#community printshop

[juleszuckerberg]

the Binch Press x Queer.Archive.Work print CSA is now ready for signups! subscribers will directly support our cooperative studio and receive bundles of zines & prints every season!

subscribe here! -> https://binchqaw.studio/csa <-

& more details on our IG post here!

getting these shares ready for y'all has been a huge part of my summer-me & my studiomates are amped to share what we've been making <3

Flyer art collab by me & Filipa, rainbow poster edition printed by Cathy!

[poisonappleprintshop]

A few glimpses of Datura appearing in my artwork.

A major theme in my artwork is Poisonous Plants and their association with witchcraft and magic. Datura holds a special place in my heart because it was the first poisonous plant to enthrall me, hence it led me to the practice of the poison path. Befriending Datura led me on my own spiral journey and at the end of it's lessons, I found myself back at the center with a more healed sense of self.

The genus Datura encompasses approximately nine different plants belonging to the Solanaceae family. All species of Datura are extremely poisonous and can cause hallucinations, delirium, madness, and in extreme cases, death. They are identified by both their showy, trumpet-shaped flowers that bloom in a spiral pattern and for their spike-covered seed pods. 

Datura is a visionary poisonous plant and deliriant, capable of inducing a trance-like state that aids in divination and astral travel. Because of its psychotropic effects, the plant is a staple ingredient in the infamous witch’s flying ointment. As such, Datura Stramonium is one of the many baneful “witch’s weeds” found in the herb cabinet of experienced magical practitioners and those on the poison path. 

Datura is also considered a psychopomp, guiding magical practitioners through different realms beyond the physical plane, particularly that of the afterlife. Because of this otherworldly capability, Datura is often used in necromancy to commune with spirits and walk beyond the veil.

Poison Apple Printshop

[ceeejus]

Hi so like. This might sound like a very silly question but how did you get your art riso printed? Like, did you order it from a printing shop, or print it yourself? I looked at the prices of these printers out of curiosity and they seem like, surprisingly expensive so it got me thinking that I missed some cheaper offer or smth because I'm seeing more and more mention of riso printing and just. Wonder how anyone other than an office or smth can afford that lmao

hey anon! not silly at all--i love to talk riso and am always happy to share resources! putting this under a readmore because i got very rambly lol

i do print 99% of my risos myself-- i bought a used/refurbished riso EZ220 in 2020 (which is a pretty old model) so it was ~$750 USD for the machine + one color drum (this is a whole separate beast of costs). but you're absolutely correct, risos (especially new/not refurb) can be very expensive-- brand new current model ones i think can be like. the price of a new car, which is crazy. some of that's due to it being a very complicated machine, and some of that might also be due to import costs depending on location. sometimes riso dealers will have sales, especially on refurbished models, so if you are someone who's interested in buying one i would keep an eye out for something like that*. but also buying a riso definitely isn't something i would recommend if you're just starting to get into it-- they require more upkeep than a standard printer, in addition to the price (NOT TO MENTION THE SIZE.. mine is a smaller model and it weighs more than 200lbs. trying to get it into my apartment was a nightmare.)

(*if this is something you or anyone else is interested in i have further tips on this but i dont think thats really the point of this ask so i wont put them here LOL)

HOWEVER! aside from owning your own riso, there's definitely way more accessible/affordable* (*not usually cheap but definitely cheaper than buying a thousand dollar machine) ways to get into riso printing. a lot of risograph small presses will offer print services, where you set up a file and choose colors and they print for you and send them back to you. some places may also provide file setup for an additional fee. this kind of thing is definitely more expensive than ordering a standard print, and often there will be a minimum quantity that you have to order (due to the way the riso works, the more you print the more economical it is to make the print, basically). the 1% of prints i haven't printed myself i got from retroJAM Taiwan as part of a group show/order, but there are a LOT of printshops that offer this! I'm not sure what country you're in, but stencil.wiki has a great atlas here-- i'm not sure all listed here offer this, but worth a look. looking around in tags on instagram or twitter might also get you results of print places that aren't listed here.

another option (depending on location) is to take a class. a lot of colleges or community art centers have risos-- some print shops may also have community risos. classes can definitely be expensive, but often after you take the class sometimes there will be options to buy studio time to continue using the machine. (often you can't do just studio time without class, because risos are expensive and particular and very easy to break haha. obviously this makes the whole endeavor more expensive because you have to pay for class too, but once you're certified at a location you gain a bit of trust lol.) before i had my machine i was lucky enough to take a class at sva and use their print lab, which is beautiful!! and also kind of expensive to buy lab hours for (iirc, this was like 5 years ago) unless you're enrolled which makes sense. for a LONG time after that i printed at the EFA riso room which was a little more affordable (and overall easier to book studio time at. i love them!!!!)-- if covid hadn't happened i would probably still be printing there. most of my knowledge of classes is for the ny area, but again depending on where you are there might be some in your area too-- again stencil.wiki or even just poking around on instagram is how i usually find other print shops whose work i want to check out (so hopefully it'll work for this kind of thing too lol).

this definitely isn't like. an exhaustive list of riso options but hopefully this answers your question!! again i am always happy to talk riso-- i spent a long time wanting to get into it and not being sure how to and am also relatively a riso hobbyist (as opposed to like, a printing press) so always glad to pass on knowledge of how to get into riso Casually, haha.

[kanobarlowe]

Welcome to the Wild Woods

I'm Kano Barlowe, an indie author and tumblr nerd. This is my account to focus on writing, maybe sometimes hobbies and sharing about myself!

Some fun facts about me: I'm a husband, an instructional designer, a cat dad of two, and a nerd. If it's not writing, I enjoy trpgs, video games, and board games.

Pinterest. Discord (coming soon). Goodreads.

Brim's Bane

Winter has come to Lake Marryat and the forests on its shores. Samomsyl Holgata toils in a small printshop under the watchful eye of a bitter old man and his burly assistant, yearning for the day he can run the printing press. Sam trudges through bleak mundanity-pining after the local stable girl, isolated from his estranged mother and uncle, not a friend in sight. Desperate for change, for courage, for anything, Sam waits to be given a chance to prove himself worthy of printing books.

When the parchment runs low, Sam is tasked with securing more from a nearby town-despite the warnings of an impending blizzard. Through forest and snow, he journeys into the darkness. The storm strikes, forcing the young apprentice to seek shelter.

With death creeping into the threshold he would make his grave, Sam shudders at the winter's embrace. Then it came. Growling, scratching, gnawing. In the blizzard's shadows, it's there-stalking, biting, gnashing. With infernal claw and fang, with blood-soaked fur, the ravenous wolf arrives.

Buy a copy today!

Project Bridgewater

My current work in progress, Bridgewater follows the young man Yves Lablanc. Originally from Montana, Yves left home as soon as he hit 18 years of age. For several years he traveled across the United States, until in 1976 he found his way to Maine, to a little town on near the border - a fishing town called Bridgewater. A part of him felt its call, a strange tug at his heart that he couldn't explain.

The same part of him that let him see ghosts.

Cursed with the horrible affliction to see and communicate with ghosts, Yves tries to settle down in Bridgewater, a new man in a new life in a new town.

Until a murder shakes the community, and his boss corners him in the woods, bites him, enthralls him. A handsome, mysterious vampire who runs the antique shop Yves works for? Looking into murders, zombies, frenzied beasts and monsters alike? And who is the creature known only as "The Devil"?

What is in the manor on the cliffs by the sea?

[fruitgravies]

hi everyone!!! i got news!!! my commissions are officially open!! click here to check out the info. my dms everywhere are open!

also, my printshop is, has been, and forever will be running. HOWEVER, i’m having a weeklong sale! getcher holiday gifts now.

USE CODE QJSCBCLA FOR 20% OFF EVERYTHING UNTIL 12/9 ✨

thirdly, i have a new discord server! it’s 18+ and intended to be for both artists and art enjoyers. its really just a community. its super quiet and small right now so if you dont like to be overwhelmed by super massive servers come join now!! we would luv 2 have u.

otherwise thank you gravelets for the support. so much. i love u all mwah

[dahliaduvide]

"His name is lost to history, but perhaps he wouldn’t mind. His motivation was a speedy payday, not posterity. A ballad that stirred the passions could sell for a penny. Sometimes he sold his work directly to the printshops, but he often took to the streets himself. He borrowed tunes from familiar songs, and had a talent for singing his work that helped him draw a crowd and sell his broadsides."

"Our modern notion of a songwriter would have been nonsensical to him, of course. His trade was partly creative, but his task was also to record and remember the familiar songs already sung, and re-shape them for new events and local happenings. He was a kind of tabloid journalist in his time. Today, we might think of him as a historian of oral traditions, a cataloger of folkways. But that’s not quite right. He was no mere archivist, no passive documentarian. He shaped and reshaped these traditions. Writing was an astonishing technology, and the reach of the printing press gave it newfound power. Oral traditions were chaotic, unfixed, unwieldy—stories forever in revision, never complete. Versions would branch without end, and older branches would be lost with time. How did the lyrics go? Well, that would depend. You could say a song existed in superposition, until someone sang it in their particular way."

"Though he would have been dismissed as a scabrous hack at the time, the ballad writer has such a knack for poetic and efficient depictions of monstrous violence that it can start to feel like he is an artist, or a proto-artist, who is governed by a bloodthirsty aesthetic. But the truth is, he may not be a single man—he may be a composite, his single authorship an anachronism. Or he may be merely a transcriber. The song’s structure and rhythm are so clean that it suggests a writer’s hand, but it could be that the story and its language were born entirely in song, from the community. Later, scholars would bicker over what counts as folk tradition, but a song’s evolutions in oral tradition and popular writing surely would have crossed back and forth countless times. The past is so foreign and strange that we should be left humble when we write our histories. Whether he is one writer, or several writers, or the people as a whole, the shape of his thoughts—his entire manner of thinking—is unreachable."

Excerpts.

Thoughts.

Truly a beautifully written article, and you should totally take the time to read the entire thing. He interweaves perspectives from performers, listeners, and even what the creators of these broadside murder ballads might have been like. Artful writing, hard thoughts, and self-examination.

This article really put into words a vital part of my vision for this project, creating modern murder ballads to draw attention to cases, raise awareness and hopefully get some justice for the Knoxville girls of today.

[faerypvnk]

some of this is a point i have been Feeling for quite a while. at the last zine event i was able to table at (before disability consumed my life), a person tabling next to me was being uncomfortably elitist and capitalistic and the latest events had been more art-market than zinesters sharing. :/ . this bothered me.

though i do have to argue that fanzines have been around for a long time (arguably a very important part of Zine Culture), notably fanzines celebrating queer otps of shows, and i see nothing wrong in wanting to make your zine Fancy and Glossy if that's what you're into. (d.i.y. can be done fancy!! there are cool underground printshops who also focalise on doing things in a very Artistic way. there is fun in trying to polish something up as well as you can sometimes.) i think main importance is d.i.y. & anti-capitalist & not-for-the-profit but for the sake of creation/information-sharing/community etc. just my two cents.

the whole point of a zine is that it's cheap to produce, amateur and homemade. if you're being asked to apply to participate in a print project, it is not a zine. if the final product is being printed and bound professionally, it is not a zine. if you are being asked to enter into any kind of licensing agreement more complex than "my work can be reproduced as part of this publication" it is not a zine. nine times put of ten if the final product costs more than $5 you have left zine country. im so serious about this.

[storecee]

Here is assignment number four (3 greeting cards) of my Design and Visual Communications class. This quarter (semester) I am in printshop. We design, print, and then use print shop machines to cut, glue, press, etc. to finalize the products. I am enjoying these classes.

[mo79zz]

Intersections Artist Research

I needed to find an illustration style for my piece that would match the theme I'm going for, which is bright, bold, block colours - so I researched a few different styles that I liked for my design. I came across a mural artist that fits the aim for my piece called Lauren McElroy:

I really enjoy the illustration style she uses alongside the colour palettes and typefaces. With my plan for the project I think this sort of style will work well as the bold blocky colours are more eye-catching than a smooth transitional blended piece of art may be, and I think it is just what the location I'm planning to work in needs as it is quite a poorly lit, dingy area of town.

Local Mural Work:

A company called Printshop Studio also does a lot of interesting mural work, and are based in Poole - local to me.

They have worked in a lot of long spaces such as the place the BCP Land Train is kept and a long wall by Skyline student accommodation in Bournemouth. I can take a lot of inspiration from their work and how to work with lengthy walls as I will be working with an underpass which can fit this category. I think the text in the top mural would be an interesting addition to my underpass, especially in the style its been designed in, whether it is added into the walls/ ceiling, or I add some text to the floor in an ambigram style, so it can be read as you walk through either side.

I looked at some larger art installations I pass most days as well. This is the GATHER programme in Poole Dolphin shopping centre where there are always activities or shows - anything that will involve people in the local community. While it may not be considered a mural, I really enjoy the community aspect of it and the typeface used, as it is meant to look like the letters have been folded or are placed on a wall along the edge (on the floor and upwards)

Carmen Moore said: “GATHER is an amazing programme which I strongly believe will bring Poole together as a community. I have had an overwhelmingly positive response so far from members of the public and local businesses which has been wonderful; being part of such change in Poole has been so rewarding already. In a post-lockdown world people are much more aware of the importance of supporting their local community, and all the new offerings at the Dolphin are really helping people do just that.”

This is an area in Poole bus station that used to have a cut-through to the back of the bus station and used to have toilets. It was boarded up in 2020 and has been a blank white wall since. They have recently put up this artwork full of quotes by different people. I cannot find the artist or any articles about it, however, I believe that this is a great addition to the bus station because as people pass it they read it and might think about what the messages say and whether they can relate it to them etc.

[tartyfart]

Elizabeth Tomos

Elizabeth Tomos is an artist and arts educator, currently working as a lecturer in Fine Art at Falmouth University. She is an interdisciplinary artist working across drawing, print, and performance. Elizabeth has a background in both the visual and performing arts which she draws on to underpin her Perform//Print practice. Perform//Print is a hybrid method of making art that draws on the techniques, methods, and processes of printmaking and collides them with live and performance art practices. This is the subject of her current PhD research which is focused on establishing Perform//Print as a practice-based methodology. Elizabeth has exhibited nationally and internationally most recently at Draw to Perform Festival in Brighton, Trans- States: The Art of Deception, Northampton, Sydney Contemporary in Australia, MK Gallery in Milton Keynes, and in a virtual exhibition during lockdown hosted by Hong Kong Open Printshop. She is also the curator for Trans-states, a community interest company dedicated to the scholarship of contemporary occulture and esotericism.

[longlistshort]

Cardboard sculpture by Richard Entel and his 5 year old daughter Emily; Photographs by Jane Housham

Jane Housham, “Color Squares”

Meryl Bennett, “Fountain 3”, epoxy resin

Toys by Weston Brownlee

Sculptures by Richard Entel and his daughter Emily

Every autumn Dunedin Fine Art Center chooses a universal theme that runs through all of their galleries. This year they chose PLAY. It’s a wonderful choice and makes for a delightful time in the various galleries.  This is the last week to see two of the exhibitions- PLAY On!, a selection of wonderful artist made toys and toy related art (photos above), and LOL: Funny Papers, a juried selection of  art work incorporating comics, illustrations, zines and mixed media collage (photos below).

Catch both of these shows before they close on 10/15/23.

Barbara Hubbard, “Quantum Entanglement #5”, print collage/hand colored

Cory Robinson, “Just a Reminder”, spray paint and acrylic (left); and Cort Hartle “You’ll Come Back to Haunt You” acrylic, and “We were running hand in hand”, ceramic

Kaitlin Crockett/ Print St. Pete, “Rizo Zoo” and “Welcome to My Adult Life” risograph zines; Denis Gaston, “Fear of Flying”, book

Yhali Ilan, “Meanwhile”, acrylic

Corey Robinson’s work can also be found every week in the Creative Loafing Tampa Bay newspaper.

Print St. Pete, founded by Kaitlin Crockett and Bridget Elmer is a small community letterpress and risograph printshop which offers studio access, workshops, and custom printing.

[d4designism]

Transforming Ideas into Reality with D4Designism's Full-Stack Printshop

In a world driven by visual communication, having a reliable partner to bring your creative ideas to life is essential. At D4Designism, our full-stack printshop is equipped with the latest technology and staffed by experienced professionals who specialize in graphic design, printing, and finishing. From concept to completion, we offer a comprehensive range of services that cater to your unique printing requirements. Experience the seamless synergy of creativity and craftsmanship at D4Designism's full-stack printshop.

Section 1: Comprehensive Graphic Design Services

At the heart of every successful print project lies exceptional graphic design. Our team of skilled designers at D4Designism possesses the expertise to transform your concepts into captivating visuals. Whether you need assistance in creating a brand identity, designing eye-catching marketing materials, or customizing artwork for printing, our graphic design services ensure that your ideas are beautifully and effectively translated into the final product.

Section 2: Cutting-Edge Printing Technology

D4Designism's full-stack printshop boasts state-of-the-art printing technology that guarantees superior results. From high-resolution digital printing to large format printing, we employ advanced equipment and techniques to ensure crisp, vibrant, and accurate reproductions of your designs. Our commitment to quality extends to color management, ensuring that your prints match your vision with remarkable precision and consistency.

Section 3: Wide Range of Printing Options

Every print project has unique requirements, and D4Designism understands the need for versatility. Our full-stack printshop offers an extensive range of printing options to cater to diverse needs. Whether you require business cards, brochures, banners, posters, or any other promotional materials, we have the capabilities to deliver stunning results on various substrates, sizes, and finishes. With our expertise, you can be confident that your prints will leave a lasting impression.

Section 4: Professional Finishing and Binding

The finishing touches can make all the difference in enhancing the overall appeal and durability of your printed materials. At D4Designism, we provide professional finishing services, including laminating, UV coating, die-cutting, embossing, and more. Whether you require sleek and protective finishes or unique embellishments to make your prints stand out, our full-stack printshop offers a comprehensive range of finishing options to add that final touch of excellence.

Section 5: Collaborative Approach and Timely Delivery

D4Designism believes in fostering a collaborative relationship with our clients. We value your input and work closely with you throughout the print process, ensuring that your expectations are met and exceeded. Our efficient workflow, streamlined production process, and attention to detail enable us to deliver exceptional results within agreed timelines. With D4Designism, you can trust that your printing projects will be executed seamlessly, allowing you to focus on what matters most—your creative vision.

Conclusion:

When it comes to turning your creative ideas into reality, D4Designism's full-stack printshop is your ultimate partner. With our comprehensive range of services, including graphic design, high-quality printing, and professional finishing, we offer a seamless and collaborative experience that brings your vision to life. Trust in our state-of-the-art technology, expert craftsmanship, and commitment to excellence to deliver outstanding results. Contact D4Designism's full-stack printshop today and witness the transformative power of print in showcasing your creativity to the world.

[k00282656]

PRINT ARTIST RESEARCH

Karen Lederer is a printmaker who bases her works off of Marimekko fabric, Matisse still-life paintings, household objects, Picasso ceramics, print advertisements, Instagram aesthetics, and the mediated mystery of monoprinting. She combines monoprinting with the finishing touch of painting. Her works depict a distinct moment in time. Here are some of her works which I admired:

I was drawn to Karen's work as she has a sense of graphics into her prints. This reminded me of my previous prints I made of my album cover from graphic design. Her use of colour also fascinated me as her uses such a vibrant colour palette which really makes her work stand out.

"I was originally trained as a printmaker, and my work emerges from a conflicted relationship with the medium. I love the graphic, mysterious marks that only monoprinting can produce, but also appreciate the control that painting offers. Printing is often a fast and intuitive process for me. At the community printshop, I create multiple stencils and a painting on plexiglass, and I arrange the whole composition on the press bed. The prints end up being much looser than my paintings. Often I work out ideas in the prints, and then make alternative versions as paintings. "

[cuervitodeisla]

I’m literally putting myself in debt to then teach make a printshop in a town in the mountains back home and preserve an aspect of the culture’s history thats dying. 

I want to do a community printshop and give classes with information most ppl only have access too if you go to college in the states. Yes theres good printmaking programs in PR but even the ppl who took them say it doesn’t compare with the resources found in the states.  AND EVERYONE KNOWS HOW EXPENSIVE COLLEGE AND MASTERS PROGRAMS ARE HERE.

IF THIS ISNT A PASSION PROJECT IDK WHAT IS

[stuartbaileyinfo]

Poster produced by Paddington Printshop, 'Squatters' Conference Sat, Sun Apr 16, 17 10-6.0 50p Jacksons Lane Community Centre Archway Rd N6 / Organise to resist the Criminal Trespass Law' 1977