20:20 Print Exchange – Handprinted’s entrants

This year 20 members of the Handprinted studio are submitting work to the 20:20 Print Exchange. The 20:20 Print Exchange is an exchange organised by Hot
Bed Press in Salford. Each participant has to print an edition of 25 prints that are 20cm x 20cm. There are approximately 500 artists that take part
from around 40 studios. Each participant receives a box of 20 prints that includes one of their own and 19 randomly selected prints from other artists.
The participants can print with whatever method they wish. Below are the prints from the 20 artists from Handprinted. What a fantastic selection! For
more information about the 20:20 print exchange please click here

Top left: Holly Newnham – Screenprint

Top right: Debbie Moran – Two block Linocut

Bottom left: Phil King – Linocut

Bottom right: Anna Vartiainen – Screenprint


Top left: Lila Das Gupta – Drypoint

Top right: Martin Jones – Hand drawn screenprint

Bottom left: Judy Williams – Screenprint

Bottom right: Caroline Whalley – Acid etched copper plate and drypoint 

Top left: Jan Harbon – Screenprint

Top right: Trevor Ingham – Wood Engraving

Bottom left: Lesley Ormrod – Screenprint

Bottom right: Tom Boulton – Letterpress

Top left: Diane Palin – Woodcut

Top right: Tricia Johnson – Papercut screenprint

Bottom left: Rebecca Palin – Linocut

Bottom right: Barbara Lammas – Screenprint

Top left: Shirley Scott – Screenprint

Top right: Gillian Collins – Screenprint

Bottom left: Fabiola Knowles – Reduction linocut

Bottom right: Sue England – Screenprint

Meet the Maker: Tom Boulton

Tom Boulton will be teaching Letterpress in the Handprinted studio starting at the end of October! You may also have seen Tom in the Handprinted shop if you’ve popped in to say hello. 

I’m a typographic designer who started buying letterpress machines and type about 10 years ago. I design and print artwork, stationery and products that
are unique and affordable. I have my own line of products, I also do commission design and print work for individuals, independent shops and galleries
as well as larger organisations. Over the years I have worked on commissions and run events with a number of different groups including Tate Modern,
Southbank Centre, Design Museum, Fortnum & Mason to name a few.



Describe your printmaking process.


Letterpress is a puzzle and a constant battle. It goes – I have an idea in my head that needs to be printed, I then have the limitations of the typefaces
I physically have in the point sizes they are, I have a chase they have to be locked out in, that all then goes into the machine to be printed
one colour at a time. During this process I have to be very flexible to allow the type to design and form itself, to let everything balance, to
give the print the correct feel and desired effect, whilst bearing in mind what the end product is and how it will be made. When I start I often
have an idea in my mind but in the end the design often looks nothing like my original concept.



How and where did you learn to print?


I have always loved printing and making things with my hands. I did not start letterpress printing until I finished my degree at London College of
Printing and realised the potential that letterpress has for mass production of real prints. So I started by purchasing an Adana 8 x 5 and got
my first commission (to design and print gift certificates for a shop). After printing them I realised that an Adana was not enough for what I
wanted to do! So I started to buy more machines and type, then I started teaching myself how to print, how to get different effects and how to
make different products, then find its application in the modern world.



Why letterpress printmaking?


It was a really simple thing, I really enjoyed print making, I love machinery and engineering and there was a need and a gap in the market – letterpress
offers mass production for the individual whilst at the same time allowing the ability to control what you do and how you make it, you can pull
real prints – to produce real products that have soul that can be sold for an affordable price – it means I don’t have to go down the route of
producing one real print then having to get it digitally reproduced to be able to sell one – I really don’t like digital copies.



Where do you work?


I work from my office at home (for designing and office work) and I have a main workshop in Bognor Regis (for printing).



Describe a typical day in your studio.


I don’t really have a typical day in the workshop – I tend to have a very long to do list and just go at it and get on with it! The nature of what
I do means that there are a lot of different elements and things that need doing day to day – whether that is printing, creasing, book binding,
restoring machines, updating the website, planning an event, packing up orders, doing running repairs, meeting clients, designing new products.
It’s good because each day is different but it really is a very long list!!!!!


How long have you been printmaking?


I have been professionally printing for around 10 years.



What inspires you?


I don’t really find inspiration in a lot of current design. I find it much easier to be inspired by the weird things I collect – I really like old
packaging, strange colour combinations, old 50’s life style magazines, Typefaces on sheet music, retro computer gaming. I recently became a father
for the first time – it has be very inspiring to watch a little person grow and see the excitement she gets when seeing things for the first time,
it makes you look at things in a different way which is great.



What is your favourite printmaking product?


Letterpress printing is one of those weird processes that means I do not really need to buy much to print with – apart from a lot of low odour white
spirit, recently I tried Zest-it as an alternative to white spirits for when I’m doing workshops or pop up printing away from my workshop (where the
smell of white spirit is not popular!)




What have you made that you are most proud of? 


I feel very proud of the process itself and the work that has gone into restoring my machines, most of which were going to end up being sold for spares
or just scrapped. I think for anyone who restores machinery you feel strangely bonded to a machine at the end of process, you develop an understanding
for the amount of time others have spent engineering it. In my case an era when engineering was very basic and raw (most of my machines date between
1880’s – 1950’s) each time I use a machine there is a sense of pride. 




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


I like to take part in exhibitions, and I sell to a number of shops across the UK from small independents to museums, galleries and to larger shops.
If it looks like a letterpress print turn it over, if it is mine it will say my name on it. I also sell direct through etsy (TypeTom).



What will we be seeing from you next?


More printing, More Machines, More Workshops, More Products, More Stuff & Definitely some road trips!



Do you have any advice for other printmakers and creatives?


Do it and enjoy it. To have a creative output is a privilege and it should not be broken down and dissolved with overly concerning yourself with the
real world or what other people expect or want. Find your own voice and do it your own way.

See more of Tom’s work on his website, on Instagram or get your hands on some of his prints via Etsy.

To book a place on Tom’s Introduction to Letterpress Workshop starting at the end of October. 

Japanese Woodblock with Laura Boswell

We’ve been thrilled to have Laura Boswell here for two Japanese Woodblock Workshops over four days this week. Laura’s workshops are packed with essential
woodblock skills and invaluable advice to get you started with the art of Japanese Woodblock.

Over the course of each two day workshop, the techniques are broken down into separate skills that Laura demonstrates before going round the group to help
each person achieve each skill. On the first day of the workshop we learned the correct way to use a Hangito tool and how to carve a block.

We then designed our prints and, with help from Laura, worked out the order in which the blocks would be printed before transferring our design onto
Japanese ply.

After the edges of a block has been cut with the Hangito, the U tools are used to carve a gully around the edge of each shape. 

The elegant Japanese registration system of Kento marks enables your blocks to line up perfectly so that they fit together and can be overprinted for layers
of tone and shading.

After a full day of designing and carving, the blocks were ready to print. 

Japanese Woodblock uses watercolour paints and nori rice paste. The blocks are inked up with brushes

Laura demonstrated how to ink up and print your blocks using a baren

…and we spent the day printing with and layering our blocks to form our design. 


Here are some examples of the work produced over the two workshops:

Book now to reserve your place on next October’s weekend and weekday workshops! The weekend workshop
has only two places remaining.

Meet the Maker: Scarlett Rebecca


Hi I’m Scarlett Rebecca, a printmaker living in Brighton. I split myself between two creative lives; half the time I work from my studio as surface pattern
designer using printmaking in my designs and the other half as a fine art printmaker and technical demonstrator at Brighton University.


Describe your printmaking process.

I am a relief printmaker and I predominantly use linocut, when I am working at the studio I will draw from life and work these drawings into a rough pattern.
Then I will cut them as intuitively as I can, without relying too heavily on the drawing. I will then print the designs on my little nipping press
and turn them into a technical repeat in Photoshop or Illustrator.


How and where did you learn to print?

I started printing when I was in High School, we had to do forgeries as part of our technical understanding and I chose a Cyril Power linocut. Since then
I’ve been hooked, I studied textile printmaking and I’ve done many short courses, including ones at Print Club London and BIP here in Brighton. The
last course I did earlier this year was etched lino at The Art Academy with the wonderfully talented Steve Edwards.

Why printmaking?

Because it is unquestionably the best art form, I try to tell everyone this. The texture, the shapes, the depth of mark and colour, I love it! I think
people unfamiliar with printmaking are often scared or intimidated by it. I want everyone to try it and love it. I have been teaching print classes
for nearly 10 years, now I run print workshops for couples from my studio.


Where do you work?

I split my week between my studio in central Brighton and the fine art printmaking department at Brighton University where I work as a technical demonstrator
for lithography. During the summer break while the students have been away I have been researching and experimenting with lithography techniques. I
have had a huge amount of fun trying out Mokulito – lithography using plywood instead of stone or metal. It’s an incredibly exciting technique as your
results will differ depending on which type of wood you use, plus you can employ woodcut techniques to the surface!

Describe a typical day in your studio.

I usually get to my shared studio between 10 – 11 and stay there until 8 or 9, depending on how absorbed I get. I will answer emails and do as much ‘boring’
stuff as I can first and then I will warm myself up with some drawing, usually listening to Desert Island Discs podcasts. Then I will look over what
I have been working on the day before to make sure it’s not rubbish! I have been working more and more in illustrator recently, trying to capture/retain
the textured effects of my linocuts and I am not very fast so this takes up a lot of my time! I try to get out for a little break in the afternoon
but I am naughty and sometimes I will stay at my desk all day. When I am bleary eyed and probably making rubbish work I will walk home.


What inspires you?

Pattern, texture and shape. I take a lot of inspiration from the natural world; wildlife, flora and fauna. I try to take inspiration from the world around
me, I recently challenged myself to 100 days of finding pattern (you can see my finds on my twitter) since then I am seeing pattern and inspiration

What is your favourite printmaking product?

My Pfiel cutters, they are my most
treasured printmaking possessions, and proper fresh battleship grey lino, I just love the smell.

What have you made that you are most proud of?

I started a side project last year aiming to use up my small scraps of lino, I cut an A-Z of small wildlife illustrations. It used up my lino scraps perfectly
(I had to be a bit inventive with some drawings!) and I enjoyed learning about British wildlife.

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

I sell cards and prints in a couple of shops here in Brighton and you will find me at the Christmas Open House Festival at Bluebell Would house, and I
will be doing the Fairy Tale Fair at the Open Market on November 26th.

Online you can buy my work from my shop.

What will we be seeing from you next?

I have a few larger scale linocuts planned that I will be slowly working on over the next few months alongside design work. I will be working on a stone
lithograph for an upcoming exhibition of stone lithography in Japan, translating an image of my brain from a recent brain scan onto the stone.


Do you have any advice for other printmakers and creatives?

Draw every day.


Keep up to date with Scarlett Rebecca and her work on Instagram, Twitter and via her website and shop!