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Easterly Artists Open Studios Trail

Easterly Studio Trail Weekend

For one weekend only the Easterly Artists Trail is a collaboration between five artists in the Lowestoft and Waveney area who are coordinating their Suffolk Open Studio days on the weekend of Saturday 16th and Sunday 17th June to provide visitors with the opportunity to visit every studio on the same day.

If you can’t make it on the weekend of the 16th and 17th of June the other weekends in June when the artists studios will be studios will be open are as follows:

  • Hilary Barry June 2nd/3rd and June 9th /10th
  • Hugh Davies & Lisa Hurcum June 23rd/24th
  • Nina Roffey June 9th/10th
  • Fiona Shreve June 2nd/3rd and June 9th /10th

Download Easterly Artists Leaflet

Please Note : Access to the studios may involve stepped access. Please call the artist beforehand  to check access arrangements

Hilary Barry

I left the Welsh mountains at 17 to go to art school, but the landscape and its history continue to influence my painting. My work is often a combination of the real, the remembered and the imagined: I aim to evoke the memory of landscape and experience.

Copperfields, Beach Road, Kessingland, NR33 7RW.

Tel: 07800 643117

hilarybarryartist.com

Hugh Davies

Drypoint study of net covered upturned fishing boat, Pakefield, Lowestoft 2017

I am interested in drawing and mark making on paper as a means of exploring imagination, form and space. I use a range of printmaking techniques including linocut drypoint and cyanotype as a means of moving beyond recording and observation into abstraction.

29 Lyndhurst Road, Lowestoft NR32 4PD

Tel: 01502 580912

paper-works.co.uk

Lisa Hurcum

Working with linocut printing gives me the ability to retain a spontaneity and immediacy to the images I create. My inspiration comes from the domestic and the everyday, both observed directly from life and from the imagined details of the short stories that I write.

29 Lyndhurst Road, Lowestoft NR32 4PD

Tel: 01502 580912

paper-works.co.uk

Nina Roffey

I have been working on found wood for several years making sculptural assemblages. I also use found or discarded, items and place in boxes as well as paintings and collages. I often write small books to go with some larger works which are included in the sale price. Found objects are my weakness!

52 Park Drive, Worlingham, Beccles, NR34 7DL

Tel 01502 715118

ninaartmaker.info

Fiona Shreve

Brutalist architecture influences my ceramic designs. I create sculptural forms with under-glaze transfer prints: both are inspired by images of buildings such as The Barbican or Park Hill in Sheffield, or the iconic buildings on the Southbank.

9 Marsh Lane, Somerleyton, NR32 5QX

Tel: 01502 730837

fionashreeve.com

 

Suffolk Open Studios

Suffolk open studios

Every year all across Suffolk over 100 Artists open their studios during weekends in June. You are invited to see how and where they work and get the opportunity to enjoy paintings, drawings, prints, ceramics and other works of art outside a gallery setting.

For information on the full range of open studio events please see www.suffolkopenstudios.org or pick up a printed brochure from participating studios, local libraries and visitor information points.

 

 

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Grit Fest 2018

Brilliant Day at Grit Fest. Sparrows Nest Park was looking at its best with a big turnout and  beautiful sunny weather.

Our free drop in linocut printing workshop was busy non stop from 10.30 am till 4pm. Lots of enthusiasm for having a go from all ages four to four score plus! Lots of interest in what we are doing and our upcoming open studios in June . Hope to welcome you all then . Really rewarding day, lots of new people and old friends. A friendly atmosphere, people sitting out on the grass listening to the bands and some dancing!.

Thanks to Paula White for allowing us to include her quick sketch.

A big thank you to all the organisers who made Grit Fest happen. See you at the next one !

For anybody who missed being able to print their own we have some artists proof copies of our grit prints available in our online shop

 

  

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Editioning by paper-works*

print editioning

Paper-works* editioning work for Tessa Newcomb

Tessa Newcomb came to us wanting to produce an edition of a set of prints. She had in the past executed traditional acid etched prints with the assistance of a print studio but now wanted to revisit producing prints using new techniques.  After a day in the studio on one of our “Introduction to Drypoint” courses, she decided on using drypoint card as her preferred media and went away clutching a stack of materials.

The following week, Tessa returned on one of our members days, with twenty or so card drypoint plates. A busy morning ensued assisted by us to produce proofs of all of the prints.

We set out all the proofs in the studio. Working together with Tessa, we discussed the options for whitling the wide selection of images down to a set for editioning. Being executed on drypoint card there was a concern that any edition should be reasonably short to avoid deterioration of the plate. It was decided to go with limiting each edition to twenty. After much discussion four prints were selected as the basis of the editions.

The chosen images required some care with wiping during the inking up process as residual tone on the plate was a desired feature for parts of the image. To help keep the prints clean we decided that editioning would be a two person task. One person inking up and wiping and the other staying ink free and registering and passing the prints though the press. We estimated that we might achieve an average print rate over a day of about 6 an hour. In the end with cups of tea and biscuits! ) we achieved the full edition of 80 in about two and a half days

The prints are now all completed, signed and editioned ready to put up for sale on the website and distributed to gallerys

If you are interested in paper-works* assisting you in editioning a print please get in touch via our contact page.

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Tessa Newcomb at paper-works*

Tessa Newcomb at paper-works*

Paper-works* are delighted to welcome Tessa Newcomb as a member of paper-works*. Tessa has been painting in her cottage in Suffolk for thirty five years, with many successful exhibitions of her paintings to her credit:  “Working on your own is not easy. I think that I have proved that  I can do it, supporting myself and my children along the way. Now I like the chance of working in other studios and with other people “.
An established and successful painter in oils Tessa sees the value of exploring and learning new skills ” “Printing offers me another strand to my work ” she volunteers,  “Its been good for me, Hugh and Lisa offered just the right  instructions and support in the airy studio, lunch and cats a bonus”.

Tessa came along on an “Introduction to Drypoint Day Course” and has been inspired to work directly on the drypoint card plates working from carefully observed preparatory pencil sketches. She has joined as a member and is now collaborating on a project with us. We hope to share the results of this with you here and in the online gallery very soon.

Work by Tessa Newcomb can be seen online at:
Crane Kalman GalleryClark Art LtdThompsons GalleriesAinscough Contemporary Art, Cork Brick Gallery

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Summer 2018 Printmaking day courses and taster mornings

summer printmaking

Paper-works* Summer 2018 Printmaking

Printmaking in a morning

To coincide with Suffolk Open Studios we are running printmaking taster sessions, 2 and a half hour morning sessions to give you a quick flavour of the different techniques. Book courses individually or choose a selection to build your own printmaking course!

All day courses are from 10am to 12.30pm. No previous experience required. Tea/coffee and all materials included. £25 All bookings on our website.

Day courses

Unleash your creativity, experiment with something different, develop a new skill and try one of our introductory printmaking courses! The day courses are held in our well equipped light filled first floor studio except the Drypoint course where in August we will be in the spacious upstairs gallery at the historic Fisher Theatre in Bungay.

All day courses are from 10am to 4pm. No previous experience required. Lunch and all materials included. £60. Bookings on our website except for the 25th August which are direct to the Fisher Theatre.

 

If your not local take a look at our accommodation page.

 

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paper-works* @ Fisher Arts and Social

Fisher Arts and Social

Great morning today with all the folks at Fisher Arts and Social Club

It was their first dabble with drypoint. Out of the block at 10.30am a quick demonstration and everyone created a print they were proud to take home. All in just two hours.

Fisher Arts and Social Club was founded by Sophie last year. They provide creative sessions for mature people and their carers. They are dementia friendly and wheelchair accessible. The group meets each Thursday morning at the Fisher Theatre in Bungay. The goal of each session is to provide the perfect mix of art, cake, friends and laughter !

Demonstrating inking up
Demonstrating inking up
Printing on the portable press
Printing on the portable press
Turning the wheel on the press
Turning the wheel on the press
Fisher Arts and Social
Inking Up drypoint at the Fisher Arts and Social Club
Fisher Arts and Social finished prints
Fisher Arts and Social finished prints


To find out more see their Facebook page https://www.facebook.com/fisherartsandsocialclub/

We really enjoyed the session and hope to work with them again soon.

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Spring 2018 Printmaking Day Courses

printmaking day courses

Paper-works* Spring 2018 Printmaking day courses

Unleash your creativity, experiment with something different, develop a new skill and try one of our introductory printmaking courses! Limited to just four students and held in our well equipped light filled first floor studio to make sure that you get the best out of your day.

All day courses are from 10am to 4pm. No previous experience required. Lunch and all materials included. £60.

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Introduction to Drypoint day course photographs

Introduction to Drypoint day course

A successful and really productive day in the studio running our first introduction to Drypoint course.

Each student produced at least four drypoint plates using  a mixture of drypoint plastic and drypoint card. The students executed  initial exploratory mark making on the different materials using a variety of tools. These included carbide and steel tipped stylus’s, roulette wheels, halftone rakes ,sandpaper and wire wool. Learning from these tests the students went one to successfully produce prints using both drypoint plate media. Their resulting designs reflecting their own individual visual style.

The closeness of the basic drypoint technique to drawing together with the variety of additional mark making techniques resulted in a clutch of very strong images. Expectations as to what could be achieved in just 6 hours were exceeded.

Many thanks to our students for making it a great day! To join us on an upcoming course see available dates.

 

 

 

 

 

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Learnings from the Kitchen Litho Workshop

Mug, Kitchen Litho

Kitchen Litho Workshop 23rd January 2018

 

Four of us spent the day exploring the technique of Kitchen Litho. With spray bottles full of coke and lots of water, wet sponges and sticky oil based Litho ink it’s a fun and a messy business !

We had successfully done a dry run of the technique but with more people doing it together we got our share of mishaps. Problems generally surfaced at the inking up stage where the image became lost under an immovable layer of ink!. Its been a good learning experience and we’ve been back in the studio today to iron out the issues that arose yesterday.  The main flaw seems to have been applying too much ink in one go and not using enough water on the plate and the sponge whilst wiping off excess ink. If the roller seems to have barely any ink on it as you apply it to the aluminium foil then that seems a good place to be starting from. Other issues include potential cross contamination of sponges used at different stages of the process and the fragility of the aluminium foil.

Most of the images that we worked on were using soft litho crayons. We also successfully used a children’s wax crayon to achieve finer lines. Overall what came out strongly was the suitability of this printing technique for rapid , gestural drawings.

 

 

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First Experiments with Kitchen Litho

Kitchen Litho Equipment

Today we spent a couple of hours doing our first experiments with the Kitchen Litho technique. Its all well and good reading up accounts of how its done but nothing beats having a go. Blog posts that either elaborated on Emilie’s methods (sandpaper (!) and vinegar ?) , or reported failures, meant that we were beginning to approach our workshop day with a little trepidation. All this was quickly dispelled once we got our hands dirty.

The basic “kitchen” requirements include : Aluminium cooking foil, a glass chopping board, sponges, a bottle of Cola , plenty of kitchen paper and a handheld plastic spray bottle. These were supplemented in our experiments today with a thin sheet of plastic, a pack of Korns soft Lithographic crayons, oil based lithographic ink, an ink roller, blotting paper and a small etching press!

1 Wrap aluminium foil around a thin sheet of wet plastic, matt side out

Preparing aluminium foil for Kitchen Litho

2 Mark the aluminum foil with a Korns Litho Crayon ( Soft No. 1)

mark making with Litho crayon

3 Spray the aluminium foil plate with Cola

spraying aluminium foil with cola

4 Rinse off Cola with a wet sponge

rinsing off cola

5 Wipe dry with kitchen roll then pour on a little vegetable oil

6 Use the vegetable oil and a sponge  to wipe off the Litho Crayon

7 Wipe off oil with a damp sponge leaving a clean aluminium plate

8 Roll out the Litho ink on the glass chopping board

9 Use a clean sponge to wet the surface of the foil then roll on a thin layer of ink

10 Wipe off excess ink using a sponge

11 Repeat wetting, inking and wiping to leave a well inked plate

12 Place on press, register paper then cover with damp paper, dry newsprint, thin acrylic sheet then thick etching blanket

13 Pass through press with pressure similar to that which you might use for intaglio

14 Remove print and dry flat between blotting paper

15 return to stage 9 for subsequent prints

So the first attempt was successful but lots to learn and improve on. We had read that Litho crayon was the easiest mark making method and there are lots of alternatives to explore. The aluminium foil is also quite fragile so we would like to explore a source for a slightly thicker and stronger one.

with thanks to Emilie Aizier . Emilie’s website

Read a brief summary of kitchen litho resources