We are very excited to be hosting our very first Christmas Makers’ Market! We’ve got a brilliant selection of makers selling a huge variety of handmade
goods including framed artworks, glass, homewares, clothing, dolls, stationery, cards and Christmas decorations. The Makers’ Market will be open on
Friday 1st December from 6-8.30pm and on Saturday 2nd from 10.30-5pm. Entrance is free – please pop in. There will also be live printmaking demonstrations
to see! Here’s a sneak peak at who will be there: 


Anna’s Drawing Room – Anna makes beautiful nature-inspired prints and cards.

More about Anna’s Drawing Room


Catherine Tiley – Cathy screen prints unique tote bags using paper stencils and will also be selling cards.

Moe about Catherine Tiley


Roly Designs – Georgina makes beautiful patchwork tree decorations, Christmas stockings and cushions as well as pen and watercolour cards.

More about Roly Designs


Lesley Ormrod – Photographer and printmaker Lesley will be bringing cards, calendars and both framed and unframed prints.

More about Lesley Ormrod


Tom Boulton – Letterpress printer & typographic designer Tom Boulton will be bringing a variety of hand printed letterpress cards and stationery.

More about Tom Boulton 


We are Mountain – Sophie’s unique and vibrant prints, tea towels, cards and magnets will be available for sale!

More about we are mountain


Geraldine Leal – Artist/sculptor Geraldine will be selling framed photographs and prints as well as pom poms and small sculptures. 

More about Geraldine


Sue England – Sue’s uniquely printed sketchbooks will be available for sale as well as a selections of screen and Japanese woodblock prints.

More about Sue England


Alison Stewart – Alison’s beautiful work features local maps transcribed into textiles. 

More about Alison Stewart


Barbara Lammas – Barbara will be selling transfer printed cards and scarves using natural forms. 


Claire Fenner – Stock up on your Christmas wrapping essentials with Claire’s cards and present tags.


Erin Tyrrell – Browse through Erin’s cards, prints, crochet and handmade ornaments for the perfect gift.


Holly Newnham – Holly will have a selection of hand printed lampshades, cushions, cards, prints and gifts available for sale. 

More about Holly Newnham


Lin Crompton – Lin’s bringing along her amazing handmade dolls, scarves and Japanese knot bags.


Pomilly –  Millie makes a range of t-shirts and other clothing illustrated with embroidery and crochet as well as patches and brooches
often with a humorous gaze on the human body.

More about Pomilly


Artworks – Nancy from Artworks creates beautiful fused glass Christmas decorations, plates and bowls, framed art and decorative pieces.


Helen Simmans –  Helen will be selling a selection of beautiful glass coasters place mats and key-rings.


Mitmakes – Mitka hand-makes unique textile and leather pieces to wear and for the home with original fabric designs. 

More about Mitmakes

Please come along to our Christmas Makers’ Market this Friday 1st December from 6 – 8.30pm and Saturday 2nd December from 10.30am – 5pm at Handprinted,
22 Arun Business Park, Shripney Road, Bognor Regis, PO22 9SX. 

See you there!

Screen Printing: The Ultimate Studio Guide – Book Giveaway!

We were really excited to hear that Print Club London were bringing out a book on screen printing. ‘Screen Printing: The Ultimate Studio Guide from Sketchbook
to Squeegee’ is a complete screen printing manual that covers everything from designing, through a huge variety of screen printing techniques to setting
up an exhibition. Each chapter focuses on a different printmaker and gives a step by step guide to one of their signature techniques. We’re giving
one copy away to our lucky winner at the beginning of the new year – click here to enter!
This competition closes on the 31st December. 

For a chance to win a copy, enter here


Meet the Maker – We are Mountain

I am Sophie Mutter a printmaker living in Worthing. After graduating from a photography degree at Nottingham Trent University in 1997, I went on to have
a successful career on the picture desk of OK! Magazine. I loved the celebrity world but was always drawn to the sea, and in 2013 finally took the
plunge and left London for Sunny Worthing. Once here I set up We Are Mountain, creating seaside influenced screen prints and linocuts, turning them
into cards, fridge magnets and tea towels. Being able create artwork in my workshop by the sea and freelancing at magazines in the big smoke, means
I have the very best of both worlds!


Describe your printmaking process.

 I start with a photograph. My favourite places for inspiration are the seafront here in Worthing and also the Booth Museum in Brighton.
I work on the photograph in photoshop to break it down into layers, which I then screen print.

How and where did you learn to print?

 I did a tiny amount of printmaking, mainly linocuts, at school and on my art foundation course, but learned how to screen print
on a brilliant course at Westdean Collage with Jane Sampson in 2014.


Why printmaking?

 I was drawn to it mainly because you don’t have to rely on being able to draw well (I’m rubbish at drawing, sadly!) I love the way
you can combine photographic technique with a more artistic approach to create a piece of work.

Where do you work?

 I work on my images at home, and then use the open access studio at Inkspot Press in Brighton.


How long have you been printmaking?

I’ve been screen printing for almost four years.

What inspires you?

I find living by the sea hugely inspirational, I’ve always been drawn to the sea – before I moved to Worthing I lived in Harrow in North West London…
but the decor inside the flat was decidedly nautical… I think living by the sea was meant to be!


What is your favourite printmaking product?

 I mainly use Speedball Screenprinting Inks. 

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

 I sell my work at Inspired By The Sea, the Worthing Museum shop and
Flowers4 in Worthing,
The Jerwood Gallery  shop in Hastings, The Bureau of Change in Southsea, The Art House in Southampton, The Green Tree Gallery at Borde Hill Gardens and online on Etsy, Folksy, Buy The Sea and MicroMkt. I am also
selling at a few Christmas Markets including the Handprinted Makers’ Market!

What will we be seeing from you next?

 The Booth Museum has just acquired the most wonderful taxidermy cheetah (created by ethical taxidermist Jazmine Miles-Long). I have
just started work on a print from photographs I took last week.

I am also planning more full colour tea towels and hopefully fabric that will be made into cushion covers.


Do you have any advice for other printmakers and creatives?

 I’m very new to printmaking, so not sure what advice I could give, apart from there is no right or wrong way of approaching your
work, and if you’ve never tried screen printing before, give it a go, it’s brilliant!

Keep up to date with Sophie and her work on Etsy, her website and instagram






How to Screen Print with Paper Stencils

In this project we will show you how to screen print onto paper using paper stencils. With this method, you can print multiples of your designs in several
layers of flat colour without having to make an exposed screen or using screen filler. When screen printing, ink is forced through a fine mesh onto
a flat surface. A paper stencil will block areas of the paper from receiving ink, creating your design. When using a paper stencil, you should be able
to get 10 – 25 prints made before the stencil starts to deteriorate. 

Standard copy paper works best for paper stencils. It is thin enough to achieve sharp edges but strong enough to block the wet ink. Acetate stencils, although
washable, can slip and ink can get underneath them. Trace your drawing into your separate parts. Each stencil will be printed in a different colour.
This design is being printed in two colours. When making a screen printing stencil, not all the parts have to be connected – you can have ‘islands’
that you put down in the correct place before printing. 

Use a scalpel and a cutting board to cut out your stencils.

If your stencils are comprised of different cut out elements, like these ones, use allows and pencil marks to help you line up the different pieces so
that they don’t get twisted and misaligned when laying them down. 

Next, prepare your screen. A 90T mesh screen is best for printing onto paper. We are using an A3 sized screen with an A4 stencil in the centre. Use parcel tape on the front and back of the screen to block the mesh around the edges. You want to leave an opening that is smaller
than your stencil but allows your whole design to fit inside. Tape the back of the screen in the same way, sandwiching the mesh between the two layers
of tape. 

Hinge clamps are an easy way to print a registered (lined-up) image and to print multiples of one print. These hinge clamps are attached to a board. The screen
is held in the clamps and can be lifted up and down on the hinges. Each time it is placed down on the board it is in the same position. 

Place your paper down on the board and your stencil on top. If using hinge clamps, put your screen down on top to make sure your whole design fits within
the opening. 

It can help to spray a little low-tack spray mount down on your surface to hold your printing paper in place and stop it from sticking to the screen. Mark
the location of the corners of your paper with masking tape. That way you can place each piece of paper in the correct place.

Acrylic screen printing inks are used for printing onto paper. You can make your own acrylic inks by mixing acrylic paint with System 3 Acrylic Screen Printing Medium in a 50:50 ratio. If the proportion of acrylic paint is too high, the paint will dry
in the screen and cause permanent blockages. You can make the colours more translucent by adding more medium to the mix. 

If using hinge clamps, lift the edge of your screen and prop it onto something like a roll of tape. This holds the screen away from the paper whilst you
flood it. Scoop a line of ink along the bottom edge of the opening of your screen. 

Use a squeegee that
is slightly wider than your design. Hold your squeegee at a 45 degree angle away from you to drag the ink up the screen. You don’t need to press hard
at this point. This is called a flood. If you prefer, you can place your ink at the top on the screen and flood down the mesh instead of up. 

The holes in your mesh should be filled with a thin layer of ink. If there are any patched left open, flood again. 

Remove your chocks and place the screen flat on the board. Holding the squeegee at a 45 degree angle towards you, pull the squeegee down the screen. You
need to press firmly and should hear a sound resembling a tent zip. You do not need to add any more ink for this squeegee pull, we are just pushing
the ink from the flood through the mesh and onto the paper. 

Carefully lift your screen to reveal your print. The ink should have stuck the paper stencil to the screen.

Place the next piece of printing paper on the board using your masking tape corners as a guide. Once you have started printing, your ink is at risk of
drying in the screen so you will need to work fairly quickly between prints. Once you have finished this layer, peel off the stencil and use a wet,
soft sponge to clean the remaining ink off the screen. 

When your first print layer is dry, place a print onto your board. Put your second stencil over the top of your print, lining up the different elements.
Check your screen is dry and that your whole design will fit in the opening when it’s placed down. 

For this second layer we are using a pre-mixed Acrylic Screen Printing Ink by Speedball in Gold. Pre-mixed inks do not need any medium added. Lift your screen slightly and flood
with the second colour. 

Place your screen down and pull the squeegee down the screen, pressing firmly. 

Life to reveal your two layer print! Print the rest of your edition using the same method and then peel off your stencil and wash the screen thoroughly. 

To make a paper stencil screen print you will need:

Meet the Maker: Cath Bristow

Hello, I am Cath Bristow, a Brighton based printmaker. I use my printmaking practice to work in community engagement and outreach, facilitating printmaking
workshops across the South East with children, young people and adults within different community settings.


I have my own printmaking practice and my community printmaking practice and the two are inextricably linked. Facilitating the different needs, abilities
and emotions within a group workshop can be both mentally and physically exhausting and to balance this my own practice gives back to me and helps
to refresh my energy. Often working with a group will spark an idea that I might take forward into my own work and sometimes a technique that I have
developed within my own work I will take into my community practice, so the two go hand in hand.


Describe your printmaking process. 

For the last 6 years I have been working in Collagraph. I begin with a drawing but this is the starting point and often as I make the plate the idea will
change and develop. For me it is important to be flexible and not stick too rigidly to a plan or drawing as this leaves room to also work spontaneously.

Using mount board as the base I use a combination of shapes that I cut from thin card and incised lines and areas that are cut from the mount board. Sometimes
I add a little texture by using textured wallpaper, lace, or carborundum. I play around with the layout and arrangement of the shapes and textures
then glue them to the mount board base

To ink up the collagraphs I use the intaglio process of inking and wiping for the incised lines and then I ink the raised card areas with a roller like
a relief print. This is very messy and I always have lots of clearing up to do! Finally I print the plate onto dampened Fabriano paper on a beautiful
Rochat etching press at bip Art printmaking studio in Brighton. Sometimes I make 2 plates
that are registered and printed on top of each other as in my print called “out of the shadows”:

How and where did you learn to print?

I feel like I am learning new things about printmaking all the time! I was introduced to screen print onto fabric and relief print over 30 years ago on
my Art and Design Btec course. I went on to study for a degree in Art and Social Context at Dartington college of Arts in Devon. The course was all
about honing your practice and stripping it back to create an accessible practice to take out and work within a community context. I developed a real
love of low tech printmaking and experimented with cut paper stencil screen print, overprinting and simple block making on paper and fabric. Following
this, I moved to London and began working with Cloth of Gold (now Social Fabric), an
Arts organisation working on collaborative print projects within schools, museums and galleries, working with lots of different simple but effective
printmaking techniques all of which after all these years we are still using with groups on a daily basis.


I have been lucky enough to work with some very skilled printmakers. I am always keen to keep upgrading my printmaking skills and over the last few years
have taken courses in Traditional etching, Collagraph and Zinc plate lithography at bip-Art printmaking in Brighton.

Why printmaking?

The satisfaction of seeing the print develop. Printmaking has so many stages to go through to produce the end result. Moving from the idea, the sketch,
to the translation into the plate, block or stencil, working out what will print, which way around, deciding what elements to keep, how different textures
might print. The element of chance and surprise that printmaking offers. The possibilities of exploring colour and how this impacts on the mood of
the finished print. And I am sure I speak for a lot of printmakers here, I love the surprise element of printmaking and never tire from the excitement,
anticipation and magic of lifting the screen or plate to reveal the printed work.

Why printmaking in community? Passing on the love of printmaking to more people!


Where do you work?

Different places every day, like a printmaking nomad! Could be a community centre, a school, an Art gallery or most recently Chichester Cathedral. I teach
short courses in Printed Textiles at bip-Art printmaking in Brighton. I work with Social Fabric who specialise in collaborative printmaking and participatory projects with young people and adults across the South East. Over the last 4 years I
have worked increasingly developing printmaking workshops within Mental Health and well-being.

I create my printing plates, stencils, experiment with print ideas, mix inks and prepare materials in a studio that I share with a lovely group of makers
in Brighton. I am a member of bip-Art printmaking studio and Screen-art Brighton where I use the presses and facilities to print my work.

How long have you been printmaking? 

I have been leading printmaking workshops for the past 20 years and have been developing my own printmaking practice for the last 15 years.

The first printmaking job I did was t-shirt printing on a play scheme for my local community arts team in Lancaster when I was 19. During this summer I
worked with Social-Fabric, printing t-shirts with young people from the Grenfell community and I thought wow! here I am printing t-shirts 30 years
later and I still love it!

What inspires you?

The power of creativity. Going into a space with a group of young people or adults with blank paper, cloth or t-shirts, most of them having no previous
experience of printmaking and at the end of the session those people leaving with an amazing, colourful, individual collection of prints that they
have created -that is very inspiring!

What is your favourite printmaking product?

A squeegee, a
screen and newsprint have served me very

Caligo oil based water washable ink,
often I am working on a tight budget but even if people are making blocks out of polystyrene pizza trays or cereal boxes they always look really professional
when they are inked up and printed with good quality ink.

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

I sell my own work from my studio,with bip-Art printmaking at the Affordable Art Fair in Battersea and through artist open houses during the Brighton festival
every May.

What will we be seeing from you next?

more fun printmaking projects and workshops hopefully! Over the last 6 months within my own printmaking practice I have been going back to explore screen
printing on paper, so hopefully more screen prints too! I have also worked in collaboration with Brighton-based upholsterer Kiki Voltaire to create a series of limited edition hand screen printed noticeboards.

Do you have any advice for other printmakers?

Join an open access printmaking studio. It is inspiring to work alongside other printmakers. It is great to have access to professional presses, rollers
and a dedicated print studio. It is a really positive experience to work in a collaborative space with others absorbed in their creative processes.
At bip-Art printmaking we have a range of members, some who have just left 6th form college and others who are in their eighties and have been printmaking
for most of their lives. There is a fantastic spirit of generosity within the studio, printmakers sharing their knowledge and tips, making connections
and developing exhibition opportunities with each other.

See more of Cath Bristow’s work on her website.