The Great Print Exhibition 2017 catalogue

7 1 0 2 N O I T I B I H X E T N I R P T A E R G TH E Friday 17 November 2017 to Sunday 18 February 2018 The Rheged Centre • Penrith • Cumbria • CA11 0DQ

Contents

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Page 3

Introduction

Pages 4 to 9

Glossary of Printmaking Terms

Pages 10 to 42

Printmaker information

Page 43

Buying a print

Cover image: Girl Swimming 1 by Ivy Smith Image below: Gamrie Sunday by Bryan Angus Image Opposite: Hello From Around The World by Jess Wilson Rear inside cover image: The Way Through The Woods II by Hester Cox Rear image: Multicoloured by Heike Roesel

Introduction The Great Print Exhibition is the largest of its kind in the UK. We have 65 artists in this year’s exhibition, selected from all corners of Britain, from the Northern Highlands of Scotland to the coastal villages of Devon, from the heart of London to our own backyard in Cumbria.

Rather than a selective open exhibition, artists are invited to take part in The Great Print Exhibition, and we work to track down new and interesting artists as well as young or emerging printmakers who will complement the more experienced voices in the exhibition.

With over 350 prints on display across a multitude of diverse techniques, there is no shame in taking a break for tea and cake to catch your breath on your way around! There are a further 400 prints in the browsers spread throughout the Gallery – hidden treasures for you to uncover. If you like the look of an artist’s work on the wall, it is well worth checking through their unframed work to see what else you can find.

Printmaking is one of the best art forms for a new art buyer. Once you get to grips with the terminology (there is a handy guide in this booklet, overleaf) you will have all the knowledge you need to buy something beautiful and affordable for your home. That first moment of hanging a new artwork is truly one to relish, as if the room is finally complete in a way you may never have imagined. A print can last a lifetime, and move with you from home to home almost becoming ‘part of the family’. That one moment of indulgence is the start of a long and endlessly rewarding journey.

We hope you will enjoy this year’s Exhibition as much as we enjoyed bringing it together, and we hope to see you again next November for the Great Print Exhibition 2018.

John Stokes, Arts Manager, Rheged 3

Glossary of Printmaking terms Artists from The Great Print Exhibition explain the different techniques used to create a print. First here’s a few technical words: Edition • The complete series of a print. You will see each print has a number that looks like a mathematical fraction in its corner (e.g. 25/100).

This represents which number the print is out of the total number in the edition. This does not apply to monotypes, which are unique (see page 8) Relief print • A relief print is made by inking the raised surface on a printing block. For example in Linocut, the artist cuts away areas they do not want to print, and ink is applied to the raised areas.

Intaglio print • in contrast to relief printing, an Intaglio print is made by inking the grooves and scratches in a printing plate. No ink is left on the raised areas, which are normally wiped and polished clean. Paper is dampened to help draw out the ink from the narrow spaces.

Block • Generally in Lino and Woodcut, the surface the artists works on to create the relief is called the block.

Plate • Generally in Etching, Drypoint or Lithography, the surface the artist works on to create the image is called the plate.

Matrix • The technical term for the repeating element in a print, whether a block, etching plate, collagraph, etc. (plural: Matrices) Registration • When a print uses multiple matrices the artist must make sure each one lines up as they intend it to. The most common way to achieve this is using a registration box, a simple line drawn around the edge of the block or plate, against which the next one can be aligned.

Printing Press • A mechanical device designed to apply even pressure to the matrix, to allow the artist to create a uniform impression. Some artists ‘Hand burnish’ their print, working their way across the back of the paper with a barren, a hand held tool designed to push the block into the paper.

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Lithograph

With Alan Stones (Page 35) The great majority of my lithographs since 1990 have been made by drawing onto a transparent plastic film (Trugrain) on a light box. This drawing might be made with any traditional drawing material e.g. pencil or ink. When I am happy with the drawing I will take it down to the print studio and put it on the exposure unit, place a small light-sensitive aluminium plate (a Toray Plate) over it and then expose the plate to ultra violet light though the drawing.

At this stage I will usually make a number of these small test plates with different exposures. The more the plate is exposed to ultra violet light the more the lighter areas of the drawing disappear - giving the print greater contrast. The less the plate is exposed to ultra violet the more the greys are retained. When I’ve decided on the appropriate exposure time I will go ahead and expose a larger plate over the complete drawing.

This plate is then developed and ready to be placed on the press and inked up - see photograph above with Skein (v). Paper is then carefully laid over the inked up plate and run through the press.

Etching

Aquatint

With Glynn Thomas (Page 35)

With Jamie Barnes (Page 10)

To produce an etching a copper etching plate is cleaned, coated with an acid-resistant wax ground and the design is drawn in reverse through the wax with a fine needle. The plate is then immersed in an acid bath. After several minutes the plate is removed and stop-out varnish is painted on the fine lines so they are retained at that depth. The plate is reimmersed to give a deeper etch. This is repeated many times to obtain a variety of depth: the longer the plate is etched the deeper and blacker the lines will print.

Creating an aquatint is a very similar process to creating an etching. A metal plate is covered in an acid-resistant wax, and the image is drawn onto tracing paper and reversed, this acts as the reference image for the etching. Using an etching needle the image is now engraved into the wax, revealing the plate underneath. The plate is then dipped into a copper sulphate solution and this bites, or etches, into the surface of the plate where it is not covered by wax. After the plate is sufficiently bitten, the plate is removed from the solution, and the wax is removed. Up to this point the process is identical to etching.

A complicated plate can therefore take several weeks to complete.

An etching is printed on an etching press which is similar to an oldfashioned mangle. Dampened paper is placed on top of the plate with felt blankets for protection. It is then passed between the rollers which exert tremendous pressure, effecting transfer of ink from the plate onto the paper.

There are various methods of coloured printing using one plate - if several are used careful registration is required, Glynn uses the method ‘a la poupee’, which utilises one plate. Small pieces of muslin are used to ink up various colours on the plate which can be merged to give subtle colour variation. Each inking enables the artist to print one copy only.

However, when creating an aquatint, an acid-resistant spray or ‘aquatint’ is then sprayed over the plate and the plate put back into the solution. The solution then bites between the dots of spray to create the characteristic watery tones of an aquatint. Darker areas of tone are then created by painting areas of the plate with varnish then re-etching the plate. This process is repeated to create a range of tones. When finished the plate is cleaned, inked up and printed on damp etching paper under the pressure of an etching press.

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Linocut & Woodcut

Chine-collé

With Mark Pearce (page 31)

With Liz Toole (page 37)

A wood or lino cut print uses a piece of material which has been cut away where the artist does not want it to receive the ink. For lino it tends to be hessian backed lino, similar to that used in flooring but thick enough to cut deep gouges into it. For woodblock printing it can be a number of different types of wood, each having their own properties.

This material is called the block.

Chine-collé is a special technique in printmaking, in which the image is transferred to a surface that is bonded to a heavier support in the printing process. One purpose is to allow the printmaker to print on a much more delicate surface, such as Japanese paper or linen, which pulls finer details off the plate. Another purpose is to provide a background colour behind the image that is different from the surrounding backing sheet.

Some printmakers use several blocks for each print, one for each colour or combination of colours. I prefer to work with the reduction technique, which only uses one block. It is cut and inked as in normal block printing, A sheet of paper is placed over the block, and it is run through a press.

Rather than cutting a new block for the next colour, I cut away more material from the first block. This is then inked and printed, and the process is repeated for the next layer of colour.

It requires careful planning at the sketching stage, where I must carefully think through all the colour combinations I want to create, and how I will build them up and combine them within the layers of ink. Unlike regular block printing, the block cannot be re-used following completion of an edition, as the process of creating each new layer destroys the last.

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Traditionally, the backing sheet would always perfectly match the area of the image it was being applied to. However more recently printmakers, myself included, use the contrasting paper colour for its own effect, and will allow the paper to overlap in a looser style, adding to the composition of the image.

I add Chine-collé to my linocuts. First the linocut is cut and inked as normal. The paper for the Chine-collé is precut to the shape I want. A permanent adhesive is applied to the reverse (I use a spray adhesive), and the paper is carefully placed in the desired position on the inked lino block. Finally, a sheet of paper is laid on top of the block and Chinecollé, before putting it all through the press.

Collagraph

Drypoint

With Hester Cox (page 15)

With Anna Tosney (page 37)

I specialise in collagraph, a lovely and diverse method of making prints with lots of texture. As well as removing material from a plate, like in other forms of printmaking, Collagraph also involves adding materials like a collage, this allows the printmaker to include a wide of range textures, and to incorporate found elements into the printmaking process.

Drypoint uses a sharp instrument to scratch a line into a plate which is then inked and printed using the intaglio method. Many artists like it for the similarity to drawing with a pen or pencil.

I sketch my compositions, sometimes using a mirror to see what the plates will look like printed and then I transfer my design to cardboard using tracing paper. I start by painting on textures using gesso, adhesives and pastes. Sometimes I use collage materials such as textured papers or dried and pressed plant material. I also use a lot of cutting.

When I’ve made my plate, I seal it with a shellac varnish. For multicoloured prints, I make base plates that I roll up with ink and print as blocks of colour and these will have the intaglio detail printed onto them. I rub ink all over the surface of the collagraph plate and then carefully wipe the excess off using scrim (tarlatan cloth) & tissue paper just leaving ink in the indentations of the plate. The more textured areas print as darker tones and smooth areas will wipe clean and print as a highlight. The collagraph plates are printed using an etching press, which applies lots of pressure pushing the damp paper into the recesses of the plate where it picks up the ink

To create a drypoint, a sharp steel tool is used to scratch directly into the surface of a printing plate (in my case plexiglass). This creates a line which is inscribed into the surface, and around its edges a burr is pushed up, like the furrow of a ploughed field.

The plate is inked up by rubbing thick printmaking ink into the lines. The surface is then wiped clean, leaving ink only in the scratched lines and the burr. I place the plate in an etching press, and then a piece of paper is dampened and laid over the plate. The paper and plate are rolled through the press, and the moisture in the paper helps transfer the ink onto the paper from deep in the marks on the plate.

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Monotype

Screenprint

With Rebecca Vincent (page 38)

With Gillian Murray (page 29)

Known as the most painterly method among the printmaking techniques, a monotype is essentially a hand-printed painting. The appeal of the monotype lies in its unique translucency that creates a quality of light very different from a painting. The spontaneity of mark-making and layering of printing inks creates a surface that is unlike any other art. I roll or dab oil-based inks onto a smooth plastic surface (such as acrylic sheet) with no permanent marks or indentations. The inks stay wet for a long time and can be manipulated in many different ways. I use cloths, cotton buds, sticks and pieces of card to lift ink away.

In screenprinting, a fine fabric mesh is stretched tightly over a frame.

To prepare the screen, the screen mesh is coated with a light sensitive emulsion. When dry, the screen is exposed to the artwork by using an ultra violet exposure unit. The artworks are either drawn or printed onto transparent acetate, which blocks the ultra violet light.

The ink is transferred onto damp cotton rag paper through an etching press. Some artists produce their monotypes all in one go but mine are built up in several layers working from light to dark. I create patterned areas by cutting and tearing textured papers and fabrics, applying ink and printing them. The large trees are created using a series of paper masks and stencils. The small trees are made by pressing with a hard pencil on the back of the paper with the print face down on an inky surface.

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A Monotype is different from a Monoprint as it is completely unique. A monoprint will use some kind of matrix such as an etching plate that is repeated in different variations. Each one is unique but there are some repeated elements.

The areas of the screen exposed to the ultra violet light harden, creating impermeable areas of the mesh. After the exposure the screen is washed with water, and the areas of the emulsion not exposed to the ultra violet light wash away to produce a durable stencil of the image for printing.

To print, the screen is attached to a printing press and acrylic (mixed with a paste to the desired opacity) is pushed through the mesh onto the paper using a squeegee blade. Each layer of colour is printed individually, with a new stencil or acetate created for each colour, taking care to register each new layer of ink on top of the previously printed colours.

Mezzotint With Rona McLean (page 26) The mezzotint was first developed in the 17th century and until the 20th century was used as a way of reproducing paintings for the mass market rather than as a technique in its own right. It is a very labour intensive process. The artist works on a copper plate which has been ‘rocked’ using a Mezzotint Rocker which is a chisel shaped tool with a curved, toothed blade. The teeth indent the plate and throw up burrs. To achieve a consistent texture the rocker has to move across the plate in all directions. This must be done in a methodical fashion otherwise the surface will not be uniform. Rocking the plate takes quite some time. A very large plate will take days to prepare. A small one, the size of the images I produce, might take 4 hours or more.

The rocked plate would print a deep, intense black. The mezzotint artist essentially works from dark to light. To achieve the tonal range that characterises the mezzotint the burr must be gently scraped and smoothed using a scraper and burnisher to create the image. These areas will hold varying degrees of ink depending on how much of the burr has been removed and burnished.

Mezzotint plates are rather fragile and the huge pressure exerted by the press means that the burr is eventually flattened and the image degenerates. My editions are therefore quite small.

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Bryan Angus

Jamie Barnes

www.bryanangusart.com

www.jamiebarnesart.co.uk

Bryan Angus considers himself to be a traditional picture maker with the strongest influences from the worlds of illustration and landscape painting. His work looks at the environment around him and the spaces we live in and the way they are affected by the dramatic light of the northern coast. The interplay of light and dark is essential. He believes the best of his work sees the poetic beauty of every-day life.

For Jamie Barnes all printmaking comes from his love of drawing, which he enjoys taking and transforming through the magic of the printmaking processes. Jamie’s interest in buildings stems from a childhood connection to architecture and drawing sparked by his Father who worked as an architectural draftsman and building inspector. He is not only interested in the lines, shapes and details of architecture and engineering but also in the human stories which are played out within buildings. In his work Jamie often leaves lights burning inside the houses he depicts, partly so we can imagine what is going on inside. The places he depicts are all based on real locations. He starts with a reference image or sketch which he then exaggerates, combines and abstracts in the final etching.

Bryan mostly uses two colour reduction lino printing. The first stage is to draw on to the block, usually transferred in reverse from a working drawing. After re-drawing the block to ensure all the areas of tone are defined the next stage is to start cutting. The first cutting stage defines where there will be no ink; Bryan then prints the full number of the edition in the blue or other medium tone colour. The second stage is to cut again at the block to reduce the surface area and create more detail.

The edition is then printed a second time with black ink, on top of the larger areas of blue. If you look closely you’ll see the variety of tones achieved by layering smaller cuts and dots.

The larger prints have also been hand burnished whereby the inked block has a sheet of paper laid down on it and the back is rubbed with a baren, or a wooden spoon. So you can truly say they are handmade.

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Jamie covers a metal plate in an acid-resistant wax and then engraves his image into the wax using an etching needle. He dips the plate into copper sulphate solution which bites into the exposed surface of the plate. He removes the plate from the solution and removes the ground.

He sprays an acid-resistant spray or ‘aquatint’ over the plate and puts it back into the solution which creates the characteristic watery tones of an aquatint. Darker areas of tone are created by painting areas of the plate with varnish then re-etching the plate. This process is repeated to create a range of tones.

Robert Battams

Kate Bentley

www.robertbattams.com

www.katebentley.co.uk

Robert Battams is interested by the ambiguous overlap of natural and constructed systems. His work explores the definition between where natural systems end and technological or constructed ones begin, such as the virtual network that creates the internet, and the physical infrastructure that support it. Robert’s work aims to stand as a discussion about the similarities of these natural and constructed systems, decay and growth, abstraction and representation and physical and virtual architecture. The artwork title ‘EN’ simply refers to the literal letters in the image. They were extracted from billboard adverts, collaged and layered By removing them from their context, they cease to have a direct message.

In the studio, Kate Bentley usually works from her imagination, often referring to sketches from outdoor expeditions. Studio pieces are often conceived by a series of random mark making. Subconscious underlying themes and memories of seasons, light conditions or smells often emerge. Outdoor expeditions and life drawing/studies act as resource training exercises to aid with this process

Robert has developed the process of collagraph printing into multiple plate prints that employ photographic layers, combined with block printing. The photographic plate uses a similar process to screen printing, where an image can be exposed into light sensitive emulsion.

The rough textures of the silk-screen mesh and the smooth textures of the emulsion hold different amounts of ink, which when passed through an etching press, create different tones. This allows the exposed image to be part of the collagraph print layer. Robert was selected twice for the Jerwood Drawing Prize and has twice been shortlisted for the Royal Academy Summer Show.

Kate has created mono prints on and off, to accompany her paintings, valuing the quality of line and tonal simplicity. Kate is fairly new to print making but has attended a few courses in the last two years. By printing on watercolour paper she can experiment with watercolours over the print techniques and have enjoys the results.

Kate exhibits regularly with the Lakes Artists Society, the Royal Birmingham Society of Artists and The Society of Women Artists London.

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Amelia Bowman

Ed Boxall

www.ameliabowman.co.uk

www.edboxall.co.uk

Amelia Bowman’s work combines two very different creative disciplines: collagraph printmaking and digital pattern design. A collagraph is essentially a collage made on a rigid surface such as thick card which is then varnished, inked up and rolled through a print press against dampened paper. The edges and surfaces of the collage form the lines and textures of the print, which is transferred onto the paper on its way through the press.

Ed Boxall’s illustration and print work is a rich mix of everyday life and the world of magic and myth: children play with toys under a unicorn’s tummy; lovers meet secretly inside a seashell.

Amelia finds that inspiration tends to seek her out rather than the other way around, be it in the scenery she represents in her collagraphs or the colours and shapes she puts together in her pattern design. The coast is the biggest draw for her scenery-wise, and plants and flowers provide the biggest inspiration for her patterns. Amelia’s line style has always been bold and simple because she wants to represent only the most important details. Colour is the greatest inspiration of all though Amelia’s trademark is to add it in carefully considered patches rather than throughout.

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Extra colour can be added to the printmaking process by way of a technique called ‘Chine-collé’ which involves the lamination of extra papers to the print as it goes through the press. Based in Norwich, Amelia is a regular exhibitor at Norwich Print Fair.

Ed’s self-published books explore this world including ‘Dolphins Keep Me Safe in Dreams’ and ‘High in The Old Oak Tree’. A quick glance at his work will reveal that he loves the romantic, poetic and magical side of life. Ed performs his own stories, poems and songs widely in schools, galleries and art centres. He appreciates very well the importance of promoting books in this way and it’s a side of the work he loves.

Ed’s prints are all handmade linocuts. The blocks are often embellished with techniques such as using engraving tools and grab adhesive to create texture. He often makes multi block prints and hand colours. He also makes mixed media drawings, which he colours digitally.

Ed’s work is mostly exhibited on an ongoing basis at galleries such as Rostra in Bath, Rye Art Gallery, The Blue Tree Gallery in York and Cambridge Contemporary Craft.

Stuart Brocklehurst

Chila Burman

www.stuartbrocklehurstprints.wordpress.com

www.chila-kumari-burman.co.uk

Stuart Brocklehurst is a printmaker from the Calder Valley in the West Riding of Yorkshire and he takes his inspiration from the landscape and wildlife of the natural environment.

Since the mid-1980s Chila Burman has been exploring the experiences and aesthetics of Asian femininity in paintings, installations, photography, printmaking, video and film.

Stuart regards printmaking as a marvellous alchemy of craftsmanship skills and art. He takes pleasure in working in a traditional way with tools and methods that are essentially little changed over the centuries.

For Stuart making a print has the appeal of a puzzle, for all the planning and working out that is done beforehand, there is no certainty about the outcome of the finished image, until finally it is revealed as the paper is pulled from the block.

Chila’s current art practice is a progressive culmination of over twenty years of experimental work in a wide range of media including photography, photomontage, graphics, plastic arts, video, sound, installation and performance. Much of her work emerges from a tradition of graphic political satire, generated from an adversarial position within the gender and identity politics of a post-colonial, class oriented, and visually saturated contemporary Britain. By dwelling on the poetics of visual composition and arrangement - dealing with the complexities of framing, layering and assemblage - an alternative and distinctive formal relationship has emerged in her work.

Linocut and Mezzotint form the mainstay of Stuart’s work, each being equally as important to his artistic practice but allowing different interpretations of a subject. Using flat and blended rolls of ink his linocuts are an exploration of colour and pattern. With mezzotint, he can work in a more personal, expressive way to capture the mood and atmosphere of the subject.

Stuart has exhibited at Doncaster Art Gallery, the Brewery Arts Centre Kendal, the Biscuit Factory Newcastle and Oriel Mostyn Llandudno.

Chila has most recently finished working on a Tuk Tuk (Auto Rickshaw) that the London Science Museum will be showcasing until March 2018.

In 2014 she had a series named “Riot Series” in the Tate Collection and in the early 2000s Chila did many Group and Solo shows including Valentine Crush in 2007, Candy Pop & Juicy Lucy in 2006 and Wellcome Trust Opening Show 2007.

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James Bywood

Claire Cameron-Smith

www.jamesbywood.co.uk

www.cameronsmithdesigns.co.uk

James Bywood says he finds the outdoors inflames his imagination, and brings everything in his life and work into perspective. To him the sheer enjoyment of exploration and finding new and wonderful places makes his work what it is.

Claire Cameron-Smith’s interest in Japan was ignited over 20 years ago, leading to a fascination with Japanese woodblock prints. Today, her own techniques and styles are still heavily influenced by the Japanese woodblock tradition, although her methods also now include a wider variety of printmaking processes and materials.

When creating his prints James tries to look at the scene as a whole, but often gets distracted by the detail. He works by letting a place get under his skin, and then letting his memories and emotions guide him to create the final image. He starts with a sketchbook of ideas, from which he then collates imagery, marks and colours together, and creates a composition he wants to take forward. The results of his thinking and experimentation are his own recreation of a place.

James’s prints are predominately created by the medium of screenprinting. The process of screen-printing involves developing a layered image which can then be translated into a number of stencils. Each stencil is placed on a screen and then printed onto paper light to dark.

James hand prints each prints in an edition, they are then signed, dated and monogrammed.

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James was recently commissioned by Tebay Services Hotel to produce seven unique images of the Tebay area to be hung in newly refurbished rooms.

Claire often uses photos she’s taken as the starting point for her prints, and many of her designs show a direct link to her surroundings in coastal Dumfries and Galloway, with prints featuring Belted Galloway cattle, windswept hawthorn trees, or local landmarks such as the lighthouses of Southerness or the Mull of Galloway.

Sharp knives, chisels and gouges are used to carve the design into the block – which is preferably cherry wood (hard enough to give sharp definition, while its close grain and surface qualities enable areas of smooth flat colour). Pure pigments with rice paste are traditionally used for Japanese woodblock and once a block has been inked, and the paper laid onto it, a baren is used to apply pressure until all the ink has been transferred. This process is repeated for each impression of every print – no mechanical press is used, it’s all down to hand pressure. A multicolour design will need several blocks to be carved depending on the complexity of the print.

Sarah Cemmick

Hester Cox

www.scemmick.wix.com/sarahcemmick

www.hestercox.com

Sarah Cemmick’s prints are influenced by wildlife, be it fluffy, furry or feathered, she has continued to explore a variety of themes from the hare, a particular favourite, to a new collection of pedigree dogs.

Hester Cox’s printmaking is informed by her surroundings and she seeks out evidence of the natural world that is particular to that environment.

As a fellrunner, Hester’s excursions often take her to wilder less visited locations in all weathers. There she might catch a glimpse of some of the more elusive birds and animals that inhabit these environments. It is these chance encounters that she finds most exciting and that will often be translated into print.

Sarah’s process begins with lots of drawings to create the design which is then transferred to the block. Lino gives strong lines meaning the designs can be bold. Using deep colours for images, she prints many of them onto Japanese tissue which has gold and silver foil flecks woven into the paper.

Using traditional techniques, Sarah carves her designs from each lino block, oil based ink is applied with a roller to the surface, paper placed on top, then run through a press under great pressure creating the final artwork. Some pieces are then tinted with watercolour to give added texture, or two or more blocks are cut so layers of different colours can be applied.

Sarah studied environmental illustration at Sunderland University which started a love affair with Lino. Once graduated, with the help of the Prince’s Trust start up fund, she began printmaking full time. Shortly after in 1998, she was awarded the Lloyd’s private banking award for her print ‘Rhino Lino’

Hester specialises in collagraph, she sketches her compositions and transfers her designs to cardboard using tracing paper. She then paints on textures using gesso, adhesives, pastes and other collage materials before sealing the finished plate with shellac varnish. For multi-coloured prints, she makes base plates that she rolls up with ink and prints as blocks of colour; these will have the intaglio detail printed onto them.

Hester rubs ink all over the surface of the collagraph plate and then carefully wipes the excess off just leaving ink in the indentations of the plate. The more textured areas print as darker tones and smooth areas will wipe clean and print as a highlight.

Hester exhibits her prints across the UK, in Sweden and the USA. She is a member of Ålgården Studios in Sweden, Leeds Fine Artists, Printmakers Circle, Printmaking Online, Northern Print & Craven Arts.

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Jane Daniell

Jill Davis

www.janedaniell.info

www.jilldavisart.co.uk

Jane Daniell invites us to escape reality by creating dream like worlds where children interact with fantastic creatures. With her use of colour she attempts to create a world with an original atmosphere. Her images can act as an introduction to real art for children, as well as an encouragement to adults to follow their imagination.

Most of Jill Davis’s early prints developed from sketches of her native West Cumbria. She likes to focus on the isolated farms and houses, narrow twisting roads, stone walls and bridges. All of these man made elements are set against the constant and familiar backdrop of the fells.

This year, attracted by the Georgian architecture of Whitehaven, her local town, Jill developed a set of prints which tried to capture its faded elegance. She also likes to be challenged to work on a common theme for group exhibitions. Last Christmas she produced prints to accompany a production of “The Emperor and the Nightingale” at The Theatre by the Lake.

Jane creates her work by aquatint etching. She starts with a zinc plate which is polished and then she applies a wax ground. When hard, she draws her image into the ground and places it in acid, which etches the line. The ground is removed and she then applies the aquatint which is a powdered resin. This is melted, and she then begins the task which will achieve the tones. By blocking out the areas she wishes to remain light and dipping in acid, she progresses in stages to the darkest areas, dipping in acid at every stage, maybe up to 6 times. When she removes the aquatint and block-out fluid she has her complete plate, to which she applies colour and prints. One image requires one application of colour.

Jane evolves her ideas for months ahead of the creation of each image.

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During this year Jane has exhibited at The Gallery@Oxo, Hampstead Affordable Art Fair, North and South Gallery Highgate, Latest Edition Linden, Hal Studio Kent and at Hampstead School of Art. Jane is a member of Printmakers Council and Chair of Southbank Printmakers.

Jill works mostly using relief techniques; she uses both wood and lino to make her blocks. Depending on what effect she is trying to achieve and the number of colours she wants to use, she utilises both multi block and reduction methods. In the Whitehaven series, she jig-sawed her block and then inked and printed the separate pieces one after another.

Jill has enjoyed two solo exhibitions at Artemis Cockermouth, and group exhibitions with Cumbria Printmakers.

Kerry Day

Susan Dobson

www.kerryday.co.uk

www.susandobson.co.uk Susan Dobson is a painter and printmaker who lives and works in Northumberland. She is also an experienced mountaineer and climber and her work celebrates the mountain environment. Her drawings and watercolours are meditations on the form and structure of mountain landscapes. Susan’s images reflect her strong affinity with remote and wild places and she aims to transport you to a mountain world of ephemeral, changing qualities - of rock, snow, ice, mists, high peaks and far horizons.

Originally from London, Kerry Day trained as a ceramicist at Bath Spa University and now lives and works in Bristol.

Her current body of work is about the plants that she shares her home and studio with as she is drawn to their structural shapes and contours.

The wide range of leaf colour and pattern in these cacti, succulents and leafy plants allow her to develop layers of texture and tone within the forms.

Kerry uses a mixture of reduction lino print and mono print, using the rollers like paint brushes, to produce variable edition prints.

In 2016 Kerry was an exhibitor and demonstrator at Art in Action, Waterperry Gardens, Oxford and is a regular exhibitor at other art and prints fairs.

To create monotypes Susan covers a polycarbonate plate with oil-based ink then draws into it. She wipes away areas of ink using white spirit, brushes and cloth to create textures or effects before passing the plate through the press with dampened paper.

Susan also combines the monotype process with dry point. She draws into a thin sheet of plastic with an etching needle to make the dry point plate and inks and wipes it in the same way as an etching, to leave ink only in the grooves. She then covers the plate with ink and wipes it in the same way as a monotype before passing it through the press as before. The incised image is the same but colour and atmospheric effects are unique with each print.

Susan is a member of Northern Print open access printmaking studio and also exhibits regularly.

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Janice Earley

Katie Edwards

www.janice-earley.co.uk

www.ktedwards.co.uk

Janice Earley’s work relates to her environment, places, animals or birds.

Her keen love of wildlife and birdlife is very much reflected in her images.

For Janice, when planning a design, nothing can replace or is more important than first hand drawing from observation. She likes to gather as many resources as she can such as found objects, photographs and quick sketches. She tries to keep her initial drawing to a minimum and prefers to have a ‘feel’ for what she is trying to create whilst allowing the colour and pattern to develop as she works.

Katie Edwards’ screen printed illustrations reflect her enjoyment for the natural world, often evoking thoughtfulness and humour. She mixes this appreciation for the natural world with familiar cityscapes, creating a beautiful contrast.

Janice’s principal interest is in lino printing. She develops her work largely using the technique of reduction whereby only one piece of lino is used. She largely works in oil based inks on specialist printing paper.

Sometimes she prints only in black and white; other times she may use up to 8 colours. A multi coloured print can take up to 4 weeks to produce allowing for drying time.

This year Janice has exhibited at The Courtyard Gallery, Appleby and at the Upfront Open Exhibition. Janice exhibits in a number of major galleries in the U.K. including the Biscuit Factory at Newcastle and also in the Channel Islands. Her work has been reproduced in the printmaking books: ‘The Little Chickens Book’ and ‘The Elegant Fowl Book’.

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The original silkscreen prints are created from Katie’s most popular designs and developed as a limited print run, each one being a unique piece of art. Katie creates a hand-crafted, textured aesthetic with her use of traditional photographic and silkscreen printing techniques.

Katie manipulates photographs, most of which have been shot by herself, to create her artwork. The photographs are then printed on to acetate, which produces a high contrast image. This artwork is then used to create a silkscreen using photographic emulsion. Each colour in the finished print requires a separate silk screen and is printed separately.

Katie often combines her screen prints with hand painted layers to create extra texture.

Among others Katie exhibits with the Affordable Art Fair Battersea London and Printfest, Ulverston. This year Katie has won the Founders Award at Printfest 2017 and the Lawrence Arts Printmaking Prize at Brighton Print fair 2017.

Mila Furstova

Pamela Grace

www.furstova.com

www.pamelagrace.co.uk

Mila Furstova is renowned for both an imagination and technical brilliance, evidenced by such achievements as winning a place at London’s Royal College, funding her place by pre-selling works via a self-generated press campaign.

Pamela Grace’s work is based on drawing and celebrates the countryside across the seasons. She enjoys working outdoors where possible, often taking sketches home to work on them further, before returning to the site. Through walking, Pamela observes and explores the remarkable detail, colour and texture in small landscapes and corners of gardens that might easily be overlooked.

Mila has won 14 prestigious awards, including being the youngest ever elected Academician at the Royal West of Academy in Bristol. She has had 20 solo exhibitions including representing her country at Czech Embassies in New York, Paris and Washington D.C, attended by such dignitaries as Vaclav Havel and the President of the Czech Republic.

Mila’s works are in collections including Her Majesty Queen Elizabeth and the Victoria and Albert Museum.

Mila is perhaps best known as the album artist for Coldplay’s Worldwide No.1 album Ghost Stories, where her now album cover was seen by close to a billion people. Mila’s Ghost Stories exhibition was attended by the band and raised over a hundred thousand pounds for a children’s charity.

Pamela is a member of Edinburgh Printmakers and Gracefield Print Studio in Dumfries. Her printmaking includes solar-plate etching, which is an extension of her drawing, working from initial larger scale drawings in pen and sometimes adding hand-painted elements to the prints.

Plate lithography is another method Pamela uses, deploying colour in quite a different way, with the challenge of layering plate upon plate to construct a complete image. When printmaking and painting Pamela finds she responds to similar subjects in very different ways but her focus on representing the landscape remains.

Previous exhibitions include many group shows in England and Scotland and in 2012, Pamela had a solo exhibition at the Royal Botanic Gardens, Edinburgh.

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Ruth Green

Lucie Green

www.ruthgreendesign.com

www.lucie-green.co.uk

The qualities of screen printing have shaped Ruth Green’s work considerably. She consciously limits the number of colours she uses, and tries to make the negative space mean as much as the printed area.

Mid-century design has been a big influence, as has folk art and both of these genres have similar sensibilities in the economy of line and colour.

For Lucie Green a painterly approach to printmaking has always been central to her work. She takes her subject matter from her extensive travel experiences in Asia as well as the more immediate natural environment.

Ruth starts work with a pencil sketch and works to the same scale as the finished work. Once she is happy with the composition, she starts to draw the top layer of the print in detail; this can take up to a week to finish for larger work. The detail drawing is made onto Polydraw film, which is semi-transparent. This has a double purpose, as it will become the stencil for the silk-screen, and will also allow her to work on the colour separations, deciding how the colours will fit together and add to the detail layer. Once all of the layers are drawn out onto film, Ruth exposes a screen for each layer and prints. She usually has 2 or 3 layers, but some pieces have up to 10 separate screens. She prints onto Fabriano watercolour paper, which has a smooth ‘hot pressed’ surface, and mixes acrylic with print medium to create her inks.

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Ruth has recently taken part in art trails around the city of Birmingham where she lives. She also illustrates and writes children’s books for the Tate.

Lucie’s approach is exploratory. The printmaking process provides a highly expressive medium through which she gains a close understanding and feel for her subject. Colour and mood are central elements in her work which is underpinned by clear and simple forms. Her major influences, past and present have been the German expressionists and the Chinese woodcutting traditions.

Lucie uses mostly wood and lino as her matrix for her relief prints. Each stage of the work - drawing, cutting and printing gives scope for creating something unique. Sometimes she reduces the block as she prints each colour, other times she cuts a separate block for each colour, often though she mixes both the ‘reduction’ and ‘multi block’ methods on one print.

Lucie exhibits in shows and galleries mainly in London including Black Rock Affordable Art Fair, Southbank Printmakers and Gallery@Oxo.

Phil Greenwood

Tom Harforth

www.philgreenwood.info

www.tomharforth.com

Based in Kent, Phil Greenwood is a landscape artist and works mainly on copper plates. His images do not always relate to a specific place, he develops and works with an amalgamation of ideas recalled. The atmosphere exemplified by the landscape is the important factor. His work is extremely economical in that he usually uses only two plates and two or three colours to achieve a great range of tone and colour by the depth of the etch and by overprinting and fusing one colour with another.

Tom Harforth is an artist printmaker who predominantly works with screen printing and collage. Through his work he focuses on the fragile, weathered and ageing characteristics of abandoned structures, natural forms and surfaces. Tom’s series, Structure of Decay, revolves around urban industrial decay in the northern cities Salford and Sheffield. He is intrigued by the fragility of the textures, as well as the presence of the former-functional forms and the remaining colours of industry coupled with the manmade structures being softened by natural weed and detritus and layers of the past.

Phil has been a professional artist/printmaker since 1971 and is a regular exhibitor at the Royal Academy and the Bankside Gallery. His work is also in many private and public collections, including the Tate Gallery, Arts Council, British Council and the Greenwich Museum.

With his practice Tom aims to push the traditional forms of printmaking and tries to test new approaches, whilst trying to keep the manual and analogue essence of printmaking. Tom starts with photography and then once printed he works back into the prints before they are dry by dabbing away ink, to give a faded washed out appearance. He has also produced a number of prints incorporating dust collected at the site of the buildings, this aims to create a physical link back to the building, highlighting the idea that the building has had a number of different roles in its life.

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Brenda Hartill

Andrew Haslen

www.brendahartill.com

www.andrewhaslen.com

Brenda’s Hartill’s work consists of collagraph, etching, watercolour, collage and hot wax. It is experimental, abstract and embossed. Her main love is abstracting the essence of the landscape in richly coloured textured works, often enhanced with silver and gold leaf. Recent works include a series of watercolour paintings with collagraph embossings and she has also produced a series of mixed-media hot wax paintings.

Her on-going fascination with erosion, weather patterns, natural textures and universal organic forms, lead to her current images.

Totally self-taught, Andrew Haslan is inspired by the landscape and wildlife that surrounds his home. A lifelong interest in nature allows him to have the required knowledge of his subject. He has been strongly motivated by the work of 20th Century wildlife artists such as R B Talbot Kelly and Eric Ennion.

Brenda’s early experience as a theatrical designer has led to a sculptural approach to printmaking, and she has developed a method of inking using the different levels of the plate. She mixes primary colours on the plate, thus producing a shimmer of colour, much as lighting a stage set.

Her work develops though the materials she uses.

Brenda has exhibited in a large number of solo shows including 11 at Curwen & New Academy Galleries, Windmill Street, London between 1991 and 2013.

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The Hare plays a big role in Andrew’s work, and having first hand experience, hand raising three orphaned Hares, he knows the creature well and continues to be fascinated by them.

Other subjects particularly attractive to Andrew are birds, especially the more colourful, such as woodpeckers and the kingfisher. Most of his current works are linocut and watercolour. He starts by planning the composition in pencil and then transferring the drawing onto lino.

He then cuts the lino leaving only the drawn line which is printed black.

Then each picture is hand-coloured with watercolour.

Andrew was elected member of the Society of Wildlife Artists in 1988 and exhibits at their annual exhibition at Mall Galleries.

Lisa Hooper

David Jones

www.hoopoeprints.co.uk

www.davidjonesartist.co.uk

Lisa Hooper’s work consists of two strands: natural history and places.

Birds provide much of her inspiration, she is interested in the pattern and form of birds, particularly groups of birds and also in capturing the essence of the species and so the starting point for a piece of work is usually a day’s birdwatching.

In his prints David Jones tries to make everyday things objects of interest.

Much of his work is of buildings where he always tries to introduce modern elements in order to place them in their contemporary setting.

David’s prints have a separate plate for each colour; there can be as many as five for each print. Mostly David uses lino but occasionally he will use wooden plates as the wood lends its texture to the print. His reason for doing this kind of relief print is that he can use vivid colour which he always endeavours to do both in printmaking and painting.

Observation in the field is crucial to her and most of her images are derived from travels throughout Scotland. Lisa also enjoys the rural and coastal built environment of Scotland and many of her prints are affectionate portrayals of village architecture, back yards, lobster pots and washing lines. Much of her work is humorous but, she hopes, never sentimental. She designs her prints from a variety of her own photographs, carefully abstracting and re-composing the images.

David Jones attended the Berkshire College of Art and Camberwell School of Art in London. For many years he worked in museums in the social history field. He now exhibits regularly and has taken part in Norwich Print Fair Annually since 2006.

Lisa works in a wide variety of print media including multiplate printing, reduction printing, mixed media printing and printing in black with hand colouring. Multiplate lino printing is made by cutting a separate plate for each colour, and then printing them in sequence. The process demands very accurate registration and careful colour sequencing. Lisa’s mixed media prints utilize a variety of different plate surfaces including lino, wood, card and foam sheets to print a registered, multi plate image.

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Sabrina Kaïci

Anita Klein

www.sabrinakaici.com

www.anitaklein.com

Sabrina Kaïci’s work scales the macro to the micro, where a single dot can represent the largest planet in our solar system, as well as the tiniest dew drop on a butterfly’s wing. Nature is her main inspiration, and she has a particular interest for the very big and very small and how they are connected.

Anita Klein’s work celebrates the small domestic moments we all share.

She says that these everyday events are what she would miss most “if it all was taken away”. Anita feels that while family photo albums record our lives as one long round of birthdays and holidays, the very moments we should most value are almost always ignored and forgotten. Her prints are often used as sketches for large oil and acrylic paintings which are exhibited regularly in London and elsewhere by Eames Fine Art and Advanced Graphics London.

Sabrina views pointillism as a way of linking everything together like the small atoms that make our universe. She draws everything by hand first and then uses screen printing and foil blocking processes to create open or limited editions of her artworks.

As well as selling art work in London, Glasgow and Paris in various art galleries, Sabrina has exhibited as part of the Shape Arts exhibitions in London.

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The prints exhibited are hand-printed linocuts in 9 -11 colours. Each colour is cut from a separate piece of lino and the ink is oil-based so needs a week to dry before the next colour is printed on top.

Anita studied at Chelsea and the Slade schools of art. She works in London and Anghiari, Italy and has exhibited her prints and paintings extensively in the UK, Europe, the USA and Australia.

Lydia Leith

Suzie MacKenzie

www.lydialeith.com

www.mackenziefineart.co.uk

Colour, nostalgia and childhood inspire Lydia Leith’s work, sometimes with an element of humour or a comment about current and topical happenings. As well as print making she also creates artwork from other materials such as plastic and ceramic. Lydia first came into contact with printmaking in 2005 when she attended the Cumbria Institute of the Arts, her printing method of choice is screen printing.

The predominant theme of Suzie MacKenzie’s work is the landscape of the far north-eastern Scottish Highlands, where she lives. Each of her images attempts to capture a fleeting moment of personal significance and yet at the same time to connect profoundly with the viewer - hoping to stir a memory or feeling directly. Her current mode of working is collagraph printmaking, which she feels with all its atmospheric possibilities is the most appropriate medium for conveying the beauty and mystery of the moments and places she experiences.

Lydia has exhibited with Jealous Gallery, Eden Arts, and the Museum of London.

Suzie’s printmaking plates are pieces of discarded mount board left over from framing; she cuts into them with a scalpel so that she can peel off areas of the surface, and add textures, usually either in the form of glued, cut and torn papers, or artists’ mediums. When the plate is complete it is sealed and left to dry. It can then be printed from in the same way as an etching plate using a high-pressure roller press. Suzie also uses the technique of ‘Chine-collé’ in an endeavour to convey something of the lyrical and enigmatic qualities of the far northern landscape. This is a traditional printmaking method from the Far East which incorporates lightweight coloured papers during the printing process as a method of adding colour to an image.

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Rona MacLean

Clare Melinsky

www.ronamaclean.co.uk

www.claremelinsky.co.uk

Rona MacLean’s subject matter is varied, but tends to feature elements of the natural world in all its forms. She has a particular love of trees and finds that their silhouettes, particularly in winter, are very compelling.

Her recent mezzotints have been of ghostly birches. The contrast of dark and light lends itself to the rich, velvety black that can only really be achieved in mezzotint.

Clare works as an illustrator using lino cut prints. Most of her work is commissioned by a client such as a publisher or a designer, so the subject matter is quite varied and wide ranging. She enjoys the research and finds the constant stream of new demands stimulating and refreshing.

She hand draws the work for her screenprints and each print is made up of a number of layers often including text. She mainly produces screen prints, etchings and mezzotints.

Creating a mezzotint is a labour intensive process. The artist works on a copper plate which has been ‘rocked’ using a Mezzotint Rocker which is a chisel shaped tool with a curved, toothed blade. The teeth indent the plate and throw up burrs. Rocking the plate takes quite some time. A very large plate will take days to prepare. To achieve the tonal range the texture must be gently scraped and smoothed to create the image. The smoother spots will not hold as much ink, and print in varying shades of grey, depending on how much texture is removed.

Rona is based in Edinburgh and the Spey valley and has been a member of Edinburgh Printmakers for more than a decade.

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Clare lives a very rural life in south west Scotland: many of her own designs relate to plants and the countryside. She teaches short courses in lino cut print making for adults at Higham Hall in the Lake District.

Lino cut is a form of relief printing. An image is drawn onto a piece of linoleum. The unwanted parts of the image are cut away and the surface that remains is rolled up with printing ink. Paper pressed onto the ink picks up the image.

Sometimes two separate lino blocks are used to create one image using two different colours. Where two colours overlap, a third colour is created. One piece of linoleum can have more than one colour rolled or dabbed on; so many colour variations are possible.

Major commissions include book covers for the 2010 edition of all seven “Harry Potter” books and postage stamps for Royal Mail 1997, 1999 and 2006.

Julian Milner

Angie Mitchell www.angiemitchell.co.uk

The subjects of Julian Milner’s work tend to be natural forms, from landscapes to sycamore seeds, but the motivation for it is his ongoing exploration of the medium itself. Although he finds stone lithography to be messy, time-consuming, unpredictable, awkward and frustrating, he also finds it uniquely expressive in that every mark and stroke can be translated into print if he gets it right, and so he perseveres.

Lithography means making pictures on stone. Julian draws his images onto antique slabs of limestone from a quarry in Bavaria. First he has to grind the surface of the stone smooth and flat using grit and water.

Next he draws and paints onto the surface using crayons and ‘tusche’ that contain grease. He then adds a few drops of acid to gum arabic solution and works this into the surface of the stone. The acid binds the grease and the lime together a bit like the way that soap is made. He then washes away his drawing with turpentine, and hopes that the image has remained on the surface of the stone itself.

To make a print he wets the stone with water and rolls it with ink. The ink should only stick to the parts of the stone that have been altered by the drawing materials and acid. He puts a piece of paper on top and rolls it through the press.

Angie Mitchell is a multimedia artist living in South Lakes. She has a passion for pattern and colour and is inspired by the natural world, its flora and fauna and the ever changing landscape of the wonderful area in which she lives.

In her printmaking Angie uses various techniques of relief, mono-print and Chine-collé to make each print different and unique. She is interested in using combined techniques such as dry point, collagraph and relief.

Although each piece is an individual, Angie sometimes will make a series of pieces on the same theme, or return to an idea interpreting it differently. Using Marley floor tiles, the thinness of the tile enables Angie to use the cut out area as texture and surface decoration. She then uses different consistency of inks to allow layering colours in a single print.

Angie has a small print studio in Kendal by the River Kent and teaches printmaking at the Brewery Arts Centre.

Angie is a member of both of Green Door Studio’s and a member of the Lake Artists Society and exhibits regularly at Printfest in Ulverston.

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Sarah Morgan

Sylvia Moritz

www.sarahmorganartwork.com

www.sylviamoritz.com

In the last couple of years Sarah Morgan completed a couple of small printmaking courses and has since fallen in love with the process. She loves exploring the possibilities that printmaking has to offer, and feels this is only the beginning of a new passion.

Sylvia Moritz describes her work as ‘urban planets’ that are entirely overgrown with habitats. Spherically designed, the 360 degree stereographic panoramas can be displayed any way up. Sylvia is inspired by the fact that as our population grows so too do our urbanised areas, in often unpredictable and chaotic ways.

Sarah works mainly with collagraph prints, enjoying the texture and atmosphere that this printmaking technique affords. Her prints are often inspired by memories, thoughts of adventures and things that catch her eye and imagination.

Each of Sarah’s collagraph plates is made up of mount board, tape, glue and sometimes carborundum (a fine sand) She scratches and cuts away pieces of the mount board until she has the image she wants. She mixes up ink for each printing session then inks up each plate by hand. The ink is then wiped back so it only remains where it is wanted and in the scratched lines and the cut away board. Sarah then adds colour by a technique known as “a la poupee” or sometimes uses gouache paint to add a different feel which is applied after then print is dry. The plate is then put onto a printing press and pulled through with dampened paper on top. The whole inking up process has to be repeated for each print thereafter which is why prints can vary a little in colour making each print unique and original which Sarah feels is all part of their charm.

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The optical epicentre of each piece works as a city centre, with a deepening perspective of complex layers and levels. By transitioning from macro to micro Sylvia aims to create an involving experience, whilst incorporating the detailed materials and textures of metropolitan areas. Box by box, brick by brick, girder by girder, the fantasy of a totally industrial earth becomes ever more real.

Sylvia’s prints are created using the process of etching; which she makes by engraving fine line drawings into a wax-coated metal plate. This is then acid-etched, inked and rolled through a press with dampened paper to make editions.

Sylvia is based in Vienna Austria, and exhibits regularly with Affordable Art Fair in Battersea and Hampstead as well as with other art fairs in London.

Gillian Murray

Jane Ormes

www.gillianmurray.com

www.janeormes.co.uk

Over the years Gillian Murray has been making small trips mainly around Scotland, sketching and taking photos of the landscape and flora. From this she creates prints and watercolours inspired by the dramatic and beautiful views she has encountered.

Jane Ormes’ screen prints reflect her take on the world, she produces playful, colourful images, often involving animals in absurd situations.

She reflects her humour in her prints and likes to think that these creatures all have a secret life that we know nothing about. Jane keeps a notebook to jot down unusual names or lyrical phrases as these can often lead to an idea but it’s more likely that she will be inspired by a story or situation that tickles her.

Gillian is fascinated by landscape from the textures and colours to its form and composition. Whether it is an invigorating blustery day or one of utter stillness and astounding light, Gillian wants to capture the moment and the serenity she felt there and take it home with her.

In screen printing, a fine fabric mesh is stretched tightly over a frame.

To prepare the screen, the screen mesh is coated with a light sensitive emulsion. When dry, the screen is exposed to the artwork (which has been drawn or transferred onto acetate) by using an ultra violet exposure unit to produce a durable stencil of the image for printing.

To print, the screen is attached to a printing press and acrylic (mixed with a paste to the desired opacity) is pushed through the mesh onto the paper using a squeegee blade. Each layer of colour is printed individually, with a new stencil or acetate created for each colour.

Gillian exhibits mainly in Edinburgh and is a member of Edinburgh print makers and the Society of Scottish Artists.

Jane starts her design process by arranging paper stencils and cut outs until she is happy with the composition. Drawing, pattern and texture are all integral to her work and reflect her design background. She uses scissors and a scalpel as often as she uses pencils for drawing and also mixes handmade marks with digital elements. Jane incorporates large areas of flat bold colour which can be achieved by the screen printing process.

Jane has been working on 6 children’s books this year, all to be published next year. She has exhibited at both Bristol and Battersea Affordable Art Fairs every year since 2008.

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Rolf Parker

Hilary Paynter

www.skylarkstudio.co.uk

www.hilarypaynter.com

Rolf Parker attempts to create relatively small compositions which crystallise the important and interesting elements of a landscape subject, while always very conscious of the effects of light on the subject.

Hilary Paynter’s prints cover a wide range of subject matter including animals, landscapes and socio-political commentary. She finds she has more ideas than she can use. She generally has several blocks in progress at any time and moves between them. She also enjoys the occasional constraints of working to a commission. She has developed rapid engraving techniques to fit alongside her other commitments.

In his etchings Rolf mainly uses the technique of aquatint, which is a method of creating fine grained areas of tone, invented to imitate the look of a watercolour painting. He sprinkles finely powdered aquatint resin onto a blank polished zinc plate which is adhered by warming from underneath with a flame. He then paints acid resistant varnish onto the plate to preserve the areas which he wants to stay white in the final print and begins etching the plate by placing, for precise durations, in a bath of diluted nitric acid. Areas etched for just a few seconds will produce a pale grey tone, and areas etched through to about thirty minutes will produce dense blacks. Rolf usually inks up his plates with two colours, carefully mixes them and places onto the plate to add dimension for the effects of light and shade. This tends to result in no two prints being the same, making all copies in the edition unique.

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Rolf exhibited etchings for several years running at the Lake Artists Society summer exhibition Grasmere and has been in several exhibitions with Cumbria Printmakers. His work is always on display at Skylark Studio gallery, Cockermouth.

Hilary normally works directly onto end-grain wood with rudimentary drawings from ideas that she has been refining mentally, this allows the engraving on the block to development. Wood engraving is characterised by its fine line and texture. Cutting directly into the polished surface of end-grain wood with special tools, such as spitstickers and scorpers, creates a finer line than any pen or pencil could achieve. The print is made by rolling ink onto the engraved surface of the block. The parts that have been engraved do not receive ink and will therefore appear white. Paper is placed on the inked surface and the ink is transferred to the paper by press or hand-burnishing.

Hilary Paynter is a Past President of the Royal Society of PainterPrint makers. Solo exhibitions include Bankside Gallery, and “Breaking Boundaries� Framers Gallery, London.

Mark Pearce

Ian Phillips

www.markapearce.co.uk

www.reliefprint.co.uk

Mark Pearce makes pictures to share the excitement of a light effect, a composition or a colour combination. He particularly enjoys the discipline of multicolour printing; he says it forces him to think precisely about the nature of what he sees and how to put it across. In Ravenglass where he is based, the mountains almost reach the shore, and the three rivers meet to form a perfect estuary, so there is a large variety of landscape from which Mark draws his inspiration.

Ian Phillips is based in Wales and has been creating hand printed reduction Linocuts for over twenty years. He specialises in consecutive series of prints taken from drawings done while walking long distance footpaths or exploring particular areas of scenic beauty. A chance encounter with a small book of ‘Hiroshiges 53 stages of the Tokiado woodcuts’ seduced him into the world of relief print from which he never escaped. He taught himself linocut reduction printmaking while working as a freelance Illustrator in London.

Mark starts by drawing a sketch, carefully planning the layers as a series of colours overlapping each other, starting with the palest. He then uses the technique of reduction lino cut to build up his print whilst simultaneously destroying the block used to make it. The blocks may have ink removed by rubbing with rags or paper, and graduations of colour may be created using very large rollers. This opportunity for variation means that each print is slightly different and is a unique piece of artwork in its own right.

Mark Pearce worked in London as a graphic designer, where he won the BBC design award for his memorable Royal Mail Greeting Stamps in the 1980’s. He has most recently shown work with Lake Artists Society Summer Exhibitions Grasmere and Printfest in Ulverston.

Linocut reduction is a technique whereby an image is built up in layers by carving and printing from the same sheet of lino, using increasingly darker colours with decreasing surface area. A sheet of lino has a design drawn onto its surface which is then cut to remove the white sections of the image. The block is then cleaned of ink and the sections of the lino that correspond to the parts of the image which are staying the first colour are carved away. Each succeeding colour is applied with the roller, printed, then carved away getting darker until the final darkest colour, usually black, is applied.

Ian Phillips is part of a five artist collective called Pine Feroda with which he regularly exhibits and shares residencies.

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Sarah Robley

Heike Roesel

www.sarahrobley.com

www.heikeroesel.co.uk

Sarah Robley loves the individuality that medieval artists gave their animal subjects; medieval bestiaries, manuscript marginalia and decorative art inspire much of her work. She also takes inspiration from British wildlife and from Folk Art. Working in a minimalist, illustrative style, Sarah loves the bold simplicity of line to which lino cutting lends itself.

Heike Roesel’s images could be described as semi-abstract imaginative ‘worlds’. Inspiration for these images can come from a particular situation, circumstance or real-life experience. Based in Brighton, the Sussex coast and the Downs surrounding the city are also a constant source of ideas. The resulting imagery is never a representation of that which inspired it, but an improvisation of the initial idea, becoming a world in its own right. Heike hopes to inspire the viewer’s imagination, so that they can discover their own individual picture in her etchings.

Some artists that have had a strong impact on the way Heike develops her imagery are Hundertwasser, Paul Klee and Miro.

Sarah uses oil-based inks on British 300gsm Somerset paper. Smaller works go through her press but larger pieces are hand-burnished using a traditional Japanese baren (a handheld tool for pushing the paper into the block). Sarah uses homemade lino ‘stamps’ for small repeated details in some of her work, such as the dandelion seeds in ‘What’s the Time, Mr Wolf?’

Sarah is currently working on linocuts inspired by medieval manuscript marginalia for her first solo exhibition, entitled ‘Out of the Margins’, at McNaughtan’s Antiquarian Bookshop and Gallery, Edinburgh, scheduled for January-March 2018.

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All of Heike’s prints are etchings. In 2009 she started developing the alternative etching technique of Acrylic Resist Etching, and has been creating intaglio prints in this way ever since.

The process of making the etching plate inspires the way Heike develops her imagery. She starts with a loose idea for an image, clarifying it through drawing. She then transfers the idea to the plate. The image continues to develop while she works on the plate, pushing the initial idea through to a conclusion. Sometimes in a different direction than she had first intended. With fine art printmaking there is always an ‘unforeseeable’ element involved.

Sarah Ross-Thompson

Lucie Sheridan

www.rossthompsonprints.com

www.luciesheridan.co.uk

During her 20 years living in Dorset, Sarah Ross-Thompson attempted to capture the contrast between the softness of the rural landscape and the rugged Purbeck Coastline. Since moving to Scotland in 2013 she has embraced the challenges of a completely different landscape; lochs and glens, mountains and waterfalls. The greatest challenge, she says, has been the discovery of a whole new palette of colours.

Lucie Sheridan has been a freelance illustrator and screen printer for 17 years, her work is instinctive and simple with a lateral approach, witty, bold and fun. Her screen prints cover a wide range of subjects such as flora, animals, architecture and people.

Using fluctuating horizons and prominent features in the foreground Sarah hopes to express a tangible sense of space; to be able to stoop and touch the rocks at your feet or cross the beaches to the lands hinted at in the distance. Her aim ultimately is to share the moment.

Sarah builds collage printing blocks using materials such as string, salt, corrugated card and lichen. These are bonded to mount board, which acts as a support but can also be used as part of the design through scoring and ripping. Each material has a tonal value, which allows her to build up a textural composition on which to apply the inks.

Based in Bristol, Lucie Sheridan produces her work alongside twenty multi- disciplined artists at Centrespace studios and gallery.

As well as distributing her products through a variety of boutique galleries and shops, over the past 14 years Lucie’s work has been commissioned by clients such as The Guardian, The Sunday Times, Penguin Books, Conran Designs, Heals & Habitat.

Lucie exhibited this year at Brighton Print fair, and has been exhibiting at the Affordable art fairs since 2008.

Sarah has worked with many galleries across the UK over the past 20 years and has had two solo shows in 2017 at the Birch Tree Gallery, Dundas Street, Edinburgh, and The Quiet Landscape at the Mostyn Gallery, in Llandudno.

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Ivy Smith

Kelly Stewart

www.ivysmith.co.uk

www.skellydesigns.co.uk

Ivy Smith is a figurative painter-printmaker whose principal print methods are linocut, woodcut and etching. Her prints and paintings relate to each other closely, as she will explore an idea through both media, she feels that over the years the two ways of working have influenced each other quite strongly.

Kelly Stewart moved from Sydney Australia to Edinburgh 16 years ago to be immersed in the Georgian, Victorian and Gothic architecture which she found so inspiring. She began drawing buildings and cityscapes and transferring these into screen prints at the Edinburgh Printmakers Workshop. Kelly predominantly draws Edinburgh, London, Bristol and Paris and loves being close to mainland Europe as she can visit and explore old towns for their architectural splendours. She also enjoys drawing boats and animals with organic lines that she sometimes craves with the architectural work. During her artist’s residency with Printfest 2012, she was introduced to Morecambe bay which has captivated her ever since, and she has produced a series of screen prints from various viewpoints of the bay.

Ivy’s main subjects are people and landscape. Her work is always about things she has seen, and information for the print is usually gathered by drawing and/or watercolour sketches.

To produce linocuts, Ivy cuts 5 - 6 separate blocks, a separate block for each colour, a colour can be printed over any preceding colour, producing other colours. For woodcutting she cuts 3 blocks using various gouges.

The first block is shuttering board which has an interesting and distinct grain, the second block is malay ply for largish shapes and the third block is birch ply for fine cutting. When etching Ivy tries to use safer etching methods, she etches the copper plate with ferric chloride as it gives off no fumes, and uses salt aquatint (ordinary household salt) for tonal areas.

Ivy has work in many public collections including the National Portrait Gallery, Graves Art Gallery Sheffield, Norwich Castle Museum.

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Every piece starts with a drawing which Kelly aims to loosen up more and more. She likes to combine the drawings with texture and handwritten text, to create a rawness that you would usually find in a sketchbook.

To do this she incorporates wall rubbings, Victorian wallpaper designs, graphic patterns, collage material, letraset text and photographic snippets with the drawings through the medium of screen printing.

Kelly continues to produce limited edition prints and private commissions in and beyond Edinburgh.

Alan Stones

Glynn Thomas

www.alanstones.co.uk

www.glynnthomas.com

Since graduating from St. Martin’s School of Art, London in 1971, Cumbria based Alan Stones has worked full-time as an artist - making paintings, drawings and original prints.

Glynn Thomas’s mixes traditional perspective with his own take on an image, sometimes using 360 degrees and other times several layers of perspective as he goes into the distance. A picture plane might be tilted or twisted thereby condensing several compositions within an image. He approaches subjects as if he is floating above them producing a detailed magnified view.

In 1984 Alan won a Gulbenkian Foundation Award to experiment in printmaking - the beginning of a prolific creation of lithographs. His initial subject was hill farming in the Northern Pennines. In the mid 1990’s his imagery became much more minimal.

Alan Stones’ work is invariably ‘to do’ with people. When depicting other subjects these are usually aspects of nature – which stand as metaphors for human activities.

Alan has had a busy year with a large solo exhibition of his paintings at Upfront Gallery, Cumbria and with works in both Cumbrian Artist of the Year (2017) and the 2017-18 New Light Art Prize Exhibition at the Bowes Museum, County Durham.

To produce an etching a copper plate is coated with an acid-resistant wax ground and the design is drawn in reverse through the wax with a fine needle. The plate is immersed in an acid bath and after several minutes is removed; stop-out varnish is painted on the fine lines so they retain that depth. The plate is re-immersed to give a deeper etch. This is repeated many times to obtain a variety of depth: the longer the plate is etched the deeper and blacker the lines will print.

Aquatinting adds various tones to an etching. A fine resin powder is dusted onto the plate and fused by heat. Each resin dot becomes an acid-resist and the same principle as line etching applies. Dampened paper is placed on top of the plate with felt blankets for protection, then passed between rollers which exert tremendous pressure, transferring ink from plate to paper. Small pieces of muslin are used to ink up various colours which can be merged to give subtle colour variation.

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Kate Timney

Glenn Tomkinson

www.katetimney.co.uk

www.printgarden.co.uk

Kate Timney is a visual artist and illustrator, based in Glasgow. Working across drawing, printmaking and painting, she makes art with a focus on process and mark-making which is prompted by a fascination in the human relationship to the natural world. Her work explores the impact that experiences of nature and wilderness can have on consciousness.

Drawing always underpins Kate’s work and is a consistent starting point for projects. She uses numerous traditional and experimental print techniques including lithography, woodcut, mono printing and monotype and often adds extra layers to prints with collaged printed and drawn elements.

Most of Glenn Tomkinson’s work is rooted in landscape, particularly the Lake District and Eden Valley, but can also find inspiration in buildings. His work acknowledges a youthful exploration of the abstract while retaining a response to the visual stimulus of the world around us. Most recently, after meeting some old friends, he has begun to work from drawings and paintings which he made over 40 years ago when he was a keen caver.

To make a mono print, Kate rolls out ink onto a large sheet of glass. The image formed in either the rolling out or painting of the ink, the mixing of inks on the glass or by scoring and scraping away negative lines into the sheet of colour. Paper is then laid over the area of ink and pressed evenly onto it using a baren. She often then begins to attach prints together, masking off and joining areas or overprinting sections until she’s happy with the image.

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She has produced illustration work for national and international magazines and worked on a variety of projects from set design, murals and sign-painting to visual identity and book design.

Glenn produces small editions of up to 20. Each print is made by hand and so is unique. It is the limitations and difficulties of printmaking which allow Glenn to find the essential elements in the image. He works in a traditional manner on copper plates using oil based inks to print on handmade paper. The aquatints are also produced in the traditional manner using melted resin dust. Glenn constantly experiments with variations in the inking of the plates to avoid the monotony of printing 20 identical images.

Glenn has been producing prints for the last 50 years but retirement after over 30 years working in education has given him more time to develop his work. After moving to Dover he continued to make prints and returned to Cumbria in 2003. He now mainly works with aquatint and has exhibited widely within the County.

Liz Toole

Anna Tosney

www.liztoole.co.uk

www.annatosney.co.uk

In her recent work, Liz Toole has been creating imaginary scenes filled with the patterns of nature inspired by both the Sussex countryside and the diversity of life she found whilst travelling in Africa. She is interested in looking at details of trees and plants, Indian textiles and bird encyclopaedias; she merges these sources to create patterns that celebrate the English decorative tradition. Within her work as a whole, Liz uses nature and birds as metaphors for human emotions.

Anna Tosney’s inspiration comes from the world around her - she loves absorbing her surroundings, paying particular attention to colour and shape. Anna is inspired by beautiful (Usually rainy) skies, trees, sheep, fields and (Often slightly humorous) scenes she comes across in day to day life.

Liz creates lino cuts but currently finds she is more attracted to making screen prints as she finds it more challenging, one of her more recent screen prints “Time to Blossom” has 17 colours in total and took 7 weeks to print. She loves the process of matching colours with each other and spends hours mixing and testing her colour combinations. For a new design containing 2 colours Liz can easily print 40 different colour tests.

Born in Skipton, the Yorkshire Dales have always been very influential.

Anna loves to watch the sheep, cows and birds in the fields, the changing weather and seasons and the farmers and dry-stone-wallers at work.

Liz also uses Chine-collé to print on delicate surfaces without the structure losing support, and to provide different background colours behind features of her images.

Anna’s prints are drypoint/monoprints, she starts with many hours of observation, backed up with sketches and photographs. These ideas are later adapted and developed into an image to be scratched onto her printmaking plate. After printing this image to create the bold black outlines in her work, the plate is then inked up again, possibly two or three times, with carefully mixed transparent layers of colour. Various wiping techniques are used on each layer to give depth and texture to her work.

To date Liz has exhibited in many exhibitions and galleries around the UK including Affordable Art Fair, Printfest, Castle Gallery, Hawksby’s and New Brewery Arts.

Anna has shown her work many times this year, including at Staithes Arts and Heritage Festival, Harrogate Open Exhibition-Mercer Gallery, Art in the Pen, Crafted by Hand- Masham and at Saltaire Arts Trail.

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Simon Tozer

Rebecca Vincent

www.simontozer.co.uk

www.rebecca-vincent.co.uk

The subjects of Simon Tozer’s prints are people, animals or other things such as cars or boats. One of his intentions when making a picture is that in the process of making, it will come to life in some way, in the sense that it will surprise him, or suggest a story or idea that is unexpected.

Rebecca Vincent is always on the lookout for dramatic landscapes that she can interpret through either etching or monotype. To get a composition to work in these media, she has to radically simplify and stylise so she looks for a small number of key elements and colours that will translate into her style. The agricultural patterns of Northumberland are an ideal starting point for her patchwork landscapes however, the majority of her images are not views as such but imagined landscapes constructed from elements that are strongly reminiscent of particular places.

Simon’s screen prints are made using a mixture of traditional drawing as well as digital mark making. The drawings are transferred onto a screen (a fine mesh stretched over a frame) and then printed by hand using a squeegee to draw the printing ink through the mesh onto the paper.

Simon exhibits widely, and his work has been included in exhibitions including the Royal Academy Summer Exhibition, The Royal West of England Autumn Open, and The National Open Print Exhibition. Simon is based in Bristol where he shares a studio with another of our exhibitors, Lucie Sheridan.

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Rebecca’s etchings are printed from two copper plates that she carefully inks up with several colours. By using more than one plate she can create some rich colour interactions that really bring the landscape to life.

She interprets the landscape using a wide variety of marks: fine lines for the winter trees, textures and patterns for the fields and soft spit-bite washes for the sky. For Rebecca’s monotypes, rolled out ink is manipulated using cloths, cotton buds, sticks and pieces of card. She also creates patterned areas by tearing textured papers, inking and printing them. The crisp horizons and large trees are made by using paper stencils.

Ellen Von Wiegand

Kate Watkins

www.ellenvonwiegand.com

www.katewatkins.co.uk

As a linocut printmaker Ellen is drawn to the nude as a vessel for lived experience and self-reflection. She captures the fragility of a lone figure in relationship with the viewer, and sees each as a space where one can project their own emotional reality. She believes we must access our vulnerability in order to move beyond limitations we’ve created for ourselves.

Kate Watkins has been producing prints for many years and has a fascination for a variety of techniques and processes. She often combines etching, drypoint, monoprint, gocco and silkscreen methods alongside newer digital printmaking.

She chooses to feature her own body, and to gouge out strong manoeuvring lines to express the smooth coil of a physique. Figures are set against soft tones and organic forms that combine to create delicate repeating patterns.

As opposed to digital prints, lino prints celebrate the long tradition of handmade editioned art that has been practiced for nearly two millennia.

All parts of Ellen’s process are done by hand, from the original drawing, to the carving, and final printing, which is achieved by applying pressure to the back of the print with the use of a spoon. In order to produce a work in multiple colours, separate blocks need to be carved and printed for each hue. As a result creating a limited edition of colourful prints is quite time consuming and requires a great deal of patience. And while multiple prints are created from the same plates, each one is truly an original work of art.

She starts with a broad theme which helps develop her experimentation in the print studio. For the last few years the theme has been coastal structures and landscapes along the south coast of England focusing around Hampshire and Dorset. Recognisable silhouettes and structures, beach huts, worn and eroded surfaces, and discarded beach items are ongoing subjects for exploration. She strives to find new ways to explore this subject in print.

Kate enjoys free etching and drypoint which involves a less ordered way of making plates. She also uses Chine-collĂŠ, printing onto thin, handmade paper sheets which are then glued and placed on top of the metal printing plates. This then bonds them under the etching when passed through the press and creates subtly layered compositions.

Kate regularly exhibits work in local and national exhibitions alongside teaching.

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Frans Wesselman

Beverley White

www.fwstainedglass.com

www.beverleywhite.artweb.com

Frans Wesselman’s work reflects his interest in the human form and human relationships. Some pieces are based on poems and literature; some are directly from observation and imagination.

Beverley White’s images are drawn from a combination of sketches and memory or direct studies of natural forms. The drawings are then worked until something pleasing emerges to be transferred to a block; either wood for engraving or lino for cutting as in this exhibition.

In printmaking, Frans uses etching and wood cut and sometimes a combination of the two. The initial ideas are worked out in scribbles in his sketch books, then once he has a basic composition he starts gathering drawings of the various parts; landscapes, buildings or animals etc. Frans draws from life using a model, draws people in the street or uses mirrors to work out positions and details of hands for instance. For etchings and stained glass he makes quite precise working drawings, for painting much less so. For his colour prints Frans first makes the black plate, prints and off-sets this onto ply, which he then cuts up like a jig saw puzzle to print the colour from. In the final print the colour is printed first, the black over the top of it.

Frans is a member of the Royal Society of Painter Printmakers and exhibits regularly.

The wood engraver’s tools give great scope for detail and creating texture in the task of turning a black area into something interesting.

Once the design is worked out, the block which is usually either lemon wood or box, is covered with a coat of black drawing ink and then an outline image is transferred (as a mirror image) with chalk and tracing paper. Images for linocuts are also transferred this way, and for a colour reduction linocut a number of prints are taken, depending on the size of an edition and time available. The lino block is then cut again and printed over the first prints, and so to build the image the lino block is gradually cut away.

The design can never be printed from start to finish again as the lino block is destroyed in the process, sometimes more than one block is used.

Beverley has exhibited in The Lake Artists Society Summer Exhibition, Grasmere since 1990 and was elected to membership in September 2006. She has also been an exhibitor at Printfest, Ulverston since 2001.

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Liz Whiteman Smith

Jess Wilson

www.lizwhitemansmith.com

www.jesswilson.co.uk

Liz Whiteman Smith is a freelance printmaker and artist currently living in London. She takes her inspiration from her travels around the world and is drawn to the quirky and unusual. Her prints often feature architecture or animals.

Jess Wilson uses crayons, paints, inks and paper to create her unique illustrations and typographic works; she draws inspiration from humorous occurrences which happen around her in real life and in the media. Eight years ago she started working at Jealous Print studio where she learnt to screen print and now produces high quality screen-prints of her works.

In the last 4 years this has involved lots of maps. Jess aims to twist the way people see the world and the use of the everyday map.

Liz creates limited edition multi-layered screen prints working from her own drawings or photographs. She likes to create colourful images that have a humorous or playful quality. Her screen prints are created by carefully lining up one colour screen on top of the previous layer to create multi coloured prints.

She is a member of The Printmakers Council, Southbank Printmakers Gallery, Print Club London, Studio 73 and Espacio Gallery where she organises a group of artists to put on an exhibition each year.

Jess graduated in 2006 and has been living and working in London ever since. She exhibits with Jealous Gallery London and has exhibited with the Royal Academy

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Sally Winter www.sallywinter.com Living on the Dorset Coast and the borders of the New Forest, Sally Winter’s work is a direct response to her surroundings. She began printmaking in 1978, her work inspired by both the sea and the coastal landscape. She has continued to be drawn to the movement, colour and interplay of light between the sea and coast where she lives and works.

The wildlife and Flora of inland Dorset are also recurrent themes.

Sally Produces detailed etching and aquatints and semi abstract collagraphs. Working in the traditional method of acid etching with aquatint onto zinc. Her work often begins with drawing, which she finds the medium of etching naturally sympathetic to. For Sally, etching and aquatint have unique qualities and textures with which to describe and express the landscape as she both sees and feels it. She also makes Collagraphs in response to subjects that suggest a looser and less linear approach.

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Her work is published in the Art Angels Greetings Cards Printmaker range and is shown in selected galleries in the UK. Recent solo exhibitions include Sir Harold Hillier Arboretum in Hampshire and the Coach House Gallery Pembrokeshire, group exhibitions include the Society of Botanical Artists at The Westminster Halls and the former National Society of Printmakers at the Mall Galleries in London.

Buying a print If you would like to buy a print, please speak the staff member at the Gallery entrance desk who will help you and take payment.

Each print on the wall is labelled with a framed price, many also have an unframed price in brackets.

Unframed prints are either available from the browsers in the exhibition, or sent direct from the artist to the address of your choosing.

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Even if a print is marked with a red dot (which means it has been sold) you should still enquire at the gallery entrance desk as a great many of the artworks in the exhibition have further prints still available in their edition, which you can buy today and the artist can post directly to you.

Collection of artworks purchased from the exhibition is possible from 23 February, after the exhibition has closed and work has been safely wrapped.

If you require the print sooner, please speak to the Gallery staff about the options available to you.

Christmas Ordering If you want your artwork in time for Christmas, the simplest way is to purchase an unframed print to be posted direct to you, this way you do not need to wait at all (except for the courier to arrive!). However, if the print you want is not available in multiples, or cannot be couriered, we do offer a Pre-Christmas collection on 18 December.

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