New Japanese Stock

Following Shirley’s visit to Japan earlier this year, we are expanding our Japanese Woodblock Printing and Relief Printing range! We’ve had great fun testing
out new products and have loved opening each parcel as it arrives from Japan with new stock. There are lots of new things now available on our website
(and more still on the way!) Read on to find out more about some of our new products from Japan: 

These Japanese Inking rollers are available in a hard or soft rubber.
They’re beautifully made and come in four sizes. We’ve been using one in our studio and absolutely love it!

Our new range of Japanese Woodblock Cutting Tools contains five types of tools in different sizes, all available to buy individually so you can build up
a set that’s perfect for you. Choose from V Gouges, U Gouges, Aisuki Chisels, Hangito Knives and a Kento Chisel.

Use these Japanese Water Brushes to keep your paper damp when woodblock printing. 

We’ve expanded our range of Japanese Inking Brushes with this 60mm brush.
Use with watercolours or gouache and nori paste for woodblock printing. Our new nori paste will be in stock soon!

We now have a choice of six barens to choose from for hand burnishing your relief prints including this new coiled bamboo baren. It’s traditional coiled internal structure makes it hardwearing and its large 13cm diameter enables you to
transfer pressure from your arm more effectively. Also in the shop are our two ball-bearing barens like this one below.

Possibly the most useful new items in our shop are these rubber ink scrapers. They clean up inking plates like a dream and wont leave scratches! If metal is more your style, try this new
50mm ink spatula:

Our Japanese vinyl is restocked and available in a new smaller 100 x 150mm size and the extremely popular HoSho paper pad is back!

Even more new stock is on it’s way so keep your eyes on the Japanese Woodblock and Relief Printing sections of the website! 






Meet the Maker: Sarah Campbell

Sarah Campbell has been involved with colour and pattern for the whole of her life. Sarah will be joining us at Handprinted for a weekend of workshops in May 2018! 

The first fifty years of her career were spent working alongside her sister Susan Collier, starting with working for Liberty of London Prints in the ’60s.
In the late ’70s they founded the original Collier Campbell, the internationally influential design company. Their primary work was the inventing,
painting and commercial production of textile designs for apparel, furnishings, bedlinens, wallpapers for themselves and many other companies in the
UK and worldwide.

Since Susan’s death in 2011, Sarah has worked under her own name, painting designs on paper for production. She’s also developed other aspects of design
work – making and painting on many different surfaces, running workshops and courses, mounting exhibitions of work past and present, writing a blog,
developing her online shop….

Describe your process.

I paint, draw, write or make every day. I always keep a notebook for daily tasks and thoughts and write my tomorrow’s ‘to-do’ list every night before I
sleep so that my brain can process it. I tend to write in the front of the book and make sketches in the back. I work mainly on my own, and there are
a lot of different aspects to my work.

How and where did you learn to paint textiles?

I have only come to paint directly onto fabric in the last ten years or so; it’s been an extension of my long career as a painter of designs in repeat
on paper. I’m not sure why I started, but I very much enjoy the different processes. I taught myself, working on the kitchen table.

Why painted textiles?

Having been a fabric designer painting repeats on paper all my life, it seemed a natural progression.

Where do you work?

I work in my studio – a room in my flat.


What inspires you?

Everything and anything – from a flash of colour in the corner of my eye, to the new study of an old textile, to seeing a red bus against a green hedge
under a grey sky, to the slanting rain in a Hokusai print….

What have you made that you are most proud of?

I’m most proud of having made a life, and a living, in design and colour – and am still doing so!

Where can we see your work? Where do you sell?

Currently I work with WestElm and Michael Miller Fabrics in the US, and Magpie and Selvedge magazine here in the UK. All of this work can be seen online
and in their stores and outlets.

My own products are shown and for sale online in my own shop, and at The Fashion and Textile Museum in London.

And of course there’s a comprehensive overview of the first fifty years of our working life in the book ‘The Collier Campbell Archive; fifty years of passion
in colour’ by Emma Shackleton and myself.

What will we be seeing from you next?

A new collection for MichaelMillerFabrics will be coming early in 2018 with rather a different look… new work for WestElm includes some interesting ceramics….I’m
just starting a relationship with Renaissance Ribbons in the US….I continue to add to my own range at Sarah Campbell Designs….I’m working on new
furnishing fabrics for myself and others….and I’m increasing my reach as a teacher and talker.

Do you have any advice for other creatives?

Be brave, listen hard and follow your intuition.

Find out more about Sarah Campbell via the links below, or sign up to Sarah’s Exploring Patterns for Textiles Workshop, Painting Textiles Workshop or BOTH for a discount!



twitter: @SarahCamDesigns

instagram: @sarahcampbelldesigns

facebook Sarah Campbell Designs – SCLtd

Fashion and Textile Museum:




Printed Shrink Plastic Keyring

There is something really compelling about miniature objects. A miniature print sounds just too good to be true. Don’t worry about carving tiny detail
– this project will shrink it down for you!

Start with a sheet of Shrink Art Plastic – we’re using white. Cut out your desired shape with scissors or using a tag punch cutter like this one. Remember that your final piece will be about
seven times smaller than your starting shape so don’t cut too small too soon!

Draw around your shape onto a piece of Softcut. Draw your design inside.

Using a lino cutter, carve out your design. We are using the Speedball Lino Cutter Assortment which comes with five different blades. Use larger U cutters to carve out big areas…

…and fine V tools to carve out the small details. Cut your whole shape out with a scalpel.

Roll out a little water based block printing ink. Cranfield inks work perfectly here. This rainbow was made by blending together Cyan and Magenta with a roller. Make sure your layer of ink is thin enough for the roller to turn freely and make a zzzz sound – it should not look or
sound squelchy!

Roll your ink onto your block. 

Press your shrink plastic shape on top of your inked up block. Place the plastic rough side down. Press all over making sure to not miss any areas. 

Peel your plastic off to reveal your print! Leave for the ink to dry. 

If making a keyring or jewellery, you’ll need a hole to thread through. Our tag cutter punches holes but you could use a scalpel or hole punch. Remember
that your hole will shrink too!

Place your plastic flat on a tray in a pre-heated 180C oven. Watch as it shrinks, curls and twists! Take it out when it lays completely flat on the tray.
This should take about two minutes. As soon as it comes out, press it between two flat surfaces. We used two glass plates but a book and a table should
work just as well. If your plastic has cooked too much, pop it back in the over to make it pliable again. 

Take a look at our tiny tag compared to its original size! As well as shrinking in size, your shape will get much thicker and more rigid.

Our final keyring threaded up and ready to go:

To make you own mini keyring you will need:

Meet the Maker: Hester Cox

Meet Hester Cox and book on to Hester’s Collagraph Workshop coming up at Handprinted in June!

Hello! I’m full time printmaker specialising in collagraph although I do experiment with monotype, photo-polymer and relief print when the mood takes me!
I live in the beautiful Yorkshire Dales National Park and I’m also a keen fell runner. Much of my inspiration comes from the landscape and wildlife
that I see whilst running. 

Describe your process:

Generally, I get my inspiration when I’m out running or walking so I might take a few photos for reference and then mull over the idea for a while before
I put pencil to paper. I sketch and play about with compositions, sometimes using a mirror to see what the plates will look like printed. I sketch
out the final design and transfer it to the plate using tracing paper then I start painting on textures using gesso, adhesives and pastes. Sometimes
I use collage materials such as textured papers or dried and pressed plants and I always use lots of cutting. When I’ve made my plate, I seal it using
a shellac varnish. If it’s a multi-coloured print, 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’ve got two Rollaco etching presses, a bench model one and a portable press for workshops.

I dry my prints by taping the damp paper to a wooden board. As it dries the paper becomes beautifully flat and makes the print easy to frame. I usually
print my collagraphs in batches of five or six at a time so I will go back and repeat the whole process. It can take anything from 15 minutes to an
hour and half to ink and wipe one printing plate depending on the size and the complexity of the image. Then I clean everything using vegetable oil
and rags.

How and where did you learn to print?

I did a BA (hons) Illustration at Harrow School of Art and Design and they had a good print department but I didn’t fall I love with print until my final
year. I was doing a project on herbal medicine and was drawing and collecting medicinal plants. I wanted to use the plant material in the work but
didn’t know how. A friend of mine suggested collagraph and was kind enough to show me how to make a plate from the dried and pressed plant material
and I was hooked! When I graduated, I decided that I wanted to concentrate on printmaking. I moved north to Yorkshire to be with my partner and worked
in a shop for a year to save up for an etching press. I then got a better part-time job, which allowed me time to work on building up a portfolio of
prints. I’ve been a full time artist for the last 11 years. 

These days I’m a member of two studios, Ålgården Printmaking Workshops in Borås, Sweden and Northern Print in Newcastle. Working at these studios gives
me access to equipment that I don’t have in my own studio, time and space to experiment and the opportunity to work alongside other printmakers.

Why printing?

There is a lovely mix of careful planning and serendipity when you make collagraph prints. The plate making is a craft in its own right and you are
only limited by your imagination and what materials you can physically get through the press. You can also change the look of an image so much
when you are inking and wiping the plates. It involves a lot of methodical planning but the final ‘reveal’ is so exciting. You lift the paper from
the plate and there is always an element of wonder. There’s also something pleasing about seeing your work in duplicate.


Where do you work?

I live at Horton-in-Ribblesdale in the Yorkshire Dales National Park and my studio is a lovely wooden building at the end of my garden. There is a
field beyond which often has lambs in it during spring and a view of Pen-y-ghent (one of the Yorkshire ‘Three Peaks’).

Describe a typical day in your studio.

I don’t really have a typical day, which is part of the attraction! My weeks can involve gallery deliveries, lots and lots of admin, teaching workshops,
framing, editioning existing plates or making new work. If I’m working all day in the studio, I’ll have breakfast then walk my dogs by the river
or through the meadows. This really helps to give me energy for the day. If its winter I’ll then light the stove in my studio or if its summer
I work with the door open and the sound of curlews and sheep. Like many artists, I listen to Radio 4 most of the day. Often I print well into the
evening and only stop for a run or to have dinner with my husband. If I’ve got deadlines looming, I’ll often go back in and work until late.

How long have you been printmaking?

23 years! I’ve been printmaking since 1994 and made the leap to being a full time professional artist in 2006.

What inspires you?

The natural world! My mum is a doctor of zoology and a retired ecologist so it is through her that I’ve developed my love of natural history. I’m
also a fellrunner and running is the perfect antidote to the solitary and sedentary life of an artist. When you run in the hills and in places
people rarely get to, you see all sorts of wonderful wildlife. I am inspired by how the look of the landscape alters with changes in the weather
and exhilarated when I glimpse a rare bird or animal. I want to share those often-overlooked details, the chance encounters or the transient
things that people soon forget.

What products do you use? What product/tool could you not be without?

I use lots of acrylic gesso and wood glue for making the plates. My favourite paper for collagraphs is Somerset Satin made by St. Cuthberts Mill.
I love my great big two-handled roller. I use it for creating graduated colour rolls on my base plates.  

I couldn’t live without my surgical scalpel. I use it for cutting into the mountboard (amongst many other things) and it is what I use to create
fine detail. I get through lots of 10A blades!

What have you made that you are most proud of?

My most recent work ‘Within These Walls’. This is a large-scale print installation that I made to be hung in a field barn for the Grassington Festival.
It has been the most challenging and difficult work that I’ve ever created and I’ve learned so much from it. It took six months to complete
and consists of five 4-metre long printed voile hangings inspired by the upland meadows including an huge collagraph created by printing four
1-metre long plates in succession on an enormous etching press. I designed that part to be a cross-section through a bit of meadow reminiscent
of when, as a child, I used to lay in the grass looking at the flowers and insects. At times it kept me awake at night worrying about the logistics
and whether I’d finish it on time but it was all worth it in the end. Seeing the finished work installed from the beams of the barn as a light
breeze moved the fabric and swallows flew in between was really magical.

Where can we see your work? Where do you sell?

I sell at various galleries across the country and they are listed on my website but one of my favourites is Masham Gallery. Josie Beszant is the
owner and also an artist. She was the first gallery to permanently stock my work twenty-two years ago and we’ve become good friends. We are
currently collaborating with ceramicist Charlotte Morrison on an on-going project called Collections. We are all avid collectors and we explore
the idea of collecting and collections through our work. We’ve just has a successful exhibition at Ryedale Folk Museum Gallery. I also do one-off
exhibitions at various venues, art fairs, print fairs and I sell work through my website although it is via the contact form and not ‘click
and buy’ as I print in batches and need to make sure I’ve got one available.

What will we be seeing from you next?

I will continue to work on Collections with Charlotte and Josie and I am hoping to develop ‘Within These Walls’ creating large-scale collagraphs
and monotypes on paper so that I will have a supporting exhibition to accompany the installation. I’ll also continue to make new collagraphs
inspired by the natural landscape.

Do you have any advice for other printmakers and creatives?

Its hard graft to make a living as a full time artist but don’t give up! Work hard, believe in yourself, make the best work that you can and keep
on developing your techniques.

See more of Hester Cox’s work on her website or on Follow Hester on Facebook,
Instagram and Twitter for updates!

Book onto Hester Cox’s Collagraph Workshop coming up at Handprinted!



Reduction Linocut Workshop with Ian Phillips


We were thrilled to have Ian Phillips back to teach another two Reduction Linocut Workshops this week. Over each two day course, each participant created
an edition of prints using the reduction lino method. Here are some images from both workshops showing what they got up to and their final results.

Ian’s next Reduction Linocut Workshop is in March next year – book your place now as spaces go quickly!