The Rattle of a Simple Man

  • O is for Owl

     

       

    It's not always easy to capture in one small photo some of the subtle layers of colour and variations in mark making that help bring a print to life. So with that in mind here are a few detail's of Emily Sutton's latest screen print 'O is for Owl'. You can find the finished print in our on-line gallery. 

  • Gawain and the Green Knight at Martin Tinney Gallery

     

    Daniel Bugg, Clive Hicks-Jenkins and James Russell at the Private View of Gawain and the Green Knight: Clive Hicks-Jenkins and the Penfold Press
     
    A big thank you to everyone who attended the opening of 'Gawain and the Green Knight: Clive Hicks-Jenkins and the Penfold Press' at the Martin Tinney Gallery on Thursday. After months of hard work it was a pleasure to see the work exhibited so beautifully in such a fantastic gallery space. The exhibition continues until 1st October with the preparatory studies, paintings and the prints themselves all on show.

  • A new exhibition of print

       

     

    I'm delighted to announce an exhibition of screen prints on the theme of Sir Gawain and the Green Knight at the Martin Tinney Gallery, Cardiff. Marking the midway point in this ambitious series 'Gawain and the Green Knight: Clive Hicks-Jenkins and the Penfold Press' will feature preparatory drawings and paintings alongside the prints themselves. The show runs from 8th September until 1st October 2016.

  • The Green Knight Arrives

     

    I recently returned from a quick visit to Wales to meet up with the artist Clive Hicks-Jenkins. The trip marked a year since I was first introduced to Clive by Sarah Parvin and it's testimony to Clive's good nature and spirit of adventure that we have managed to achieve so much in such a short space of time.

    Having undertaken this journey on more than one occasion since we first met I feel that I could complete the four hour trip with my eyes closed. However, this would leave me  oblivious to the glorious landscape that my journey cuts through. After the hustle and bustle of the studio I look forward to this drive, as the road meanders its way through the glorious hills and valleys the landscape does wonders for the spirit.

    On this occasion we met at MoMA Machynlleth in order to see the exhibition 'Romanticism in the Welsh Landscape' curated by Peter Wakelin. The show takes in work from Turner, through Piper and Sutherland to contemporary artist like Ed Kluz and Clive himself. It's a wonderful collection of work with some real gems. My favourites were the delicate yet obsessively worked pen and ink drawing by David Jones and the Samuel Palmer influenced 'Reaper with Mushroom' by John Craxton.  

    Whilst we met Clive also complete the signing of his new print 'The Green Knight Arrives'. The second in a series of fourteen prints based on the poem 'Sir Gawain and the Green Knight' the print marks the Knight's arrival into the halls of Camelot. James Russell, who has written a specially commissioned piece to accompany the release of the new print, describes Clive's depiction of the Green Knight as "a modern primitive, whose identity is etched into his skin. Clive looks beyond the poetry to explore the character and cultural implications of Gawain’s nemesis, in an intense portrait of mingled power and vulnerability."

    Having completed the signing of the edition I collected the prints and headed back to Yorkshire. Unlike the glorious sunshine that graced the mornings journey, the trip back was undertaken in a torrential downpour of biblical proportions. Oh well, you can't have it all.

    The Green Knight Arrives is available now. Click on Clive's name from the main menu and read more of James Russell's specially commissioned text.

    'Romanticism in the Welsh Landscape' can be seen at MoMA Machynlleth until 18th June.

  • It's all go...

     

    It's a busy time in the studio at the moment. I'm currently proofing the second in a series of fourteen prints by Clive Hicks-Jenkins based upon the poem 'Sir Gawain and the Green Knight'. Depicting the arrival of the Green Knight himself, the print is currently with Clive as he makes amendments to the final proof. In the meantime Emily Sutton has completed a companion piece to last months ‘Feast’ screen print. The new image titled ‘Autumn Table’ is available from today by following the link below.

     www.penfoldpress.co.uk/products/autumn-table

  • New work for 2016

     

    ‘Feast’ becomes the first print of 2016 from the Penfold Press in what is set to be an exciting year. Over the next few months the Penfold Press will be once again collaborating with Emily to produce two new screen prints, including the continuation of Emily’s Alphabet series with ‘M is for Magic’.

    With Mark Hearld and Angela Harding also visiting the press to discuss new work and Clive Hicks-Jenkins continuing his series based upon Sir Gawain and the Green Knight 2016 looks set to be a busy year. For updates on all our projects and more information on all the prints published by the Penfold Press follow us on Facebook or Twitter.

     

  • Sir Gawain and the Green Knight

     

     

    Christmas is on it’s way and here at the Penfold Press I’ve been busy making the first ‘Sir Gawain and the Green Knight’ print with Clive Hicks-Jenkins. ‘Christmas at Camelot’ the first in a fourteen print series based on the epic poem, goes on sale from Friday 12th December. I'm delighted to announce that the print will be released along with a specially commission text by James Russell. We are delighted that James will be joining us on our journey and as an introduction, you can read James’s beautiful biography of Clive below.

    'Over the past twenty-five years Clive Hicks-Jenkins has achieved renown in his native Wales and beyond as a painter of rare and powerful vision. It helps that he came to painting by an unusual route, having enjoyed a successful theatrical career - as actor, director, choreographer and stage designer – before the urge to paint became irresistible. Today his paintings of figures and animals are so striking, at least in part, because of the continual dialogue between design and dance, structure and movement.

    Clive’s complex creative process enhances this effect. If, for example, he is due to paint a horse, he will first draw the animal, then create a cardboard maquette from the drawing, articulating this model in such a way that its head, torso and limbs can be placed in positions impossible for even the most agile horse. Painting from such a maquette gives Clive control over the composition (and the vital balance between positive and negative space), while at the same time adding emotional expression and that feeling of suppressed movement. The resulting tension is less that of a coiled spring as of a spring caught in the moment of uncoiling.

    This dynamism suits Clive’s penchant for narrative painting. In series after series he has explored the interactions of characters famous and obscure, from St George and the dragon to Hervé (a blind Breton monk) and his wolf companion. He takes inspiration from religious stories, Welsh legends, modern drama and medieval verse. The characters of Sir Gawain, his horse Gringolet, the Green Knight and the rest have haunted his imagination for years, but something about the multi-layered intricacy and artifice of the poem suggested printmaking rather than painting. And then, as if on cue, Dan came along with his experience and expertise, and a new creative adventure began.'

    James Russell

    To find the print click on Clive Hicks-Jenkins in the Artists Menu or Sir Gawain and the Green Knight in the Prints menu.

  • 10th Anniversary of the Penfold Press

     

     

    'Starlings on the Shore', Lino cut, Printers Proof, Signed by the artist.

    Image Size: 304 x 205mm

     

    October brings the 10th anniversary of the opening of Penfold Press and looking back, I remember my first studio with a mixture of bemusement and fondness. Situated on the outskirts of York, the small converted pig shed marked the beginning of my career as a publisher and printer. The farm on which it was based was home to a motley crew of artists and craftspeople, all desperately trying hard to keep warm and the chickens out. Cramped and cold it might have been but it was a great release to establish a base from which to work and finally be able to make work independently. Those working in the nearby studios were supportive and welcoming, offering advice and a friendly ear when needed. We consisted of a sculptor, 2 painters, a mechanic, an upholsterer, a joiner, a furniture maker and eventually, a dog groomer.

    The location itself helped give rise to the name of the Press, as I'd heard that a place where lost farm animals were kept was (mistakenly as it happens) called a 'Penfold'. My aim with the studio was to attract 'lost' artists or, if not lost, certainly those who couldn't easily find their way into printmaking. The Penfold Press seemed perfect. By the time I realised that a 'Pinfold' was actually the correct term for the holding pen, the name had already stuck. 10 years and three different studios later, I am still asked why I named my Press after a Danger Mouse character.

    From the very beginning Mark Hearld has been a constant visitor to the studio. Having graduated from the Royal College of Art in the year previous to me, we had the good fortune of meeting each other whilst taking up our first teaching roles. The timing of our meeting was perfect. It gave me the opportunity to test out my belief that there was a need for this kind of studio. A place where artists, and illustrators in particular, could develop their ideas in a less pressured environment, whilst Mark was able to explore his love printmaking through a range of different processes. Over the course of the years since then we have collaborated with each other to develop a series of lino cuts, screen prints and patterned papers that celebrate Mark's love of nature, the surrounding countryside and his visual dexterity.

    Alongside this, the Penfold Press has continued to support a group of artists, many with connections to Mark and York, through the publication of new work. Emily Sutton continues to develop her successful ‘Alphabet Series’ with her latest screen print ‘L is for Lemon’, whilst other artists including Ed Kluz, Michael Kirkman, Angela Harding, Kane Cunningham and Jonny Hannah have all produced editions of prints. Lately, I have had the pleasure of working with Clive Hicks-Jenkins and later this month I will once again work with Mark to produce a new screen print. I’m feel lucky to have had the opportunity to work alongside and support an exciting group of artists and it has been a real pleasure watching their careers develop.

    To mark the occasion of the 10th anniversary, I have released from the archive a rare printers proof of a lino cut made with Mark. 'Starlings on the Shore' was originally exhibited in Mark's first solo show at Godfrey and Watt and was later featured within his 'Work Book', published by Merrell in 2012. Only one copy of this rare print is available. Follow the link for details.

    www.penfoldpress.co.uk/products/starlings-on-the-shore

  • Man Slain by a Tiger

     

    Whilst working with an artist in the studio conversation often flows freely, from discussions based around composition and print techniques, towards more wide ranging subjects. It’s one of the joys of collaborating with an artist with whom you share an especially close working relationship. As artist and printmaker work together shaping the print, talk is often a rich mix of ideas and insights into working practice and wider influences.

    It was during one of these studio moments that I was first introduced to the work of Clive Hicks-Jenkins by the artist Ed Kluz. Ed is a great admirer of Clive’s work, and whilst we were working on one of Ed’s prints, discussion turned to Clive and the wealth of beautiful paintings he has created. When looking at Clive’s work the overlaps between the two artists were evident from the start, particularly in regard to their influences and shared love of Pollock’s Toy Theatres. I was captivated from that moment and developed my interest, first through his wonderful Artlog, and then later through his Lund Humphries monograph.

    Some years later, and quite unexpectedly, the chance to contact Clive arose through a meeting with Sarah Parvin in her guise as The Curious One. The Curious One has developed a substantial following through Pinterest, where her meticulously curated boards offer a wonderful insight into British Art and beyond. Sarah, who is in the process of developing her Curious One Pinterest site into something exciting, thought that it would be interesting to put Clive and myself in touch. The serendipity of this reflects the way in which some of my best projects have begun, with a chance encounter or mutual friendship leading to a new adventure.

    So it was with a sense of excitement that I set off to Wales to meet Clive at the opening of his ‘Dark Movements’ exhibition.

    I’ll let Clive take up the story:

    “I've long had a wish to make screen-prints, but exhibition schedules keep me pretty much tied down to the studio and my work as a painter, and I've never been able to quarry the time to give the matter the concentration it needed. However when Dan Bugg and I met up earlier this year to discuss the possibility of working together, there was an immediate rapport between us. In preparation for what will be a long-term project, Dan and I produced a print based on a rather jaunty Staffordshire pottery group titled The Death of Munrow, which itself borrowed from the automaton in the V & A known as Tipu's Tiger. The gruesome event portrayed in the automaton and in the pottery group is based on fact, though rather fancifully reinvented.

    Equipped with drafting-films and an assortment of specialised drawing and painting materials supplied by Dan, I made an image. For a week I drew and painted on the various layers of film held on registration pins to correctly align them, regularly photographing and sending images to Dan for his comments and suggestions. When things became complicated we spoke on the phone. By these means the artwork was completed in Wales, and dispatched to Yorkshire for transferring to screens ready for printing. The first proofs were returned to me, and a bit of tweaking went on at Penfold before Dan began editioning.”

    And now, a few short weeks later, here it is. ‘Man Slain by a Tiger’ is the first print by Clive Hicks-Jenkins to be made in collaboration with the Penfold Press. This five colour screen print marks the beginning of an ongoing collaboration that will continue later this year with the first print in a series based upon the medieval poem 'Sir Gawain and the Green Knight'.

    Click on Clive's name under the 'Artists' tab to purchase the print.

  • L is for Lemon

    Five weeks in the making, 'L is for Lemon' is Emily's most ambitious print yet. Composed of ten hand drawn stencils, the image demonstrates Emily’s inventive approach to mark making and her mesmerising sense of design. The result is a print that is joyous in its celebration of the lemon and the glorious summer sun.

    Printed in ten colours and inspired by a lemon tree she was given as a gift by her partner Mark Hearld, Emily's new print dazzles and is a memorable addition to the alphabet series. 

    Follow the link below to purchase the print.

    www.penfoldpress.co.uk/products/l-is-for-lemon

  • Clive Hicks-Jenkins

     

     

     

    I’m delighted to announce the beginning of a new collaboration with the artist Clive Hicks-Jenkins. Over the coming years Clive and I are to embark on a journey to produce a series of prints based upon one of our favourite poems ‘Sir Gawain and the Green Knight’. Clive is an artist that I have admired for some time and so thanks must be paid to Sarah Parvin, aka The Curious One, who managed to put us in touch.

    You can find out more about the project by following the link to Clive’s wonderful Artlog.

    https://clivehicksjenkins.wordpress.com/…/gawain-at-penfold/

     

     

  • The Toy Parade

     

    I'm pleased to present Emily Sutton's new print. 'The Toy Parade' depicts some of the toys from Emily's extensive collection and is printed in four colours on 225gsm Simili Japon. Having made a succesful debut in our 'This Way For Fun' exhibition the print is now available, for more details click on Emily's name in the Artists menu.

  • This Way For Fun

     

    I'm pleased to announce that the Penfold Press will be hosting a show of prints at the Jeannie Avent Gallery in Dulwich. The show marks the Penfold Press's first collaboration with Art Market and runs from 10th - 20th April.  It will feature a mixture of new work and old favorites, including the new prints by Emily Sutton and Angela Harding. I hope you can join us.

  • Angela Harding at the Penfold Press

     

         

     

     

     

    The wonderful Angela Harding has visited the studio this month to begin work on her first screen print with the Penfold Press. The new print explores Angela’s fascination with the countryside and centres on a fox venturing out from the undergrowth. In the photos above Angela can be see working on two of the positives that represent two of the six colours that will be used to complete the print.

    With work now complete on the first series of proofs the finished print will be ready for the start of April, keep checking www.penfoldpress.co.uk for more updates.
  • New work 2015

    2015 looks set to be a busy and exciting time at the Penfold Press. Over the coming months I start work on a number of new prints and projects, some with old friends and some with new.

    The first of these projects is a new print by Emily Sutton based upon a parade of toys. The print has been reworked over the last month with the addition of new colours and layers. With the work now complete Emily is due to sign the print this week so keep checking the Penfold Press website or our Facebook and twitter pages for updates.

    After that will be the next in Emily’s alphabet series ‘K is for Kittens and Knitting’. Following on from ‘J is for Jug’ and Emily’s sell out show at the Yorkshire Sculpture Park, ‘K is for Kittens and Knitting’ will no doubt bring a little warmth to the cold winter months. Emily has completed the eight stencils needed for each of the colours and work starts on proofing the image next week.

    February see’s the return of Mark Hearld to the Penfold Press and the beginning of a new Lino cut. Over the years Mark and I have worked together to produce a range of prints that incorporate Mark’s love of nature and his interest in printmaking. It’s great to get him back into the studio and working on a new print and if you want to see some of our past efforts you can do so by clicking on Mark’s name within the artist section of this website. If you’d like to find out more about Mark’s prints you could always check out the fantastic ‘Mark Hearld’s Workbook’ published by Merrell.

    Later in February Angela Harding will be working at the studio to produce her first screen print with the Penfold Press. I’ve been an admirer of Angela’s work for some time now and I’m greatly looking forward to working with her to develop this new image. It’s always exciting to be working with new artists and I’m sure Angela will bring something new to the studio’s growing catalogue of work.

  • Penfold Press Archive

      
    'The exhibition', Ed Kluz, Ink and graphite on paper, 2010

     

    One of the best things about being printmaker is the collection of proofs and other oddments that you gather over the years. At the Penfold Press all printers proof's, sketches, doodles, colour trials and experiments are gathered together in a plan chest draw labelled ‘Archive’. Two such examples can be seen here. The first is a quick sketch by Ed Kluz that outlines an idea for a pub sign. At only 10cm in height the sketch is part of a series of thumbnails that developed the composition and positioning of the typography. Images like this are invaluable when developing prints and are often used for reference long into the printing. As sometimes happens, this sketch was never fully developed into a print, so it remains as a tantalising glimpse of what might be. 

     

     

     'Untitled', Mark Hearld, Mono print on paper, 2003

     

    The second is an early mono printed doodle by Mark Hearld that was made for fun whilst waiting for ink to dry. It’s an example of the playfulness Mark brings to the studio and his compulsion to make imagery. Made in 2003 this quick image shows the development of some of the motifs that Mark would develop over the coming years and acts as an interesting forerunner to his later prints.

    You can find prints by both Mark Hearld and Ed Kluz at www.penfoldpress.co.uk

  • Feste Dog

    With Emily’s show at the Yorkshire Sculpture Park opening next week it seems a good time to post an image of one of Mark Hearld’s screen prints made for his solo show at YSP in 2012. Based upon his own trusted companion Feste, ‘Feste Dog’ is one of a number of images Mark has created over the years that include his pets. You can read about Mark's show here http://www.ysp.co.uk/exhibitions/mark-hearld-birds-and-beasts

     

  • Patterned Paper

    I've just finished a new batch of patterned paper for the fantastic John Sandoe (Books) of Chelsea. For anyone who hasn't visited, John Sandoe's is one of the best independent bookshops in London and well worth a look. The design above is by Michael Kirkman. Over the past few years I have been supplying John Sandoe's with a variety of different patterned papers, including seven designs by Mark Hearld. Each design is hand printed onto craft paper and makes wonderful wrapping for any book.

     

     

  • Handbound sketchbooks

        

    J visited the studio the last month. J has the distinction of being the press’s first ‘Pen Friend’ and has supported the studio and suffered my (builders) tea for the past four years. Whilst he was here I was able to show him my new hand bound sketchbooks and with their distinctive screen printed covers.

    These new sketchbooks combine two of the things I love the most about the Penfold Press, collaboration with like minded people and a sense of fun. Having the opportunity to work along side fellow craftsmen to produce objects of interest always brings a sense of enjoyment and excitement to the studio. Looking back, the Penfold patterned papers that have proved so popular started life as just that, something that Mark Hearld and I could make that were direct, unfussy and above all fun to print.

    My new sketchpads hopefully carry this on, bringing together as they do this sense of fun and the opportunity to work with someone new. Hand bound at the Papercut Bindery by Roger Grech, the new Penfold Press sketchbooks have a unique screen printed cover and are each designated an individual number. Along side this number are the details of the elements contained within its random design, in the example above the more eagle eyed amongst you might be able to glimpse 'I is for Ice Cream' by Emily Sutton and 'Feste Dog' by Mark Hearld. When beginning a new print I usually keep a small selection of paper near to hand to proof colour and test the screens. These sheets are handy for maintaining an even flow of ink after cleaning and over time, as they build layer upon random layer, they begin to take on a life of their own. I’m always drawn to these sheets and often show them to the artists as they point to some unexpected use of colour or juxtaposition of image. Used now to provide decoration for the these lovely sketchbooks I’m glad to be able to share them with you for the first time.

    These books bring together the finest craftsmanship and bookbinding tradition with the carefree, random abstraction of their screen printed covers. They will be available through the website towards the end of July, I hope you enjoy them. 

     

     

  • Catching a Mouse

     

     

    Now available for pre-order.

     

    ‘Catching a mouse’ is the first in a series of new prints to be released over the course of the summer and continues Emily’s fascination with Victorian transferware ceramics. “I wanted to reinterpret the mugs in a bright and graphic way, building on my ongoing series of watercolour paintings exploring the same subject. I’ve become obsessed with these ceramics and I’m currently developing my own range of plates and mugs that take direct influence from the transferware tradition." Emily Sutton’s new screen print ‘Catching a mouse’ is now available at a special pre-order price of £165 until Friday 18th July 2014. All pre-orders will be dispatched on this date after which the print will revert to its full price of £195. Click on 'Artists Prints' for more details of how to order your print.


     

  • A first look at Emily Sutton's new print.

    There is always an air of excitement when new work is brought into the studio and when Emily arrived on Friday with the beginnings of three new screen prints I couldn’t help but look forward to getting started. I’m often asked how the prints are developed and if they are based on another piece of art, a painting for example. Each new print is different but hopefully the photo’s below will help explain the process to those who are unfamiliar with original printmaking.

     

    Emily's preparatory drawing

     

    It is often useful to make a preparatory sketch that develops the composition and some of the smaller elements that will be explored in the finished image. As with all the prints made at the Penfold Press there is no pre-existing piece of art that has been photographed or reproduced in order to create the print. In this case Emily has roughed out the detail of the image and explored some the colour combinations that will occur. It is from this sketch that the print will be based.

     

    The finished stencils, laid one on top of the other.

     

     

    Drawn on drafting film, this image shows the four hand drawn stencils that will be used to create the finished print. Each of these layers are drawn directly onto the transparent film with a mixture of materials. Using the preparatory sketch as a guide Emily has produced one stencil for each of the four colours she intends to use. Although each of the stencils are created in either black ink or an opaque red the final image will be printed in colours of Emily’s choosing. Sat on top is the final colour, one that Emily has labelled red/brown.

     

     

    Our initial colour experiments.

     

     


    This image shows some of our early colour experiments, dabbed out onto a piece of paper with fingers and thumbs. The colours that Emily used on the preparatory drawing gives a basic guide when mixing and to this Emily always brings a strong sense of the tone she requires.

     


    The finished colours, mixed and ready for the proofing process.

     

     

    Now all that is left to do is to process the screens themselves and make the first initial proof. This is the first time that Emily will see the four stencils printed in their chosen colours, one on top of the other. Keep checking the Penfold Press blog or my Facebook to see that first image and for details of its availability.

  • Studio Visit

    Emily Sutton visited the studio last week to collect the materials needed for her new alphabet print. With the key line drawing complete Emily was keen to get back to her studio to begin work on the stencils needed for each of the colours.

    After speaking to Emily about the image talk quickly turned to the subject of her upcoming YSP show. With the show opening in mid November Emily is already hard at work producing the work that will no doubt delight all those who visit. We hope to have a number of smaller new prints included in the show and with this in mind Emily decided to take a few extra materials with her. Keep checking the Penfold Press blog or my facebook page for updates.

  • Down time

    For those of you who might be interested in these kind of things, I’ve included a couple of the books that can be found, usually wedged under a tub of ink, within the studio. When all the screens are cleaned and the prints are drying in the racks these smudged books are my usual means of filling time. They act as both inspiration and a gentle reward at the end of the repetitive printing process. Here are two that I have gone back to regularly over the last month or so.

    In the Sweet Bye Bye - Margaret Kilgallen

    As far as I am aware the only book dedicated to the brief life and work of the US artist Margaret Kilgallen. I can’t remember where or when Kilgallen's work first caught my eye. Possibly it was the film of Kilgallen herself painting upon the trains of San Francisco. The film captures Kilgallen, along with her husband Barry McGee tagging their way across the freight trains of the US and decorating them with her folk tinged imagery. ‘In the Sweet Bye Bye’ captures the spirit of her work and documents her distinctive images across the galleries and walls of the US through photos, paintings and sketchbook pages. With her sign-makers eye for typography Kilgallen was drawn to the beauty of the wavering line, the hand made and a fascination with the imperfect. ‘In the Sweet Bye Bye’ is well worth a look if you can find it, if not seek out the film ‘Beautiful Losers’. Here, along with a range of others, Kilgallen discussed her interests and explored why she made art.


            

     


    The Great War by Joe Sacco

    Having enjoyed Sacco’s brilliant journalistic account of his visit to Palestine during the late 90’s I have followed his career as America’s foremost journalist/cartoonist with great interest. His latest book, published late last year by Jonathan Cape, captures the nightmare reality of the first day of the battle of the Somme in all its breathtaking and unflinching detail. A wordless, 24ft panoramic ‘The Great War’ is slightly more stylised than his earlier work, (cleaner in its line work perhaps) but this only enhances the attention to detail and the respect with which he handles his subject matter. With its nod in the direction of the Bayeux Tapestry, the format of the book, that of a concertina style binding, allows the viewer the opportunity to extend the panoramic to its full 24ft. Initially it is a quiet, contemplative experience that is suddenly transformed through the unfolding of the pages into a swirling mass of soldiers, horses and destruction. Sacco’s fantastic panoramic never fails to render me speechless both as a historical document and through its visual ambition.

     

     

     

  • Bright lights

    Quite often printmaking paraphernalia has a certain industrial chic or solid dependability that can lift it above mere items of equipment and instead transform inanimate objects into a characters within the studio. This is certainly the case with my Columbian Press with its eagle surveying all below it. However, I feel that my most recent arrival, a new exposure unit, may take time for its more Brutalist inspired design to fit in. I know that the arrival of an over sized light box may not seem that exciting but this marks the beginning of a new phase in the creation of prints within the studio. Giving further flexibility to the artists involved in producing work and greatly improving the speed in which the screens can be processed, the new exposure unit is a vital part of the studio. And maybe, in a way, its monolith like face makes it all that bit more intriguing.
  • I is for Ice Cream

     

    I is for Ice Cream, Emily Sutton, Screen Print on paper, 2014.

     

    An exciting week at the Penfold Press. Well, as exciting as it gets in small village within North Yorkshire. Not only is the studio construction nearing an end but Emily Sutton’s new alphabet print is finished. ‘I is for Ice Cream’ is the ninth print in the series and looks set to be every bit as successful as last years ‘H is for Horse and Hound’. From a printing prospective ‘I is for Ice Cream’ represents Emily’s most ambitious print to date. Consisting of eleven hand drawn stencils, the print beautifully layers the delicate Gelato inspired colours to stunning effect.

    When I spoke to Emily about her inspiration for the new print she talked of her childhood memories of eating 99’s on sunny days out in the park, as well as more recent trips to Venice. Here, Emily was drawn to the amazingly decorative signage of many of the Gelaterias (whilst sampling plenty of ice cream of course). Emily visited the studio earlier in the week to sign the completed edition and 'I is for Ice Cream' will be available on my website from today.

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