Month: August 2020

Using a simple square block can create a myriad of possibilities of pattern.

We have used Speedy Carve and Versafine inks for this project.

1. Cut a square from the Speedy Carve using a scalpel.
2. Draw a quarter circle curve on the block using a pencil. Above the curve draw some simple lines fanning from the corner towards the curve.
3. Cut along the curved line with a scalpel – don’t press too hard as you only want to cut down about 1mm. Use a fine V lino tool to cut along the fan lines – we used a Pfeil 12/1.
4. Using a wider U gouge – we used a Pfeil 11/3 to clear away the underside of the curve – cut from the corner towards the curve to create a fan design. We wanted to cut most of the block away here.
5. The finished block
6. Draw an arrow on the back of your block to know which direction it will print.

Now the fun begins!

A simple straight design – keeping the arrow pointing up. The lilac square will indicate how to position the block.

Alternate rows.

Alternate columns will create a semi-circle repeat.

Alternate semi-circle repeat.

Full circle repeat. This is a rotating square.

Staggered full rotation. This is a repeating square.

Staggered full rotation – alternate rows. This is a repeating rectangle.

Half turn repeat.

Half turn repeat – alternate rows.

Three Quarter turn repeat.

Rotating Weave repeat

Rotating Weave repeat turned 90′ – this one is mind-boggling!

My name is Yasmine, founder of Yasmine Charlotte. I create block prints and printed goods, inspired by nature, human forms and daily life.

Describe your printmaking process.

Depending on what I am working on, I would either sketch straight onto the lino first in pencil, and then in a thicker black pen.

How and where did you learn to print?

I learnt the basics of how to print when I was at college doing my fine art a-levels, but I actually hated it, it was a few years later when I decided to buy a kit on a whim from my local art shop.

Why printmaking?

I chose printmaking as a way to connect with my Indian heritage. Also, I loved the idea of being able to create a repeating pattern, as well as the versatility of being able to print on both textiles and paper.

Where do you work?

I’m currently working from my dining table, and there are prints drying all over the house. Once things settle down, I will go and search for a new studio space.

Describe a typical day in your studio.

A typical day would usually start with me walking my dog, as it gives me time to clear my head and work out what I am carving that day, as I normally plan and sketch out my lino a few days ahead of carving. If I manage to carve it all in one day, then I would test print it in black first, as I feel it shows up any mistakes or imperfections better. Once any corrections are made, I will either print the final print (if printing in black) or clean the block and then print in its final colour.

How long have you been printmaking?

I’ve been printing for around 8 years now.

What inspires you?

Lots of things inspire me. The nature of the countryside where I live, world events, people, events in my own personal life, in some ways my art is like my diary.

What is your favourite printmaking product?

There are so many printmaking products that I love, it’s impossible to choose. Right now it’s probably my Cranfield relief inks, of course my Japanese Powergrip tools, and I’d be lost without my Pfeil tools too.

What have you made that you are most proud of?

What I’m most proud of is forever changing, as my work changes and evolves. Currently, I am very proud of my neon series, they have come out so much better than I could have ever have hoped.

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

You can find my work on my website.

What will we be seeing from you next?

I am currently working on a course so that I can pass on my knowledge to other people, more textiles, a return to clothing as well as potentially some wallpaper.

Do you have any advice for other printmakers and creatives?

The main advice I’d give is not to be afraid to try new things and don’t be afraid to ask for help. It doesn’t make you any less creative.

To see more from Yasmine follow her on Instagram.

I am an illustrator and printmaker, working mainly with relief. I work from my small barn studio set in a friend’s smallholding in the Herefordshire countryside. I also run a printmaking studio in Bristol from which (in pre epidemic times) I ran workshops and printmaking events.

Describe your printmaking process.

I usually start with a pencil drawing, followed by a looser ink painting to design my prints. I then make my prints by using Japanese or Swiss carving tools to carve away the areas that I don’t want to be seen. I then ink up and print them on handmade papers using my huge hand-built etching press, Bubolina.

How and where did you learn to print?

I started making prints when I was 19 years old on an Art Foundation at Bristol School of Art. I wanted to turn my pen and ink drawings into large scale posters to wheat paste locally but couldn’t afford the digital printing costs. At the time, it made total sense to me that I should just transfer my images and carve them out of wood to make a giant stamp. I didn’t really consider it a mammoth undertaking, but my first print was a meter long and half a meter wide.  After that I became pretty addicted to the process and hand burnished all my prints for years until my partner persuaded me that he could build a press, and then Cato press, our printmaking studio, was built.

Why printmaking?

It’s an addictive process in itself, carving away areas methodically once an image is designed for me is a kind of meditation. And then, of course, the moment you make your first proof of a design is always very satisfying.

I think for me it’s the political place print lies in the art world that draws me to it. Printmaking with relief is, in my opinion, the most democratic of art forms. You need very little in the way of tools or specialist material to make prints and yet the medium allows anyone using it to get their ideas out there and seen by the people. I’ve always been fascinated with the way print was used during the Mexican peasant revolution to educate and inform the revolt.

Where do you work?

From my little barn room set on a friend’s beautiful six-acre smallholding. It’s got thick stone walls and thankfully an insulated roof, so hopefully, the winter won’t be too harrowing. My neighbours are two geese called Horace and Myfanwy and a flock of beautiful runner ducks. Its all pretty new to me still as we only recently moved to the area from Bristol, but I’m already in love with it.

Describe a typical day in your studio.

I usually arrive at the studio after dropping my kids at school, just after 9, make a coffee and open up my sketchbooks. There’s no internet in my little barn, which I’ve found has been immensely productive for me. If I need to look something up or contact someone I have to walk down the country lane and perch next to the geese to get any signal. I generally spend time drawing, reading and carving, going for a walk when I get a bit stuck or need to work through an idea. The farm dog Bludwen, an ancient black spaniel often comes and keeps me company whilst I carve and listen to audiobooks in the background. The working day ends at 3 when I rush off across the fields to pick my kids up from school.

How long have you been printmaking?

Over ten years now, on an off.  

What inspires you?

My main inspiration over the years has been farming and where it lies in our collective modern culture. I grew up in a very urban environment, on a council estate, completely disconnected from my food and where it comes from. I think my work has always revolved around going back to the land, a simpler and more rural way of life, the importance of this and our own responsibility for taking care of the land on which we rely.

What is your favourite printmaking product?

I couldn’t survive without my caligo safewash inks, I love them so much and it was such a revolution for me to be able to move away from oil based. I also love my Pfeil carving tools. 

What have you made that you are most proud of?

I think the three calendars I have worked on for the Landworkers’ Alliance would be one of my biggest achievements. Working for such a brilliant organisation, whose work I believe in has been such an honour over the years.

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

On my website and in some lovely small shops around the UK, there should be a list on my site.

What will we be seeing from you next?

I am working on some seed sowing guides for flowers and vegetables and really excited to be releasing them later this year.

Do you have any advice for other printmakers and creatives?

Just keep going, keep dedicated and believe that if you spend your days doing what you love it will all be worth it. I had some very rough and very poor times starting out where I wanted to throw it all in and get a job in a cafe, I’m so glad now that I had the support I needed and persevered.

To see more from Rosanna follow her on Instagram.

I was born in London and my parents are from Trinidad and Tobago. I have always been creative: I listened to a lot of Jazz, Soul and Reggae music growing up, and later in my life I had the great opportunity of going to the Guildhall School of Music and Drama to study Jazz. I started singing with a Jazz band in pubs and clubs around London in the late 80s, early 90s.

Describe a typical day in your studio?

First a cup of Yogi Tea. Since the lockdown I have been printing a lot, improving my ink to roller ratio (I usually put too much). I try practising with different amounts, using different types of paper and keeping it simple. I usually start early in the morning and think about the photo or picture I want to create onto the lino, and whether I want to use colour or just black and white. Nowadays, I am able to spend most of my time drawing, printmaking, carving, inking and pressing in my small workplace while listening to Chill out, Jazz Blues, Soul and Reggae music.

How and where did you learn to print?

I started to learn about printmaking in the South of Italy in Bari, in 2018. I was living and teaching in Italy. I remembered I had brought with me a pack of tarot cards by Michael Goepferd and Brian Williams called ‘The Light and Shadow’. The pictures on the cards are done in woodcuts and I loved them. I began to find out the history of printmaking (thank goodness for YouTube), this was where I learnt a lot about lino printmaking. I watched every video I could find on YouTube from the cutting to printing, the different types of tools, inks, paper etc. Finally, I ordered what I needed to begin my printmaking journey. By the time my order arrived I couldn’t wait to start, I was hooked.

Why printmaking?

I love printmaking because I like working alone. For me, it is another way of being creative beside playing music, where I would normally sing, I now use printmaking to draw, design, experiment with inks and paper plus relax and just be quiet sometimes.

Where do you work?

Since being back in London I work from home in my living room. I have lots of windows and lots of light, it is very comfortable. I am messy so I try to be a bit more organised with the inks, lino, and keeping my Pfeil cutting tools nice and sharp. I am still learning about printmaking therefore working from home suits me.

Describe your printmaking process?

I mostly use hessian backed lino and occasionally softcut lino. I look through many types of images, illustrations, and photos (old and new) to create threads of ideas. I sometimes mix up ideas to see the effect they have when I am designing my greeting cards. There is not a particular plan.

How long have you been printmaking?

Not very long, since January 2018. I still have so much to learn. I want to improve my relief printing and learn how to make better registration prints and use different colour combinations.

What inspires you?

Music, photography, children, travelling. Other printmakers like Elizabeth Catlett (pictured above). Her images and storytelling, using black and white prints reflect my Caribbean roots which inspires me as well as my English roots.

What’s your favourite printmaking product?

Oh Wow, I have to say my Xcut press. It is by far the most awesome piece of machinery I have ever bought. With a little of bit experimenting it can produce some very decent prints.

What have you made that you are most proud of?

My first ever reduction block was on a course I did with Steve Edwards at The East London Printmakers Studios, it is called “The Zebra Head”. I loved being in the studio with the other printmakers, using the big old press for the first time and getting 6 good prints at the end of it. I later had the print made into a dress.

What will we be seeing from you next?

What’s next for me is building up my Etsy online shop. Getting traffic and sales, trying different marketing ideas, improving quality and creative content for my greeting cards, getting feedback from customers, in the UK, Europe and around the world.

Do you have any advice for other printmakers and creatives?

Make the things that excite you, try not to follow the norm. When something is not working or gets really hard – stop, do something else or leave it till the next day (if you can). Come back and start again and if you are still not happy, ask for help.

To see more from Sandra follower her on Instagram.