• In conversation with Emily Sutton part 2

     

    In the second part of my conversation with Emily Sutton we talk about her new Alphabet print - Q is for Quince and Quail, making screen prints and Emily's influences growing up.

    PP: We’ve just finished working on your latest Alphabet print Q is for Quince and Quail, I thought it might be interesting to talk a little about the process of making a screen print as I know to some it’s a real mystery. Let’s start with an easy one... how long would you say it takes to make a new print?  

    E: Hmm, I work on prints in several stages, but I suppose if I include the research and ideas-gathering, the preparatory studies and the making of the individual layers I must spend between two and four solid weeks on a print. Then you take over, how long would you say we spend printing?

    PP: It varies I guess, but I’d say we spend a week or so proofing the image, getting the colour right and making any changes to the composition, then I usually leave the print with you for a while. I think it’s important to live with the image a little before we finalise it. Once you’re happy I go on to print the full edition. That probably takes another week or so, so it's probably longer than most people would think.

    One thing I'm always asked is if you mapped out the series right at the very beginning? We began in 2010, do you have ideas dating from back then? 

    E: No, the ideas have developed over the years. I look for inspiration in books, exhibitions, films, travel, conversations with friends, being outside, walking around a new city, old shop signage, antiques shops… anywhere really. Just being present in the world. For Q is for Quince and Quail I took inspiration from some old French lithographs I picked up at a car boot sale, particularly with relation to the colour. 

    PP: We have a shared love of Folk and Popular Art, what other influences do you have?   

    E: I am very inspired by folk art of all sorts, in particular the collection of the American Folk Art Museum.  I also love the paintings of Ravilious and Paul Nash, John Piper and Christopher Wood, Ben Shahn and Vuillard. It’s funny but when I was a child, my parents seeing my interest in drawing were always trying to drag me to art galleries but to my shame I was very unenthusiastic.

    PP: Me too, I suppose galleries can be quite intimidating places for a child to visit. Maybe not so much now, I know my children enjoy visiting exhibitions with me. Maybe ‘enjoy’ isn’t quite the right word.

    E: As a child, living in a quiet village meant a lot of time outdoors and a lot of time on my own.  It didn’t feel particularly fun at the time, but in retrospect I feel so lucky to have had so much quiet, unscheduled time as it encouraged me to be creative and find ways of entertaining myself. I had a near-obsessive passion for classic Disney films and particularly remember being blown away by Fantasia.  I also used to do a lot of ‘making’, out of paper, modelling clay and fabric, and got really interested in toy making as a teenager.

    PP: When starting a new print, I know you rough out the composition in a sketchbook, making thumbnail drawings and playing with colour. Are sketchbooks important to your practice?

    E: Yes, I am a religious keeper of sketchbooks.  I use them to figure out stuff and develop initial scribbles of ideas into fully formed sketches.  I can’t think very well in an abstract way and need to write and draw to make sense of what’s in my head.

    PP: It’s fascinating to see the ideas develop over the page as you solve visual puzzles. Those sketches then become the beginnings of the print; from them you structure your thoughts and produce a full composition. That, in turn, guides you when making the separations?  

    E: Yes. I make one separation for each of the colours I’d like to print. Depending on the subject matter I will either stay very true to the pencil drawing when making my stencils or sometimes go off-piste.  With more architectural or structured subject matter, such as P is for Pantomime, I do trace the lines from a full-scale drawing because there is so much detail to fit in that I’d find it near impossible to do more spontaneously.  With the Quince and Quail print however, I enjoyed having more freedom in the organic branches and foliage. I was much more expressive in my mark making. 

    PP: I know you as a very organised, methodical person. In that way, you’re ideally suited to printmaking. Does this follow through into your workday routine?

    E: Definitely. Being a very structured person, most days do have a set pattern.  I get up early and go straight to my desk as I find that having an hour or so’s work under my belt before the day has officially begun bolsters me up and gets me off to a running start. I’ll often have been thinking about it the previous evening, so I’ll already have a plan of what I’ll be doing. During the day I take breaks for breakfast and lunch and make time to get outside for a walk. I find this is particularly important when something isn’t coming easily, even though it’s often the last thing I feel like doing! I’m definitely a morning person, so I try to tackle the more challenging, mentally taxing work earlier in the day and then after lunch concentrate on the more methodical elements. I usually finish around 6/7pm. 

  • Clare Curtis Featured in The English Garden magazine

    To mark the release of a new Clare Curtis screen print here's look back at last October's issue of The English Garden magazine and a feature on Clare and her new screen print for the Penfold Press.

  • Win a unique print by Emily Sutton

    Here's your opportunity to win a one of a kind black and white version of Emily Sutton's latest print. The lucky winner will be able to hand finish the print themselves to create a truly unique P is for Pantomime. Read more...

  • Read all about it! Clive Hicks-Jenkins and the Penfold Press!

    We were delighted that Clive Hicks-Jenkins featured on the cover of Printmaking Today. You can read James Russell's article about his collaboration with the Penfold Press and discover a little about the beginnings of this exciting project.

  • Sir Gawain and the Green Knight - Part 2

    Gawain Arrives at Fair Castle, a screen print by Clive Hicks-Jenkins

     

     

    For the past two years, Clive Hicks-Jenkins has been making a series of fourteen screen prints based on the medieval poem Sir Gawain and the Green Knight. January will see the second and concluding Gawain themed exhibition at Martin Tinney Gallery, with all 14 prints on show, accompanied by art historian James Russell’s insightful observations on the images. 

    Clive writes: "Each screen print is constructed from many layers of transparent ink, all carefully aligned and overprinted to make the complete image. Initially, I make each layer of the artwork on a transparent sheet of lithographic film. There are up to twelve layers per print, and they're rendered only in black and red as the intended colours don't enter the equation until the printing stage. Once the layers of film for a print have been completed, each is transferred to a micromesh screen by Dan. Inks are mixed according to the sample colours I produce, and the printing begins. No-one really has a clear idea of how anything will look until the image begins to emerge, layer by layer from the printing press. It can feel like magic."

    For more information about the exhibition visit the Martin Tinney Gallery website at www.artwales.com or contact the gallery on 029 2064 1411. 

    Clive Hicks-Jenkins and the Penfold Press: Sir Gawain and the Green Knight - Part 2

  • A glimpse inside the studio with Alice Pattullo

     

    Alice Pattullo visited the studio a month or so ago, to begin work on a new screen print for the Yorkshire Sculpture Park. The edition will be available exclusively from YSP and will be launched at the opening of her show Of House and Home. Having caught a glimpse of Alice’s new work while delivering the finished prints, I can say without a doubt that the show will be worth a visit. Alice’s playful images explore the grounds of the sculpture park while taking the viewer on a journey into the heart of the home.

    Working with Alice was a real pleasure. As part of the promotion for the show, YSP has produced a short trailer that captures Alice and me working in the studio. Through the magic of film, we create the finished print in under a minute, not bad for a slow worker like me.

    I’ve been lucky enough to work with YSP on a number of occasions, going back to Mark Hearld’s successful 2012 show. Since then I’ve gone on to make five exclusive prints for YSP and helped contribute work towards shows including Emily Sutton's, Jonny Hannah's and Angela Harding's. Opportunities like these allow me to work with new artists and add a different dynamic to my studio days. Working on this print was great fun so get yourself along to YSP and check it out.

     

     

  • Emily Sutton's latest print is... '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 online gallery. 

  • Gawain and the Green Knight at Martin Tinney Gallery

    It's opening night at the Martin Tinney Gallery and your first chance to see the opening six prints in Clive Hicks-Jenkins new series of prints based upon Sir Gawain and the Green Knight.

  • Man Slain by a Tiger

     

    While 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 a particularly 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 broader 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 while we were working on one of Ed’s prints, the 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 regarding their influences and shared love for 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 partnership 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. The image demonstrates Emily’s inventive approach to mark making and her mesmerising sense of design through the use of ten hand-drawn stencils. 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/

     

     

  • Roll up, roll up...It's Emily Sutton's Toy Parade

     

    I'm pleased to present Emily Sutton's new print The Toy Parade. This latest screen print depicts some of the toys from Emily's collection and is printed in four colours on 225gsm Simili Japon. Last month the print made a successful debut in our 'This Way For Fun' exhibition and is now available from the Penfold Press online gallery. For more details click on Emily's name in the Artists menu.

  • Look what's coming to Dulwich...

     

    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 fantastic Angela Harding visited the studio this month to begin work on her first screen print with the Penfold Press. The new edition explores Angela’s fascination with the countryside and centres on a fox venturing out from the undergrowth.

    Here, Angela can be seen working on one of the layers that represent one of the six colours that will be used to complete the final print.
    With work now complete on the first series of proofs the finished image will be ready for the start of April, keep checking www.penfoldpress.co.uk for more updates.

     

     


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