Tag Archives: printing

Crafty editors: Part 2

Earlier in July, we shared Part 1 of our crafty editors series – here are some more delicate, striking and tasty examples of what our members do with their spare time!

Jenny Papworth

This is a set of four prints on the theme of ‘winter’. I started screen-printing after a course at the local arts college, and I now print on paper and textiles and sell through my shop on Etsy. Doing something crafty is a great way to wind down after a long day in front of the computer, and screen-printing offers a whole new arena in which to be precise and pedantic.

John Ingamells

Lockdown inspired many people to try baking sourdough bread. But the method’s popularity has been on the rise (!) for some years. Of course, sourdough is nothing new; it is the way bread was made for thousands of years before we learned how to make yeast separately.

Its devotees are captivated by the strange alchemy: the bread-and-water starter that lives in the fridge for years; the process that turns three simple ingredients – flour, water and salt – into well risen bread with a depth and complexity of flavour that mass-produced breads cannot match. And, to add a genuinely modern twist, they now tell us it’s actually very good for us as well!

Sam Hartburn

Here are some modular origami dodecahedra I made – the first is a normal dodecahedron made from post-it notes; the second is a stellated dodecahedron. I’m not sure if the third has a name – a flowered, cubed dodecahedron maybe.

In modular origami, you fold a number of identical modules from small pieces of paper, then fit them together into a bigger shape. The modules usually slot together and stay in place without any glue, although often there is no strength to the piece until the final module is slotted into place – meaning that the process of putting them together can be frustrating. You can even make origami pieces that move, like this rotating structure.

Rich Cutler

A few years ago I became interested in art and photography. Like most budding photographers I started out by taking decorative, pleasing images. However, I soon became dissatisfied with these, and found myself drawn instead to contemporary art – about which I knew very little (my background is in science). On a whim I applied for a master’s degree in photography, and to my surprise I was accepted! Doing the MA was one of the best decisions I’ve made, and improved my photography immeasurably. Since graduating in 2013 I’ve exhibited as a photographic artist both in the UK and internationally.

Rich has managed to show his work publicly despite the lockdown: Insecta in the window of the contemporary art gallery Fabrica, Brighton (on display until September).

Annette Doutney

I arrange flowers at my parish church and it’s something I have missed during lockdown. It’s both relaxing and satisfying to take beautiful things and create something even more beautiful with them in a peaceful, empty church. I can let my mind wander as I work, too, unlike when I am editing or proofreading!

Philippa Tomlinson

Wet felting is surprisingly hard physical work when done by hand, but this is partly why I love it. It is also a sensory activity – so a welcome antidote to the sometimes stressful hours spent staring at the computer screen. I can let my mind drift off, immersed in the colours and smells and textures of the felting while listening to music or the sounds of nature outside in the garden. It is also an unpredictable craft – you are never quite in control of how the final product will turn out – and it’s good to learn to embrace that.


Proofread by Joanne Heath, Professional Member.

Stitched together and posted by Abi Saffrey, CIEP blog coordinator.

The views expressed here do not necessarily reflect those of the CIEP.

Crafty editors: Part 1

On the CIEP forums, we recently asked members if they’d like to share their crafting skills, and had a fabulous response – this is Part 1 of our crafty editors series!

Sarah Perkins

Here is Pugin, my firescreen.

I saw a beautiful glass peacock firescreen. I loved it, but it was far too small and delicate for my fireplace, and very expensive. It got me thinking that I could make something three dimensional, so I didn’t need the traditional frame to make it stand upright. Apart from the peacock blue felt, he was made from various scraps, in different techniques so I didn’t get bored or run out of a material I couldn’t find again. There’s knitting, patchwork, quilting, drawn thread work, crewel embroidery, ribbon weaving, needle lace, felting, machine embroidery, and even a bit of fair trade raffia.  You wouldn’t believe how many people have asked me why I don’t call him Penelope. Because he is a peacock. Ah!

Nicholas Taylor

This is my latest line of handmade cards, combining my love of maps and all things outdoors and the joy of sending cards. I haven’t been able to get out as much recently but this has just given me more chance to cut up a lot of old OS maps!

 

 

 

 

 

Catherine Dunn

I studied fine art at Loughborough University and graduated in 2001 with a BA in painting. Since then, I’ve continued to draw and paint as a hobby. I find it helps me zone out and relax. Due to space constraints, these days I keep it fairly small. This piece is in watercolour pencils and ink. I enjoy working in a wide range of media, but I always keep things mainly in two dimensions. I’ve recently started experimenting with ProCreate Pocket on my iPhone, which is opening up new avenues to me.

Joanna Porter

I make lace, mainly bookmarks because they are relatively simple to do and still work even if the lace is not 100% perfect. I find it therapeutic as it is not that complicated to do but does require total concentration. Part of the pleasure also comes from using my grandmother’s bobbins. I hope to add a lace bookmark to the raffle at the 2021 CIEP conference.

Elaine Monaghan

Silk satin; pre-print dip in logwood dyebath; bramble, oak and coreopsis

I enjoy making botanical contact prints (sometimes known as ecoprints), mostly using leaves from my garden, or collected while on a walk. It’s a very personal way of making a permanent record of a moment in time. I generally print on protein fibres (silk, wool), which take prints well; cellulose fibres (cotton, linen, bamboo, etc.), including paper, can be trickier. The photos show two examples of printing on silk. The technique has great potential for upcycling favourite old garments that need a new look, and I’m working on incorporating prints into conventional garments (such as on a silk lining for a jacket).

Habotai silk; sumach and oxeye daisy; post-print dip in madder dyebath

One of the attractions of the technique is that each print is unique: the result of printing a leaf from an individual tree may vary, depending upon the season, and if weather conditions change. It’s encouraging that even the most experienced printers get unexpected results!

 

 

 

Caroline Petherick

After a rather long break, I took up knitting again and kicked off with a nice warm woolly for winter.

 

 

 

 

 

 

Paul Sensecall

In my spare time, I produce abstract works on canvas using natural coloured mica pigments mixed with resin and hardener. The resin sets to a hard clear vitreous finish, giving interesting light-diffracting qualities to the pigments on the canvas. I use a mixture of techniques to add and disperse the pigments and resin across the canvas and to introduce cells and lacing effects.

 


Proofread by Joanne Heath, Professional Member.

Stitched together and posted by Abi Saffrey, CIEP blog coordinator.

The views expressed here do not necessarily reflect those of the CIEP.