#24 hands printmaking

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(Polly E. Perkins, “Woodstork Portrait”, 2022 from Ferman Center for the Arts)

24 Hands is a printmaking collective of Florida Gulf Coast printmakers founded by Marjorie Greene Graff. The group has regular exhibitions throughout the year at various locations in the area.

Recently a group of their artists were showing work at The Ferman Center for the Arts, on the University of Tampa’s campus. Below are a few selections from that exhibition.

For more information on Polly E. Perkins, whose work is in the first image, check out her Instagram.

Linda Dee Guy, "Botanical Shroud", 2021, acrylic, Inkjet print, Goldleaf on canvas

Linda Dee Guy, "Nucleus", 2021

Linda Dee Guy, "Seascape", 2021

For more work by Linda Dee Guy, check out her website and Instagram.

Serhat Tanyolacar, "Untitled", 2020, Laser engraved relief print

Serhat Tanyolacar, "Untitled", 2020, Laser engraved relief print

For more work by Serhat Tanyolacar, check out his website.

Ry McCullough, "Meditations in Orange", 2021, Pochoir, serigraphy, gouache, watercolor, vinyl, gaffers tape on okawara

For more of Ry McCullough's work, check out his website and Instagram.

Currently at Brooker Creek Preserve's Education Center in Tarpon Springs is Nature Inspired, another exhibition of work by the 24 Hands collective.

From the exhibition-

For “Nature Inspired”, the artists visited Brooker Creek Preserve in March 2022 and March 2023 to strategize the exhibit and hike around the Preserve. Their love for Brooker Creek and nature has been inspiring and their work represents a variety of approaches from comical to realist to aesthetic abstraction. The exhibition includes prints by: Holly Bird, Saumitra Chandratreya, Tyrus Clutter, Elizabeth Coachman, Marjorie Greene Graff, Mary-Helen Horne, Stephen Littlefield, Ry McCullough, Polly E. Perkins, Christine Renc-Carter, and Rachel Stewart.

Below is work from the exhibition by Mary-Helen Horne. You can also find her work on Instagram.

Mary-Helen Horne, "Floating on Air", 2023, Monoprint with drypoint, relief and pochoir

Nature Inspired has been extended until 8/13/23. It's a great show and a chance to check out the natural surroundings that helped create the work.

[weirdly-specific-but-ok]

Morning News with Asmi 14 Oct '24

OOPS I FORGOT TO MAKE A POST YESTERDAY AND SO I GUESS 13TH OCTOBER WILL REMAIN A MYSTERY FOREVER. AAAAAA. ANYWAY HI IT'S TECHNICALLY MORNING OF 15TH TODAY BUT IT'S TOO EARLY TO CARE IT'S 14TH IN TEXAS MMKAY.

1. HURRICANE UPDATE: PEOPLE ARE NOW SHIPPING THE TWO HURRICANES. THERE'S FANART BASED ON THE VAGUE FACE SHAPES THEY MADE?? EVERYTHING IS FINE.

2. I MANAGED TO SURVIVE A VERY SMALL BIT OF THE SPICIEST CHIP IN THE WORLD EVEN THOUGH MY FRIEND WHO LIKES SPICY FOOD ATE THE SAME SIZE TEENY BIT.

3. THE BIRD, REDDIT, FLEW BACK HOME TO ITS HUMANS ON SUNDAY?? ITS HUMANS WERE THE CONSTRUCTION WORKERS FOR THE PLOT NEXT DOOR? SO... THE BIRD JUST WANTED A GODDAMN NIGHT AWAY AS A HOLIDAY WHILE ITS HUMANS WERE SEARCHING FRANTICALLY FOR IT?? IM

4. MY FRIEND INTRODUCED ALIEN STAGE TO ME LAST NIGHT (YEAH THREE OF US JUST RANDOMLY HAD A SLEEPOVER ON A MONDAY EVENING ART SCHOOL IS FINE WE'RE FINE) AND AAAAAAAAAAAAARGH IVAN MY BELOVED AAAAAH SUA AAAAA MIZI (FOR OUR PRINTMAKING CLASS, THE FRIEND--THE SAME ONE WHO THOUGHT TUMBLR WAS DEAD--MADE FANART OF THEM) OH NAAAAAAY CLEMATISSS AAAA

5. NORTH KOREA IS ABOUT TO ATTACK SOUTH KOREA APPARENTLY?

6. SOMEONE NAMED DAVID ALABA HAD AN INJURY WHICH MIGHT AFFECT HIS CHANCES AS REAL MADRID. WHAT THE FUCK IS REAL MADRID? FOOTBALL? CAR RACING? BASKETBALL? YAHTZEE?

7. I FINALLY LEARNED HOW TO PLAY UNO AND I WON THE FIRST PROPER GAME I PLAYED AND IT WAS OF UNO FLIP IM A GENIUS

AND NOW FOR THE WEATHER AND I SWEAR I WILL NOT FORGET ANY CONTINENTS THIS TIME

1. Australia: Hot and stinky. Just like me. I didn't shower yesterday.

2. Asia: Wet. Water. Wet wet sploosh. But not the ao3 way.

3. North America: Hurricane gay porn season I guess.

4. South America: Cloudy with a chance of moqueca.

5. Antarctica: ...still green. I wonder why my brain said piss-coloured. Green isn't piss. I mean. Piss isn't green. It's too early for this.

6. Europe: COZ IT'S TOO COLD FOR YOU HERE AND NOW SO LET ME HOLD BOTH YOUR HANDS IN THE HOLES OF MY SWEATER

7. Africa: The sun peeks out uwu from clouds

AND THE ANSWERS TO SATURDAYS CROSSWORD:

1. Baby food that adults can be allergic to: Milk. Well. It's not an allergy, it's an intolerance. Which involves different biological processes and not being able to digest it rather than the body reacting to an allergen. Shhhh. I never claimed to be smart.

2. Makes shitty copper: El-Nair (thanks @arkytiorlecter for that wild ride)

3. A condition that causes strong reactions to panic and pain at certain sounds: Misophonia (ily mad thanks for educating me @falling-raine)

4. A decaying virtual room of insanity orgies from the 10's: Tumblr

5. With ____, anything is possible: BARBIE!

IM TOO LAZY TO MAKE A CROSSWORD SO INSTEAD HAVE THE LESBIANS I PAINTED FOR MY PRINT-MAKING (MY OC'S)

AND BANGALORE PALACE WHICH I VISITED ON SUNDAY:

I LOVE YOU FORGIVE ME FOR MY NEGLIGENCE HAVE A WONDERFUL DAY/NIGHT MAGGOTS OF MINE

[cassraven]

My online shop called Dirty Rat Grrl Creations is having a holiday fall/autumn sale going on from now until 12/1/24. Everything listed from hand-sewn made bat plushies, heart shaped anatomy themed cute plushies, relief printmaking made punk/goth/metal themed fabric sew patches, and other art like hand embroidery hoop pieces are all half off on sale.

If you’d like to get a head start on purchasing something alternative gothic or punk to gift yourself or a loved one before Christmas holidays start, then please pay a visit to my shop online Etsy linked below here: https://www.etsy.com/shop/DirtyRatgrrlCreation

Or if you’d like, take a look at future items coming soon that I’m creating at my Shop/Art Instagram here: https://www.instagram.com/dirtyratgrrlcreations?igsh=NTc4MTIwNjQ2YQ%3D%3D&utm_source=qr

https://www.instagram.com/dirtyratgrrlcreations?igsh=NTc4MTIwNjQ2YQ%3D%3D&utm_source=qr

[thatsuncleharrytoyouyoungman]

new bucket list attempt everything on this list at least once

Master list of creative hobbies

Art creative hobbies

1. Botanical illustration

2. Architectural drawing

3. Urban sketching

4. Comic and manga illustration

5. Children’s book illustration

6. Digital art and design

7. Figure drawing

8. Fashion illustration

9. Mapmaking

10. Doodling and zentangle

11. Sticker making

12. Coloring books (for adults)

13. Paint by numbers

14. Diamond painting

DIY creative hobbies and crafts

15. Soap making

16. Resin molding

17. Button making

18. Candle making

19. Basket weaving

20. Terrazzo

21. Sand art bottles

22. String art

23. Perler beads

24. Seed beading

25. Wreath making

Industrial creative hobbies

26. Woodworking

27. Woodturning

28. Wood burning (pyrography)

29. Glass blowing

30. Glass etching

31. Stained glass art

32. Concrete molds

33. Jewelry making

34. Leather working

35. Metalworking and welding

36. Metal embossing

37. Mosaics

Sculpting and carving hobbies

38. Sculpting

39. Ice sculpting

40. Wood carving

41. Pottery

42. Soap carving

43. Sand sculptures and sandcastle building

Printmaking creative hobbies

44. Linocut printmaking

45. Woodcut printmaking

46. Screen printing

47. Rubber stamping

Needlecraft creative hobbies

48. Sewing

49. Cosplay

50. Embroidery

51. Cross-stitching

52. Crewel

53. Needle felting

54. Quilting

55. Crochet

56. Amigurumi

57. Knitting

58. Arm knitting

59. Needlepoint

Fiber arts hobbies

60. Visible mending

61. Macrame

62. Weaving

63. Rug tufting

64. Punch needle

65. Latch hook

66. Lace making

67. Dreamcatchers

Miniature creative hobbies

68. Model building

69. Painting miniatures

70. Dollhouses

71. Fairy gardens

72. Bonkei

73. Diorama making

74. Putz houses and nativity scenes

75. Lego MOC

Stationery and lettering hobbies

76. Calligraphy

77. Hand lettering

78. Art journaling

79. Bullet journaling

80. Card making

81. Scrapbooking

Papercraft creative hobbies

82. Origami

83. Papercraft modeling

84. Paper quilling

85. Collage art

86. Paper making

87. Bookbinding

88. Pop-up making

89. Paper mache

Digital creative hobbies

90. 3D printing

91. Stop motion animation

92. Graphic design

93. Photo manipulation

94. Game development

95. Raspberry Pi

Plant-related creative hobbies

96. Bonsai

97. Tree shaping (Pooktre)

98. Terrariums

99. Aquascaping

100. Flower pressing

101. Flower arranging

102. Topiary gardening

103. Seed art

104. Rock gardening

Other creative hobbies and crafts

105. Puzzles

106. Sudoku

107. Crossword puzzles

108. Writing

109. Learning a foreign language

110. Cooking

111. Music

112. Photography

113. Dancing

114. Sports

115. Improv

116. Nail art

117. Baking

118. Magic

119. Tarot cards

120. Card stacking

121. Collecting

[optikes]

1 Cyril Power (1872-1951) UK The Eight  reduction lino cut print (1930) 32.3×23.4cm

2 photographer unknown

economist.com  

IT HAS become the custom nowadays,” wrote Claude Flight, a British artist, in 1926, “to go to a shop for the tools of one's trade.” Flight was scornful of shoppers and liked to make things for himself. He kept his own bees and championed the art of the linocut, believing that the use of cheap materials would help democratise art and bring it to the attention of the masses. For his own linocuts he insisted on “a sharp penknife—such a very rare thing among art students” and a gouge he fashioned by fitting a small wooden handle onto a rib he cut from an umbrella.

Hard to imagine health and safety regulations allowing children today to have such fun. But Flight, who was a friend to Henry Moore, Ben Nicholson and Barbara Hepworth, inspired many pupils at the Grosvenor School of Modern Art, where he taught, wrote and organised exhibitions on linocuts.

Among the most famous was Cyril Power, an extraordinarily creative printmaker, born in 1872, who soaked up Flight's enthusiasms and gave them new force. Power drew on many influences—of the German Expressionists (who invented linocutting before the first world war), the Italian Futurists, the Vorticist prints and paintings of Wyndham Lewis—and the enthusiasm for speed and movement that marked the work of so many artists of the period, from Natalya Goncharova to Marcel Duchamp.

While the work of the Germans, Italians, French and Russians has become very well known, the prints and linocuts made by Power and his fellow British artists have lingered in the shadows. An inspired little exhibition—the first major show of Modernist British prints in America, which began earlier this year at the Museum of Fine Arts in Boston and is now at the Metropolitan Museum in New York—will help change that. So too will a newly opened show at a private gallery in London that gathers together for the first time prints of all 46 of Power's linocuts. Some are for sale; others have been lent by museums and private collectors, of which the most important are two New Yorkers, Leslie and Johanna Garfield.

The first impression of the Power show is that he lived his life in reverse. Until he was almost 50 he followed in the professional footsteps of both his father and his grandfather and practised as an architect, making a name for himself also as the author of an erudite study entitled “English Medieval Architecture”. Then, as Philip Vann explains in an elegant essay that accompanies the show, he “embarked on a kind of Gauguin-esque adventure”, leaving his wife and four children to enrol in art school in the company of a 24-year-old artist, Sybil Andrews.

The early prints in the show were made by a middle-aged man and it shows. In black-and-white there is a bridge at Rickmansworth, a street corner in the sleepy Suffolk town of Lavenham. Then suddenly the movement of the windmill in “Elmers Mill, Woolpit” gives an indication of what is to come. Starting in 1930, when he was already 58, Power takes to speed as if he had taken personal charge of the Futurist manifesto, which C.R.W. Nevinson co-signed with an incendiary Italian, Filippo Marinetti, in 1914, with the words “Forward! HURRAH for motors! HURRAH for speed!…HURRAH for lightning!”

Power allows light, noise and speed into everything he sees. Using a series of easily recognised colours, particularly “Chinese orange”, “chrome orange”, “viridian” and “Chinese blue”, he created images of merry-go-rounds, rowers, acrobats, dancers, runners, hockey players and, of course—given that some of his influences were Italian—beautiful cars.

The most successful are those, like “The Eight”, in which the element of formal design is most visible. But Power's vision as an artist really comes to the fore in works containing a hint of menace. The bourgeois-assaulting spirit of Italian Futurism, Mr Vann explains, had fallen into the malign hands of Mussolini and was about to give way to Fascism, while Freud's and Jung's obsessions with the unconscious were increasingly helping to throw up visions of fears, hopes and dreams.

“Monsignor St Thomas” (1931, pictured at left) is a brilliant working of the murder in the cathedral of Thomas à Beckett, but it is technically skilful rather than edgy. The really potent, and most modern-looking, of Power's linocuts are those that lead the viewer right to the edge. These start with “Tennis” (1933, below), a magnificent rendering not just of the energy of the centre court, but of the physical and psychological effects of slicing and spinning—sport at its most gladiatorial.

As the 1930s move towards totalitarianism and then war, Power's work takes on a darker hue. The tube trains and the escalators of the London subway system provide ample opportunity for exploring man's addiction to the rat race. Two further works seem remarkably prescient. In 1934 Power made a linocut which he called “Exam Room”, full of hunched-up concentration and a complex set of figures that show, in turn, fear, nerves, gloating, dreaming—and one who is slyly distracting a neighbour. Watching over them is the overbearing timekeeper and the all-seeing eyes in the ceiling.

Similarly, “Air Raid”, which Power made in 1935 and which has been lent to this show by the RAF Museum in Hendon, is an extraordinarily filmic response to a period of history the artist had not yet even seen. It would be another five years before the start of the Battle of Britain would make such imagery routine. Cyril Power was not just an artist, he was a visionary

[k00289234]

Tuesday 30/01/24 (Printmaking)

On Tuesday I made more prints using foam stuck on the back of the lino blocks. There was a box of foam letters in the printing room that we could use to cut our shapes from. I ended up cutting out shapes to look like bolts of energy, as repetitive hand movements release a lot of energy.

I did a few prints using that.

I then made another stamp on the back of my other lino block, this time a round swirl shape that represents the repetitive loop of self regulating hand movements, and also is similiar to a fingerprint in a much simpler way.

I then decided to combine my prints with the ones I made on Monday. It took me a few tries but I was able to but the energy bolts on top of one of my finger snapping linos.

[k00290033]

For the yellow sheet, I decided to draw an iterator from the video game Rain World. Iterators are sentient supermassive biological computers, big enough that cities could be comfortably built atop them. Several different types of organisms carry out tasks that make up the whole.

I found that I saw images in these sheets from the imperfections in the ink. The blue one looked as if there was a figure out of the white dots. The red one seemed like it had pingerprints on it, They're not too visable but it's the slightly darker red spots near where I drew the metalic hands.

During the printmaking workshop, I made a few sheets of single colours, with the intent of making more work out of them outside of the workshop.

Exporing materials & Secondary research 14/11/24

[visuallanguageclaire]

Printmaking Workshop - 6/11/24

In today's workshop experimenting with mono screening printing. I found the process quite straight forward to follow and I feel I achived some success in these prints related to my stranger brief.

The narrative behind the prints, the eyes are to reinforce the eye of someone or something keeping an EYE on you. I also refer the eyes to self, keeping check on yourself. The idea of being on your guard about everyone you comes into your life. The hands in the prints suggest the need for escape and a sign of help because in this city no one communicate to one another which would be difficult to cope with. I finally included abstract shapes from my finger tips onto the print and the eye in the centre to suggest the main theme in relation to the eyeball watching your every move.

[k00320853]

7/10/24 Workshop - Printmaking

I chose to do printmaking for this week's workshop, as I was eager to try out a discipline I had little to no experience in (aside from a linocut or two in Leaving Cycle). Also, the idea of mass production, of things being churned out on an assembly line, resonated with my project.

We began with monoprinting. My first attempts were merely texture studies, looking at how different tools and objects created variations in line or shade, whether that be thicker or thinner, darker or fainter, smooth or sharp. I used everything from pens and pencils, my hands, paintbrushes, highlighter markers, erasers, rulers, even the base of a coffee mug.

For my first few proper prints, I used what I had learned from my studies, but I was still playing around with the technique for the most part, trying out little drawings (partly inspired by the Monty Python animations by Terry Gilliam), before moving on to more project-based work.

Trees have always intrigues me, due to their sheer scale, and complex form. I felt a barren, leafless tree would be a striking image, and would be well suited to the medium of printing. It was purely imaginative, no reference photos or anything. At first, I was trying to be very neat with my lines for the branches, but as I went along, my lines became more expressive and wild.

Now we began to remove the ink directly from the plexiglass using rags and white spirits. This lent a more fluid, wavy look to our prints. As we removing dark areas rather then applying them, I thought it would be interesting to depict a face coming out of the shadows by removing layers of ink. The effect was well suited to the monoprinting, and I will certainly considering doing something like this again later in my project.

By now, we had moved on to multi-tone prints. As my new direction in the project focused on the self, I thought it appropriate to begin with a self-portrait. I sketched out a design onto the plexiglass with marker, then applied each colour separately: first yellow, then pink, green, blue, then black. However, the result was a little disappointing: I chose not to print one colour over another, but keep them separate, which made the picture come off as very flat. Also, the technique itself didn't allow for great detail, making it seem too basic, almost amateurish.

[florasearlethirdyear]

FMP: Laser Cutter for Intaglio. LO1 & LO2

Week 4

Cuts precisely on thin plywood and sheets of acrylic, especially acrylic. This is less expensive than the traditional copper.

Can use digital work or scanned hand drawn

Effective method as there is scarcity of original letterpresses

Note for machine use:

Best results with the text as solid black and raster cut at 80% power, 20% speed, while the artwork with fine lines were vector cut at 5% power, 10% speed. Cuts don't need to be deep.

Lewis, S. (2012). Laser Cutter for Intaglio & Letterpress Printmaking. [online] Available from: https://shellielewis.wordpress.com/2012/01/24/laser-cutter-for-intaglio-letterpress-printmaking/ [Accessed 22/02/2024]

The Process:

Laser with raster power 80, raster speed 20. Vector power 5, vector speed 10.

A small dollop of etching or relief ink applied to the plate, ready for spreading.

The etching ink is wiped deep with tarlatan cloth. Continue till spotless.

Ink applied to the laser cut plates, ready for the dampened paper.

The result:

Further detail:

Hudson. (2012). Laser cut intaglio printing. [online]. Available from: https://www.nycresistor.com/2012/01/21/laser-cut-letterpress/ [Accessed 22/02/2024]

I have watched the introduction video for the intaglio printmaking at uni but I wanted to make sure my idea was possible. This information confirmed it was viable. Communication between the innovation studio and the printmaking studio will be key to the success of the project. But first, designs of my prints are needed to get this project going.

[aangussca]

Gallery visit: MCA Tacita Dean exhibition PART 2 (13.12.23)

Context: Tacita Dean is an artist who reflects on nuances and transformations that exist in memory, impermanence/mortality, time, and the natural environment. She articulates these themes through her approaches to celluloid film, photography, drawing, printmaking and installation.

My Reflection: I was intrigued by the approaches Dean took in the production of her works, particularly of her films and drawings (composition, colour/light, tactility/texture, sound, etc.). I noticed an overarching theme of 'the archive', alongside the other themes (mortality, nature, memory, spirituality, etc.).

In the presentation of her works, elements of theatricality and transformation respond to and connect these themes together. However, they are grounded by personal narratives within the work (which can either be read by audience as Dean's (the artist) experiences or as their own).

Inferno (2021, photogravure series with screenprint)

Description: "Inferno (2021) is an eight-part photogravure with screenprint elements made with the Danish master printmaker Niels Borch Jensen. It depicts an inverted mountainscape, similar to Dean’s drawings in negative for the ballet backdrop, but uses found 19th- century photographs overlaid and inscribed with marks, fragments of hand-drawn text and collage."

Exceptional Study for 'Threshold of Purgatory' (2023, coloured pencil on a photo-negative print)

Description: "The negative is a key motif in Dean’s designs for The Dante Project. Exceptional Study for ‘Threshold for Purgatory’ (2023) is a large-scale image of a jacaranda tree that Dean first photographed in Los Angeles and printed as a negative, transforming the vivid purple foliage into ethereal green, with a hand-coloured background in white pencil."

Paradise (2021, colour anamorphic short film (35mm, 24 mins 30 secs) with music 'Paradiso' by Thomas Adès - screencaps and video excerpt below)

Description: "Paradise (2021) is a 35mm Cinemascope film presented in an architecturally designed pavilion. The film is abstract but refers obliquely to the planetary motifs in Dante’s poem, and its vibrant colour palette is inspired by the watercolours of artist and poet William Blake (b. 1757 – d. 1827). The film’s soundtrack is a MIDI digital simulation of Adès’s 'Paradiso' that was created as a guide until the orchestra were able to convene to record the score after the COVID-19 lockdowns."

[longlistshort]

Matisse's Jazz series at Hammer Museum

Matisse's Jazz prints at Palm Springs Art Museum with work by Ellsworth Kelly

Both Hammer Museum in Los Angeles and Palm Springs Art Museum are showing prints from Henri Matisse’s Jazz. It’s interesting to see the same work but in two different contexts based on the curation.

At Hammer Museum they are part of the group exhibition Sum of the Parts: Serial Imagery in Printmaking, 1500 to Now, on view until 11/24/24.

From the museum-

Printmaking’s capacity for serial imagery was recognized during the Renaissance in Europe and has continued to be explored by artists across centuries and geographies to creative, oftentimes experimental ends. Print publishers had a hand in issuing series, which could be conceived complete from the start, expanded from shorter sets, or even formed from existing bodies of related works. Diverse organizing principles have shaped the serial format, including pictorial narratives, iconographic groupings, formal innovations, thematic variations, and sequences measuring time and marking place, as well as structural, modular, and conceptual progressions. Importantly, the creative act itself is an open-ended serial pursuit, with each gesture, idea, and decision interacting with or informing the next.

While we can appreciate an individual print extracted from a series as a work in its own right, our visual perceptions, intellectual interpretations, and emotional responses shift when we view multiple images collectively: the whole becomes greater-or other-than the sum of its parts. New meanings surface as commonalities, patterns, or differences emerge. Selected from the collection of the Grunwald Center for the Graphic Arts, this exhibition presents prints conceived as sets or series and further considers artists’ informal serial procedures and approaches to printmaking across five centuries.

At Palm Springs Art Museum they are part of Art Foundations, which places different works together in from their collection into groups organized in different themes. Matisse is paired with Ellsworth Kelly in a section devoted to “artmaking through the angle of a given concept, with each wall dedicated to a single concept: pure color, automatic painting, text as a motif, or ready-made.”

From the museum about the exhibition-

Art Foundations explores how various art forms have been produced throughout the last two centuries. It presents a succession of artwork groupings across multiple media and disciplines, bringing together works not usually shown in the same space. Meant to be visited clockwise, each gallery provides a different angle on what we consider art, with each grouping questioning how art is made, why, where, and by whom.

This presentation shifts the lens through which we look at art, allowing us to explore gallery after gallery, the conception and the material of artmaking, and the spaces where it is created. Art Foundations brings together academically trained and untrained artists as well as visual arts, architecture, design, and glass, displaying the breadth and interconnectedness of the museum's collection.

For more on Matisse's Jazz, The Metropolitan Museum of Art provides detailed information on its website.

[screenstretch]

From East London Printmakers @eastlondonprintmakers (Instagram) 💛🖤

➡️ https://linktr.ee/eastlondonprintmakers ⬅️

Join us for our Screenprint on Fabric courses in the New Year!

These wonderful courses take you through everything you’ll need to know about screen printing on fabric. Starting with selecting designs and exposing screens, moving on to how to set up and work with fabric screens, to specialist technical knowledge on hand to help you ease effortlessly into professional standards of printmaking.

We have two courses starting in the new year, one running on evenings and the other is a day course. Swipe to see the course dates.

5 Evenings

17, 24, 31 January and 7, 14 February

7pm until 10pm

3 Days

17, 14, 21 February

10 am until 4:30pm

FIND THE LINK IN ELP BIO!

#eastlondonprintmakers #elpcourses #elpworkshop #screenprintingclass #screenprintingonfabric #fabricprinting #fabricdesign #printsonfabric #screen #silkscreen #learntoprintmake #londonprintcourses #londonprintstudio

[waitingformyfavoritesongs]

22 April 2023 Saturday 1:03 am pt

Incubus is threatening me not to put up 🆙 my intaglio print picture here. It’s on my Instagram. He is burning 🔥 my vag. Benny blanco put up 🆙 that song 🎵 on his post George Michael. Michael sounds like my kill. 1:06 am pdt no one seems to care though. I haven’t seen any progress towards resolution. Only threats to tear me apart. I wish I never dated Scott. He wasn’t worth getting to know for me Bcz I don’t like 👍 him now. Hot 🥵 above right ear 👂. If they’re threatening me what is it they’re afraid 😱 of? That people will believe me? Bcz my print was made between fall 2007 and spring 2008? And Amar Malik article said July 2010? 1:10 am pdt it would (left hip bone 🦴 pain) point it in my favor slightly but no one likes me so no one will do anything to help me... so? 1:11 am pdt

1:13 am pdt stereo hearts 🥰

1:14 am pdt never going to dance 💃🏻 again Bcz my hip bones 🦴 etc are being taken away. 1:15 am pdt

1:17 am pdt do you think stereo hearts 🥰 sounds like it was written by a girl 👧 or a guy? I would like to see a poll on this. If you didn’t know who. Wrote it. Curious to know what others think 💭 only for experimental purposes. 1:19 am pdt

1:20 am pdt I want (back pain sharp) my bones 🦴 back and my youthfulness! My health. I don’t care about the money 💰! 1:21 am pdt 😞😖😭 1:22 am pdt I want this nightmare to be over!

1:23 am pdt I want to be able to work hard again without consequences such as losing my bones 🦴 and brain 🧠! 1:24 am pdt 😫😤😰

1:25 am pdt incubus attacked my skull 💀 and probably brain 🧠 today from trying to walk 🥺😖😭 1:26 am pdt

1:29 am pdt years and years of postponement and unfulfilled promises so a lot of stuff I won’t believe until I see results. A lot of stuff is like in reruns. 1:31 am pdt my hotel 🏨 is not giving us extra recycling and compost bins... 🤷🏻‍♀️ Nothings changed. Composting should be mandatory everywhere. 1:32 am pdt

1:33 am pdt acid throat pain no tengo dinero. It’s too bad Travis McCoy didn’t become a millionaire. Wait did Bruno Mars? Did either of those guys do stuff in the billionaire song 🎵? Who can I ask for money 💰? 1:35 am pdt Benny Blancos post literally day after my birthday 🎂 so it looks intentionally dedicated to me about not being able to dance 💃🏻 again. 1:36 am pdt and Amar Malik has some weird posts with a pink liquid spill. Rose 🌹 Rosa pink . Shana = beautiful, rose 🌹, Lilly 1:38 am pdt right arm acid throat too

1:41 am pdt incubus pointed something out to me days ago. It sometimes hard to think 💭 when I can’t breathe 🧘🏻‍♀️ and fighting for my life. So it’s okay 👌 if I’m a whore and it’s my fault 🤦‍♀️ Bcz I shouldn’t have dated me for I don’t remember how long how many days but I don’t think 💭 it was more than 2 months. Some people say by the third month you will know if something will become long term? I don’t really remember spending July 4 th with Scott in 2007. Trying to remember but it’s hard. I used to keep everything. But I was bad at putting dates on drawings ✍️ in my sketch ✍️ books 📖. I guess it was my fault 🤦‍♀️. I don’t have a lot of experience with dating. I guess I never learned until Q said it’s supposed to work immediately. But that was after s*x with Scott. I was trying to see if people would grow on me. I was better off hearing the advice b4 not after. My parents are divorced and they have a huge age gap. My parents were pen 🖊 pals. But I guess my dad rushed my mom Bcz he was already very old. He wanted/needed to have babies 👶 ASAP I guess. They tried to make it work. They weren’t the right fit unfortunately. 1:51 am pdt teeth 🦷 pain 1:52 am some times you just bite the cookie 🍪 5 year engagement. My dad had a fiancé who was stolen by another man 👨, so he had bad luck. 1:53 am pdt my dad wasn’t rich 🤑 I think the other man was? 1:54 am pdt

2:21 am pdt while I was at UCB my eczema on my hands 🙌 got worse so I stopped printmaking. 2:22 am pdt I didn’t do printmaking my second year and beyond. 2:23 am pdt

2:37 am pdt incubus is extremely biased and extremely WRONG 😑. He or she is vilifying me about dating Scott. I was attracted to him too much. And I wanted it to work out 🏋️‍♀️ I wanted to like 👍 someone I was attracted to. But I guess it was too dangerous a situation and I didn’t realize it. Bcz it was hard for me to say no even though I wanted to and meant to say no, he physically didn’t allow me to say no. He physically stopped 🛑 me from responding and went for it. 2:41 am pdt that was probably only the second or third time we hung out even though I don’t remember anymore I think 💭 I used to think 💭 I remembered it being very early on. Too early. Bcz I wanted to say NO Bcz my heart ❤️ wasn’t there yet. But he said he could feel I wanted to. Duh 🙄 that’s hormones. But he is probably trying to lie (acid head pain 2:44 am pdt) and twist it into saying he was in love with out saying it then, but twisted it for later when he wanted to make me look 👀 bad. Bcz he didn’t want people to know what happened exactly. I already told him I don’t think 💭 we should be doing this, but he challenged me. It’s not ok 👌 to challenge a woman 👩🏼. If she says no respect ✊ it. 2:47 am pdt

2:48 am pdt at least I verbally said b4 the s*x a very long no. Acid lips 👄 pain b4 I typed. Acid brain 🧠 pain.

2:50 am pdt I seem to be punished for this. I move to ban lap dances from strip clubs . If I’m being punished acid brain 🧠 pain for that then I will be saving every strippers life by warning ⚠️ them this is what they are like. They will eat your brains 🧠 with acid if you don’t claim responsibility for any rape that occurs after lap dancing 💃🏻. If Scott is punishing me then you are warned. He likes teenagers. Teens at my high school 🏫 rubbed their butts on guys crotch in dances. They didn’t get raped? 2:54 am pdt

2:58 am pdt I guess it’s true. I’m going to die Bcz of Scott cano. Bcz they blame me for stuff they tricked me into doing. 2:59 am pdt men are messed up and 😧. 3 am pdt they are not safe (stomach pain) to be alone with or to conduct business 👨‍💼 with. Unfortunate. 3:01 am pdt

3:04 am pdt I will repeat 🔁 myself Bcz now there are too many posts 😑. Women only desire p*nis. Adequately sized. P*nis. Nothing else would satisfy a woman 👩🏼! But we don’t know what men will try to put their p*nis. Into a pie 🥧 or a sheep 🐑? 3:07 am pdt

3:09 am pdt if people like Amar Malik more than me then I guess there’s nothing I can do. They want to award 🥇 him and not me I cannot do anything. 3:11 am pdt

3:11 am pdt in this weird world 🌎 now that is coming out it doesn’t seem to matter who had the idea 💡 first under what circumstances. Whether I forgot about specific things or I wasn’t made 100% aware of the truth and they messed around with my head a lot for a long time b4 telling me. 3:14 am pdt a lot of sharp back pain. I forgot a lot. No crossover. 3:15 am pdt all I thought 💭 was those guys were regular people like me and they were doing weird bad stuff to me. 3:15 am pdt

3:23 am pdt I guess I have to give up 🆙 Bcz god wants them to have what originally thought 💭 was mine. I thought 💭 about stuff for a while b4 I sang in the shower 🚿 in my apartment. Everything (acid hot pain left hip pain bone 🦴 difficulty breathing cruncher groin bone 🦴 3:26 am pdt I need to face the music 🎶 is that this a cruel joke on me😖😭😫 and that there is nothing else to this. There is no new earth 🌍 that we will all go to together. If there was, I would think 💭 that (pain cramp fart 💨 3::30 am pdt) anyone who has a growing family should go first. Hopefully 🙏 that it’s a quick trip! 3:31 am pdt please stop 🛑 hurting me please stop 🛑 taking my bones 🦴😫😖😭🥵🥵🥵🥵 3:32 am pdt

[grad603-izzymcbeth]

PAMPHLET — CONTENT PLANNING

FRONT COVER + HERO POSTER (Heading) — Typografika 24  (Sub-heading) — The Annual Conference on Type and Typography  25 Jan — 20 Feb 2024 (Body text) — Four weeks of events including designer talks and workshops featuring: - Carol Twombly  - Jessica Hische  - Johnson Witehira  - Joseph Churchward  - Nadine Chahine  - Tobias Frere-Jones  - Verena Gerlach  - Veronika Burian 

(Caption) — AUT City Campus, Auckland  www.typografika24.com  (Iconography) — AUT, FaceBook, Instagram logos

(P1) INTRO The Annual Conference on Type and Typography: Typografika, is a highly anticipated international conference, bringing together more than 300 typographers, type and graphic designers, as well as printmakers and artists (P2) INFO As designers and artists, we want to create with expressive, engaging and readable typography that performs well across all devices.  With so many factors to take into account from typeface choice and layout through to page speed, responsive design and variable fonts, it’s hard to know how to keep up.  Over the course of four weeks, Typografika’24 will give you the full picture of what typography can and should be on web and print. Whether you’re just starting out or a seasoned pro, you’ll find heaps to learn and take away (P3) TIMETABLE — KEYNOTE SPEAKERS  Lectures by the speakers provide insight into their research and work methods. These sessions will prove to be very informative and helpful. There will also be a Q&A session at the conclusion of each session. 

(P4) TIMETABLE — WORKSHOPS There will be two different workshops offered during the conference. These are repeated twice, to include as many participants as possible. Please register your interest at the registration kiosk when you arrive on the first day. 

(P5) CAROL TWOMBLY Type Designer Carol Twombly (born 1959) is an American designer, best known for her type design. She worked as a type designer at Adobe Systems from 1988 through 1999, during which time she designed, or contributed to the design of, many typefaces, including Trajan, Myriad and Adobe Caslon.  Twombly retired from Adobe and from type design in early 1999, to focus on her other design interests, involving textiles and jewelry. American calligrapher and type designer, a graduate from Rhode Island School of Design where her professor was Charles Bigelow. Joined the digital typography program at Stanford University, also under Bigelow. Working from the Bigelow & Holmes studio she designed Mirarae, which won her the 1984 Morisawa gold prize. Since 1988 she has been a staff designer at Adobe.  (P6) JESSICA HISCHE Letterer and Designer  Jessica Nicole Hische is an American letterer, illustrator, and type designer. She is best known for her personal projects, 'Daily Drop Cap' and the “Should I Work for Free” flowchart. She published In Progress: See Inside a Lettering Artist's Sketchbook and Process, from Pencil to Vector in September 2015, which gives insight to her creative process and work she has completed as a hand lettering artist. She has spoken at over 100 conferences worldwide, but splits her time between San Francisco, CA and Brooklyn, NY (P7) JOHNSON WITEHIRA Educator and type designer   Johnson Witehira is an artist, designer and academic of Tamahaki and Ngāi Tū-te-auru descent. He is the co-founder of both Indigenous Design and Innovation Aotearoa (IDIA) and Wāhi Wairua. Since completing his doctorate in Māori Visual Art (2013), Johnson has been on a mission to bring Māori culture into all aspects of New Zealand life. He has led the development of Māori design for some of New Zealand's most prominent organisations. Other significant design projects include developing the first set of Māori alphabet blocks, co-designing the PAKU gardening tools for children and developing the first functional Māori-specific typeface. (P8) JOSEPH CHURCHWARD Artist and Type Designer  Joseph Churchward is a Samoan-born New Zealand graphic designer and typographer. He is known for having designed an estimated 690 original typefaces, many of which are in use around the world. His designs were also used in the masthead of The Evening Post newspaper. Churchward is born in Apia, Samoa, of Samoan, English, Scottish, Tongan and Chinese heritage. He founded Churchward International Typefaces in 1969. German company Berthold Fototypes subsequently distributed his fonts throughout the world. Over the span of his career, Churchward created more than 582 original typefaces. Joseph will be offering two different lectures as listed below on two different days. (P9) NADINE CHAHINE Researcher and Type Designer  Dr. Nadine Chahine is an award-winning Lebanese type designer working as the UK Type Director and Legibility Expert at Monotype. She has an MA in Typeface Design from the University of Reading, UK, and a PhD from Leiden University, The Netherlands. Nadine’s research focus is on eye movement and legibility studies for the Arabic, Latin, and Chinese scripts. She has numerous awards including two Awards for Excellence in Type Design from the Type Directors Club in New York in 2008 and 2011.  

Her typefaces include: the best-selling Frutiger Arabic, Neue Helvetica Arabic, Univers Next Arabic, Palatino and Palatino Sans Arabic, and Koufiya.  (P10) TOBIAS FRERE-JONES Educator and Type Designer Over 25 years, Tobias Frere-Jones has established himself as one of the world’s leading typeface designers, creating some of the most widely used typefaces, including Poynter Oldstyle, Whitney, Gotham, Surveyor, Tungsten and Retina.. He operates the company Frere-Jones Type in New York City, and teaches typeface design at the Yale School of Art MFA program.  (P11) VERENA GERLACH Type and graphic designer  Verena Gerlach was an instructor of photography at the Hochschule der Künste in Berlin in 1991 and spent 1992 doing a first-year course at Glasgow School of Art. From 1993 to 1998 she studied communication design at Kunsthochschule Berlin Weißensee and spent one year (1996) as an exchange student at the London College of Printing.  FF Karbid, FF Sizmo, and Chambers Sans are some of the few typefaces she created, Verena has her own studio for corporate design in Berlin.  (P12) VERONIKA BURIAN Type Designer  Veronika is born in Prague, originally studied industrial design in Munich and then worked as a product designer in Vienna and Milan. Discovering her true passion for type, she graduated with distinction from the MA in Typeface Designcourse in Reading, UK in 2003. Burian founded TypeTogether together with José Scaglione, today with twelve employees working around the world, one of the most important, independent type foundries. In addition to the development of tailored solutions for a variety of clients, the focus of TypeTogether’s font catalogue is on expressive text typefaces for digital and analogue media. Her typeface Maiola received, amongst others, the TDC Certificate of Excellence in Type Design 2004. Several other typefaces by TypeTogether have also been recognised by international competitions, including ED-Awards and ISTD.  (P13) MAP Illustrated map of AUT City Campus with main locations of speaker and workshop events shown (P14) OUTRO Please join us for the official launch of the conference at the Ngā Wai o Horotiu Marae (AUT Marae) 10am, 25 January 2024 (BACK COVER) WEBSITE www.typografika24.com 

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Miha Majes: Hi!potheses 3 – 24 February 2023 Opening: 3 February, at 7 pm Exhibition curator: Mojca Grmek Miha Majes is a visual artist of the youngest generation, working in the fields of painting, printmaking and spatial installation. He defines his visual language as a millennial interpretation of pop art in late capitalism and an appropriation of consumer aesthetics that addresses the lack of thinking skills in today's society. Accordingly, he often uses the iconography of pop- and sub- culture(s) in his works, incorporating various everyday objects (toys, gadgets, ornaments, clothes, etc.) and spicing it all up with elements from his personal mythology shaped while growing up in the Slovenian countryside. The works presented in the exhibition at hand are linked by the title Hi!potheses. It is summed up by the opening painting to the entire exhibition that depicts an enclosure in which a fantastic creature composed of parts of various animals is imprisoned, next to which stands a cracked egg with outstretched wings. The image, on the one hand, represents the confinement of the imagination and creativity within the (art) system or structure, and on the other hand, the desire for liberation. The title Hi!potheses therefore summarises the artist's exploration of new forms of expression in artistic production. In this sense, the term hypothesis takes on a somewhat different meaning than usual, which the artist also marks with an exclamation mark. If in the scientific field it denotes an affirmative statement that has to be proven or confirmed, here, in the field of art, it stands for a kind of antithesis to the existing, a conceptually open position that can have several possible solutions. One of the artist's hi!potheses refers to the way artworks are created and consequently exhibited. In the exhibition, Majes presents paintings and objects juxtaposed as an installation in the gallery space. The paintings and objects were created in parallel, and by switching from painting to object and back again, the artist constantly left the form open to new solutions. The gradual and experimental character of the creative process is also reflected in the compositions, which at first glance are characterised by a bold interplay of different techniques, materials and styles, as well as the transition between painting and sculpture. In terms of content, too, the exhibition is conceived as a collection of different fragments, for the artist's works touch upon the many problems of today's world, from terror and military conflict, to ideological, political and religious extremism, to environmental pollution and climate change. Although the cynicism, grotesqueness and decadence associated with these issues are undoubtedly reflected in his works, Majes does not want to be gloomy about it. This is why, he approaches these problems with a certain naivety, playfulness and humour, convinced that they are much more likely to open a path to reflection than lecturing or pointing the finger. ──────────── Miha Majes (1993) graduated in Painting from the Academy of Fine Arts and Design in Ljubljana in 2019, where he is currently pursuing a master’s degree in Printmaking alongside with Painting. During his studies, he also furthered his knowledge at the Accademia di Belle Arti di Brera in Milan. He has presented his work in solo exhibitions at the Alkatraz Gallery in Ljubljana (2021) and TransStation SubArt in Kranj (2022), as well as in several group exhibitions in Slovenia and abroad, and has participated in a number of international artist residencies. He lives and works between Ljubljana and Radovljica.