn’t using Plastisol! I think it is really good for creating a creative community because when people understand the process after they pull their first print they see it is quite simple and really get into it.
Definitely! I think that when I teach it, people find the basics of it really simple. You can set up a perfectly good functioning print studio from your own home and these two books have been great for me, I don’t know if you’ve heard of them. John was referring to Print Liberation by Nick Paparone and Screen printing today; the basics by Andy MacDougall.
Yes! I have! I love the “Support your local screen printer” stickers that come with the Print Liberation stuff. I haven’t heard of the other one but I am always looking for new books. I’ve got three with me today! That’s the thing; I think that this medium is all encompassing. If you like it, then you really like it. Most of the people I have spoken to have gotten really into put their head down and wanted to make it their business to do it every day.
Yeah I think that once you’ve learnt the process, that bits actually quite straight forward and then it is just everything building up from that. There is just so much that you can do with it and so many different effects whether you’re a real graphic geometric designer to if you’re a painter or an illustrator you can use it to your advantage.
Do you do any other kind of printing?
I recently got onto a residency at Salford University where I am going to try and not do any screen printing so I want to do lino and etching. Like I say I’ve never done a degree, I really kind of wish that I had now and would maybe look to do something in the future. I am going to try and make the different techniques push my work in a load a new different directions and see what happens. I think that now at the moment whenever I think of an idea, it’s immediately followed by how I could screen print it which kind of hinders my work in a way.
So what does the residency entail?
It allows me to have a certain amount of a budget and free access to all of their facilities until May. It’s a national scheme called AA2A and I just went it to go and talk to them about it last week so it’s still very fresh.
Do you any stockists or any other outlet which you use to sell your work?
I sell a lot of my work through Richard Goodall gallery and apart from that no. I mostly just sell online and when I do a show or print fairs. I’m still figuring it all out so it is relatively new to me. I only really started this year. I’ve done a few exhibitions this year which has been amazing. There is a bar in town called Common and they have started doing a fair called Common Affair so that is another great thing to be a part of.
So do you ever plan to collaborate? I mean obviously you have a great resource in Hotspur house with sharing a studio space with OWT and Foursight. Have you ever spoken about working together in future with them or anyone else?
Erm, I’ve done some stuff with Dr Me and another guy who has a studio which is really worth looking into called S J Hockett. His work is amazing and we’ve collaborated a few times. We did an exhibition called “The church of the mystic egg” which was brilliant, really good fun. We’ve been in a couple more exhibitions together but “The church of the mystic egg” was us producing all new work together just for that exhibition. I really like collaborating. I try and open this studio up as much as possible to people although it is not big enough for open access but say one of the guys from UHC came up on Friday and we did a print of his. Textbook studio has printed quite a lot of things here as well.
Do you ever print onto anything other than paper?
I’ve done a lot of printing on wood, sheets of thick PVC, all number of stuff. I’ve done a lot of printing straight onto walls so just holding the screen up and just printing straight onto the wall. Erm… I’ve done that for a couple of exhibitions. It works really well; it looks just like it has been hand painted.
You said you take a lot of your inspiration from music, have you got any other side projects on at the moment?
Erm…Not so much. Music is a big influence, I mean I love collecting music but I can’t play anything! I’d love to be able to. That would be my biggest dream come true to be in a band or have a music project but I do really like working for bands. It doesn’t pay particularly well but if it someone that you do particularly like then I think that it when I get the most enjoyment out of it. Especially when they just come to you and they say “We want you to do a design” or “We’ve got an idea of this, this this and this etc.”
For anyone that isn’t aware of your work how would describe your artistic style?
I guess, quite dark. I’ve got definite underlying humour to though, hopefully. Definitely influenced by comic book illustration and I just use pencil and ink and then the majority of them are screen printed.
Lovely. Last question. Where can people expect to see you in future?
I don’t know. Hopefully with my name in lights! I’ve just been part of a show in New York which was amazing so I really like to be part of more exhibitions and I’d like to do more painting I think.
8 years ago in a tiny garage in London, Garudio Studiage was born. Currently residing in the Bussey Building on Rye Lane, Garudio Studiage is a Peckham based creative collective set up by Chris Ratcliffe, Laura Cave, Anna Walsh and Hannah Havana. Their space has now upgraded to 3 separate rooms in an industrial estate which allows them enough room for an office, screen printing studio and a packaging room.
The “Paparazzi Mirror” for “Hidden Cameras in Operation” as part of the Tenderflix film festival.
With individual specialisms in screen printing, jewellery and painting, the group also work together and with friends, taking part in a magical array of multimedia exhibitions and events. When they put on a party, they do it in style making props, prints and products always with a whimsical twist. Recent Garudio Studiage projects have included the Christmas window display for Paul Smith in Sloane Avenue, an exhibition of screen printed dartboards at Dazed and Confused Gallery, two sideshows at the launch of the Wunderville event for London Design week and most recently the Gorgeously Greasy Grill at the V&A Village Fete.
In the words of Laura Cave, “Project work is where Garudio works at it’s best”. They have been involved in some wonderful public art projects such as The Peckham peace wallwhich is a permanent memorial to the hearty spirit of local residents who spontaneously contributed to a wall of Post-it note messages after last summer’s London riots.Following the worrying scenes of August 2011, the Peckham peace wall was started by four members of Peckham Shed theatre company on a board covering the broken window outside a Poundland. This attracted the involvement of thousands of local people whose post-it note messages of love and respect for Peckham grew.
When the time came to replace the windows and remove the original Peckham Peace Wall board, members of the public were anxious not to lose this unique record of the public’s thoughts and emotional response to what had happened on their doorstep. The post-its were collected and added to and are now on permanent display near Peckham Library.
Alongside this project Garudio Studiage have created a limited edition print which is for sale with all proceeds going to Peckham Space’s Art Clubs for young people. You can buy this, along with other prints here.
Entering the Garudio Studiage you’d think you had been transported into a surreal Peckham Tourist information centre as many of their products are based around the the borough of Southwark where they reside. I could honestly have stayed there for days just looking at the walls and all the fabulous trinkets, experimentation’s and illustrations by Anna Walsh.
In the packaging room, I was shown a few of the mind bending fashion statements made by Hannah Havana such as Hambag and friends and the “She loves me, she loves me not” engagement ring for the serial fiancée. All handmade, everything is meticulously finished despite its cheeky wink of fun.
I was given some lovely presents from Laura when I visited like a small example of her screen prints onto anodized aluminium metal and a one of Chris Ratcliffe’s Flat pack pets! I even got a present from the Lucky Skip, the “One man’s trash…” take on the lucky dip, which turned out to be a book on Geriatrics. Thanks guys!
I was so jealous when it came to looking at the printing studio. The space was previously owned by the late Tim Mara who was the Professor in Printmaking at the Royal College of Art from 1990-1997. It is clear that this lot has been very industrious with the way they have set up the space as they have had the clever idea of fixing lights above the flatbed so they can use it to expose the screens.The collective mainly use a water-based system except when printing onto metals and other surfaces where they will use solvent based inks such as Apollo.
Alongside her work with Garudio, Laura Cave also has a philanthropic side venture with her jewelery business Just Trade which creates small fair trade projects primarily in the shanty towns of Lima, Peru. Acting as a mentor, educator, wholesaler and retailer, this family-run business helps people in marginalised communities develop their existing skills to design and make products to sell in UK . My favourite are these spiral bronze earrings made in India.
Whether working solo or on project work, this team work across their mediums to create work that is simultaneously surreal and sought-after. As a lover of printing and cats, I think these guys are real winners and very talented at what they do. If you want to see the photo of the week or follow the mishaps of the studiage you can find them on Twitter and Facebook.They also sell all their goods through the website of via Pulse and a variety of other stockists. Check it out!
I spent most of my time at October with Matt who signed up at 16 and has been with October Ltd for 17 years. He sells his own apparel at Smiley Bob’s which supply promotional clothing to clubs and for major VW shows on the calendar.
Craig is another of the in-house printers at October has a vast knowledge of technical printing, he loves listening to reggae when he prints and will always bring biscuits.
Over the 2 weeks at October I helped with packaging and distribution, basic garment finishing, stripping and degreasing screens, preparing and applying emulsion, sorting out the archive of acetates and mixing colours by eye to match pantone reference. I wanted to work at October because they have a different variety of inks to choose from and also supply a service to add metallic foil to garments using a heated press.
This method was previously done by Flocking which consists of a glue printed onto a fabric and then foil or flock (or other special effect) material is then applied for a mirror finish or a velvet touch. The foil that is used at October sticks to the screen printing ink so it is a much easier process. I have put an order through for 15 black bags, thanks to Jane who has been lovely enough to offer them to me for my help.
There will have to be layer of gold printed beneath the design in case the design cracks. The process is quite delicate and be quite difficult make consistent colour with but I am excited to see how the process works.
I have learnt alot about inks whilst working here. The list of inks in the mixing room include plastisol, water based, discharge, with expanding, gloss, glitter, shimmer, reflective and fluorescent inks for bespoke orders. The most commonly used are plastisol and discharge for their loud colours perfect for a variety of coloured fabrics.
Plastisol is the most common ink used in commercial garment decoration.It has good colour opacity onto dark garments and clear graphic detail with a more plasticized texture so it creates much brighter T-shirts and can be flooded many times. One of the benefits of working with plastisol is that it does not dry as easily in the screen and therefore can be left in the middle of the job without the fear of blocking the mesh.
“There has to be individual ways to hand print because no two are ever quite the same. I don’t think that the end product is actually quite as we anticipated it to be and even after twenty two years of screen printing, we are regularly surprised and contradicted. If you were going to buy a hand made car or a hand made piece of furniture you wouldn’t expect every one to be identical and you would be happy to pay extra for that injection of personality.”
“A lot of the colours are mixed using recipes. We tend to mix them a little more instinctively. You tend to turn into a bit of chef where hopefully after a period of years you just that something needs a little bit more salt even if you are not quite sure why. You just look at something and you feel like you need a touch more red in there, a touch more green in there based on no other science than you are feeling in that moment that that is what’s required.”
Their previous clients include BALLY, Calvin Klein, Comme des Garcons, Ted Baker,YSL, Billabong, Swarovski, Jigsaw and Boxfresh to name just a few. Whilst at October, I saw orders come through for Bred Original clothing, BALLY, One punch Pickett, Defevt Clothing co, Bang Lads and UK bungee club.
I am so glad I finally have a working acetate for this design again! One thing to remember when screen printing is to take care with your acetates. Some types can be damaged by water so keep them all together, dated and in a clean folder so that you can reach them anytime you need them in case your screen blocks or you get a sudden rush of inspiration.
This design was printed using a process gold metallic ink as a base coat in case the foil flaked off. I had to pick a colour close to the foil so that the two matched therefore making any mistakes less noticeable. If the transfer is not left long enough to cool and make contact with the ink this can sometimes result in patches in the design.
Luckily the run went really well and the transfer stuck evenly on each bag. It’s great to see the final product after wanting to see how it was done after using so many different inks to get the same gloss and effect with my paper prints.
And as always, I would like to thank October for their hospitality and for allowing me the freedom to make my work as part of the team. I had a great couple of weeks working with you all and appreciate all I have learnt from you.
Established as an independent arts fair in 2011 by designer Alessandra Mostyn, the Manchester Print Fair returns to the city, for it’s fourth installment at Manchester’s newest creative-hub, 2022NQ. Located in the basement, this year’s showcase featured a wide variety of emerging artistic talent and live printing from the lovely people at Hope House Prints.
Make way people, Manchester’s finest coming through!
I thought the guys at OWT Creative were bloody brilliant! Collectively, they are Sarah Stapleton, Ben Kither, Ste Beed and Jon Hannan and they all met at Manchester Metropolitan University while studying Design and Art Direction.
Originally taking roots as the experimental OWT zine, this collective has now started working as an agency taking on submissions for themed zines. The publication was only meant to have 12 issues but thankfully at the Manchester Print fair their copies of “OWT #13Reprocess” were selling like hot cakes. Get them while you can, they only print 125 in each edition!
These guys have a great way of experimenting with print and original products for their customers. One of their recent zine launches saw them allowing people to choose which pages they would like for their own personalised zine which was then bound for them so each one was individual.
OWT have been offered funding by MMU to set up their internship scheme to help give students in Manchester an outlet to publish their work.
Websitesarelovely is Neil Richards, a web designer originally from Bristol who likes to screen print in his spare time. As a professional freelancer and camera hoarder, he makes work about his love of films in his amazing alternate film and TV series posters.
He likes to balance his work between digital and analogue with year long personal photography projects using a variety of cameras from his extensive collection and instagram.
Ultimate Holding Company is a unique organization merging educators and designers. Operating as a not-for-profit artist collective since its inception in 2002, their commissions combine publicly engaged art projects alongside a graphic design business that aims to contribute towards positive social and environmental change.
Previous projects have seen them covering advertising spaces in Manchester with canvas shrouds. In place of the incessant chatter of advertising, the streets were lined with screen printed trees.
These guys are all about providing education within a community and make exciting collaboration prints from sustainable backgrounds. The print below is a mix of risograph and screen print done on a hand-marbled paper. You can check out more of their work at the UHC christmas market at Hotspur House on the 29th of November.
Catherine Chialton is an illustrator and graphic designer based in Manchester has recently collaborated with UHC. She has a great range of products including laser cut wood brooches, risographs and screen prints.
She is available for freelance work and you can buy her stellar prints at her column shop.
Caroline Dowsett is as lovely as she is talented. A fan of Wes Anderson and Bill Murray, this 2nd year MMU graphic design student illustrates characters from her favourite flicks and cats. Her clean, minimal style of cult icons and cuddly creatures are available as risographs, screen prints inkjet prints and badges. I love this a3 Kitty print on her blog.
Young Explorers are a couple who make work inspired by their travels and the nature they see along the way. Elizabeth Murray Jones and Steve Carlton make cards, cushions, embroidered badges and zines with pesky pigeons. Their first zine has the theme of “Home and away” and is available on their Etsy.
Lyndsey Green from Wirral is a recent MMU illustration graduate whose work is inspired by nature and tribal inspired animals.She uses digital print with an inkjet printer to make iron-on transfers for textiles and sells figurines, prints, journals, plush toys and magnets at her Etsy shop. In the future, she wishes to branch out her work by illustrating for children’s books.
Chloe Nugent is an illustrator from Rosendale and is in her 3rd year of a fine art degree at Blackburn university. She works under the pseudonym Bundles of films, illustrating bundles of envelope sized prints in sets of 4 for £5.
Her linear and 3D digital prints of cult blaxpoitation and horror film stars from 1940-1990 have recently been exhibited at the Preston Guild festival which only happens every 20 years. Nugent also makes jewellery from her drawings using shrink wrap plastic which you can see on this video.
Foursight are Kris Sale, Matt Bray, Dominique Byron and Jordan O’Brien and their collective fuses illustration with an element of competition.The four fresh graduates behind the project have put together a self-funded book that pitches artist against artist to draw on double sided easels set with opposing themes. Brain vs Brawn, Night vs Day and Nature vs Nurture has all been previous themes resulting in a book with a set of 20 prints. The book is reversible so can be read from either way and is bolted together with perforated pages so the prints can be easily removed to display on walls.
These guys were a real laugh when describing the “angry pictionary” approach to their events. I’d say these guys are ones too watch as they have such a fun approach to printmaking .
So what is next for foursight? The guys have been offered a space in a studio where they are going to continue collaborating hopefully we’ll see them again very soon.
Dominique Byron WHAT AN AMAZING STYLE 🙂
Camille Smithwick collects lonely hearts ads from newspapers and illustrates what she thinks the person looks like or who their ideal date may be. All the original drawings have been placed in a large pink book and then souvenirs such as tattoos, prints and totes bags are made to go alongside. She has learnt screen printing by taking courses at East London Print makers and Hot Bed press and used to sell her products on a stall on she set up on Brick Lane.
Check out her tote bags inspired by Black Sabbath and Dolly Parton lyrics.
Her next project of a similar vein with be based on Kaspar Hauser, a German youth who claimed to have grown up in the total isolation of a darkened cell.
Print for Good is an initiative run by The Lab producing quality printed items for sale with all the profits going to good causes. A new print is released every month with all the proceeds going to a charity of the artist choosing. Previous donations have been made to international disaster charity Shelter box and and Trekstock Cancer support.
Graham Jones from the Loose Collective has previously collaborated with OWT fanzine and for Prints for Good and works with Peggy Manning at The Lab to create music, design and art. They outsource their printing at the open-access print studio Hot Bed Press and have all their stock paper kindly donated by their sponsor GF Smith.
It was great to see so many people getting excited about talking about their work and collaborating with others. The bulging stall of Salford Illustration was a veritable delight with varying styles of lino cuts, digital prints, screen prints, badges and magnets. It was the best place for affordable art with prints priced between £1-£4 with framed prints also available.
The Salford illustrators and Robert Shadbolt, the founder of the Illustration course are planning to exhibit in San Francisco for their final show. Best of luck guys, keep up the good work 🙂
Hope House Prints is made up of Martin Derbyshire, May Simargool and Kate Schofield. They set up their collective over the summer and volunteered to put on workshops and activities throughout the day demonstrating screen printing techniques with opportunities for everyone to join in and make their own original print.
Their stall had a great selection of limited edition items, including printed bags, t-shirts, records, and limited edition art works and their portable printing bed is suitable for printers of any level.
Above you can see Martin Derbyshire showing a curious visitor how to pull his own print for his t-shirt. The great thing about printing with these portable beds is they are really user friendly and are a good enough size to be used by both children and adults. Hope House had even printed take away guidelines leaflets for beginners.
Lisa Stannard is a Manchester based Print Designer who sells her print predominantly to the fashion industry to designers such as Whitney Eve Port, Miss Selfridge, Oasis, New look, ASOS and Supermarket Sarah. She has sold her prints in New York, LA and Paris and have recently just finished working on the 3rd show of New York Fashion Week for Whitney Port.
Her prints are made using a graphic tablet and are inspired by designers such as Pucci,Issey Miyake and Matthew Williamson, where she has recently interned.
As soon as I saw Jamie Mills, I recognised it immediately as I has been a favourite on my Etsy for quite some time. I absolutely adore this print as it is a great example of the running theme of humans interaction with nature through out his work.
Mills works from his home in York and is in the process of making an exposure unit so he can start printing more. He has exhibited extensively in London and Bristol and has been featured in Juxtapoz and Middleboop mag.
Simon Misra is a graphic designer from Manchester who screen prints his illustration work at Hot bed press in small run editions in his spare time. His work is inspired from the constant doodles in his sketchbooks which have been commissioned for bands such as Death cab for cutie and The Flaming Lips. Check out more fantastic illustrations like the one below here.
Vapid Kitten is the first of it’s kind “Zine for the lazy feminist” cram packed with open submissions from artists, illustrators and creative writers. Founded by Betsey Lamborn and Anna Frew, Vapid Kitten is in its second year with 7 issues already digital printed. Work is already underway to publish the zines for PDFs and Kindle for their “Bunty” inspied 1960’s girls annual summer issue. If you would like to submit to Vapid Kitten as a writer or visual artist please click here.
Joshua Brent is a prolific and confident illustrator in his 3rd year at Salford University. He likes to illustrate the ideas locked inside his head to problem solve and tell his stories through his trail of thoughts. Brent has previously reworked the Germanic folklore classic Hansel and Gretel in his own personal reinterpretation of the tale which is available to buy for £3.
I am really looking forward to the fifth installment of the Manchester Print Fair after the amazing success of this one. The quality of the work was out of this world and there was real community building with zine swaps and the tutorials. The Manchester Print fair should be cemented in everyone’s social calender as a great way to support local artists by picking up affordable work in the Northern Quarter.
I would like to congratulate all the stall holders for all their effort and to thank them for spending some time to chat with me.
Here is a list of just some of the books I have been reading over the past few months. I have added *** where the books are particularly useful, innovative or have tutorials. I have also supplied links to the Amazon buy now pages in case you may want to purchase or find out more about the collection.
“Screen-Printing the complete water-based system” Robert Adam and Carol Robertson
“About Prints- A guide for Artist-Printmakers” Silvie Turner ***
“Print Liberation- The screen printing primer” Nick Paparone & Jamie Dillon with Luren Jenison
“Print making- A complete guide to material and processes” Beth Grabowski and Bill Fick
“Post-Digital Printmaking- CNC, Traditional and Hybrid Techniques” Paul Catanese and Angela Geary
“Prints now- Directions and Definitions” Gill Saunders and Rosie Miles ***
“Digital Textile Design Second edition” Melanie Bowles and Ceri Isaac ***
“Interaction of Colour” Josef Albers
“Folding Techniques for Designers- From sheet to form” Paul Jackson ***
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