Eco-LEN

This week at LEN we found that, unintentionally, we were working on the presses without using any power.  We only realised when we noticed how quiet it was!

Andy was printing his new typeface - more on that to come - inking it by hand.

And I (Hazel) was blind embossing from a linocut to create some covers for the 2nd edition of a book.  This was a really good technique for me to try at LEN as Angie and Andy were able to advise on the practicalities of getting my lino type high, and whether or not to soak the paper.  The result was subtle, but perfect for what I wanted, though as usual, in trying to use up some odds and ends I created new ones in the process.

Andy: Printing on a Wharfedale press.

'LOST' Print on the Wharfedale press and the locked forme of the same print. Notice the image printed on the blanket! I learned quickly not to let the press run on without any paper in place.

Andy: Letterpress statement

My work is characterised by the use of both letterpress and illustration, with each being equally important to the final piece. Drawing is an integral part of my practice, and the illustrative element in my printmaking tends to be a drawn image, for example a life drawing. Letterpress is incorporated either as a title, suggestive of a poster, or as longer text, suggestive of a broadside. Sometimes the text subverts the image; sometimes the inclusion of a few letterpressed words with the image create a narrative for the viewer, albeit an often ambiguous one.

I admire the aesthetic quality of print produced by using letterpress; a quality which suits the style of print I strive to create: one inspired by broadsides, broadsheets, old advertisements, political propaganda, satirical and random ephemera and posters. The limitations and flaws of letterpress, be it work type, or the time taken to compose are part of the enjoyment and satisfaction of using the medium.

The current revival of letterpress may be a reaction to the prevalence of the digital format; the use of traditional methods in the face of commodification and standardisation of material culture. In this way using letterpress can arguably be seen as a social and political act- there seems no better medium with which to convey the political and socially relevant themes I intend to engage with, however subtly and ambiguously.

Hazel: Coded

These were printed from lead type, a combination of 10pt leader dots and 6pt ornaments.  I varied the line spacings within the design and printed onto both sides of these A6 file cards, which I had obtained for an earlier project.  

The combination of the format and the print gives the strong impression that they contain detailed information, if only the reader was able to decipher the 'code'.  I printed enough that I could create a small edition of a book, though I am not sure yet that this is what they want to be, so they are now 'resting' while I mull it over. 

Letterpress - Born In The USA

A friend and multi-talented artist, Nataie Mc.Grorty has been researching in the USA for the past six months. She kindly brought back some letterpress goodies for me from the amazing Yee-Haw Press -  Yee-Haw Industries specializes in original art-like products - from letterpress posters promoting special events, music acts and theatre shows to handmade, woodcut, fine art prints. On the Hompage, they have a link to their, again _amazing_ blog and esty shop - don't deny yourself.

Plus, a great invite to the Penland Gingerade from Penland School Of Craft - and a bookmark by the fabulous Sally Alatalo of Sara Ranchouse Publications.

All good fodder for Letterpress Nuts!

Hazel: Dots, Dashes, Forward Slashes

Part of a series I am working on relating to coding and information, I am experimenting with different elements of non-text letterpress to see how I can use these to create the patterns of codes and messages that replicate those we find on everyday ephemera.  Using these wooden shilling strokes got me thinking a lot about scale, and how working with larger type shows up the finer detail in the scuffs and nicks which adds a new level of information to the print.

Angie's Miniprint

A Poem For You

I'd recently read a wonderful publication called, 'Tales To Change The World' published in 2008, by Caseroom Press. I was really taken by a small poem in the book by Gianni Rodari. I read and re-read it - thinking that the poem speaks to all Grown Ups really - and interesting to find it in a book written for children. Although I do believe that Rodari wrote with adults in mind, following the philosophy that adults read aloud to their children. I typeset the Poem with the addition of ornaments and a border to contextualise the text in the prescribed rectangular format - paper size 20cms x 25cms and printed area of no bigger than
3 x 4 inches.

Andy: Mhairi

Hazel: Advent Calendar Project

Angie: x book

2 prints an A4 sheet

The finished book folded and bound

12 'x's locked up and ready to go

I printed a selection of a dozen x blocks on an A4 sized sheet of printing wove - double sided, so four times through the press in total - the paper was then cut and folded into a spiral form to produce a tiny A8 sized maze book.

When we describe how much we love someone or something, we usually say … “this much,” whilst holding out our hands to quantify a particular amount.

This little book, when fully open, simulates that same action, and reflects the universal symbol of love sent, as the letter x.

X= How Much I Love You.

Letterpress printed cloth bound maze book
manually typewritten text on cover 8.5cms x 6cms x 1 cm. 2012

Hazel: Letterpress forest & snowflakes

LEN: ingenious 'Christmassy' use of ornaments - Hazel's really getting into this!

Andy: Christmas is coming - Don't Keep Calm

Andy's working on a new print - seems to sum it all up really ...

Hazel: Ornaments And Atlas Pages

LEN: Inspired by seeing Barrie's book - see previous post - Hazel set to using some ornaments she had found in the print centre, to print on top of various maps, pages from an atlas.

Hazel Grainger: MA Multi-Disciplinary Print Student, focusing on letterpress and artists’ books and ephemera.

I am intrigued by the incidental pieces in type collections - the ornaments, punctuation, symbols, borders images and broken type.  I want to build these up into patterns to print as a ‘coded language’ onto previous printed artefacts such as book, catalogue and atlas pages.  On a broader scale I am using letterpress techniques to create text and pattern in unexpected ways within the production of artist’s books and ephemeral products. 

A Poem To Philip Glass - thanks Barrie.

LEN: I brought in my new book A Poem To Philip Glass made by Barrie Tullett, to show Hazel and Andy - Hazel in particular, as I knew that she would be impressed - she gasped audibly when she saw it.

Isn't it amazing? 

We think so.

Clever Barrie.

So, we're waiting patiently for the next one in the series ...

http://www.barrieagogo.co.uk/Glass.html

http://www.the-case.co.uk/PoemtoPhilipGlass.html

http://www.the-case.co.uk/

Andy: Silkscreen & Letterpress, Manifests

LEN: Andy (or rather just a bit of Andy)holding practice letterpress prints, plus one overlayed onto a silkscreened open background red on red. Nice.

Andy's New Book

LEN: What a bargain - poured over on a LEN break with a cuppa.

Tom's Miniprint

LEN: We we graced with another guest printer this week - Tom Sowden, who was also using a traditional type blocks courtesy of Bob to use as the basis for his miniprint. We think they printed rather well. Tom hand coloured each print; the final result can be seen along with all the other prints from UWE Staff & Students, at the Miniprint Exhibition at Foyles Bookshop, Cabot Circus, Bristol until 28.th February 2012. 

Tom Sowden Website

CFPR Annual Miniature Print exhibition Archive