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Print Isn’t Dead

People of Print

Print Isn’t Dead


Element #001


People of Print

Colophon Founder & Editor Marcroy Eccleston Smith Assistant Editor Cody Lee Barbour Graphic Designer Andy Cooke Contributors Lo Parkin Patrick Savile Hannah Dawson Anna Chayasatit Jim O’Raw Louie Zeegan Cover Designer Patrick Savile Printers Pureprint Group Offset Litho (CMYK) +1 Spot (Pantone 805c) Paper Fedrigoni Typefaces Archive Roman Archive Italic Archive Bold Reader Bold Reader Black by Colophon Foundry Publisher People of Print ISSN 2055-7167 Distribution & Sales @peopleofprint #printisntdead #printspotters

Editor’s Letter People of Print has been quite a journey for me since it’s inception at Brighton University in 2008. I’ve enjoyed putting on exhibitions in Bristol, Paris, London and New York. I’ve had loads of fun running live workshops and lectures at Pick Me Up, KK Outlet, V&A Museum, Design Museum and LCC. I felt proud when we set up a functional screen print studio in the slums of Kibera in Kenya to facilitate the production of beautiful greetings cards from recycled waste, and proud once more when we worked alongside Chris Haughton on the fair-trade rug project for Node which exhibited at the Design Museum. We have printed thousands of t-shirts, stickers and editions for various clients, yet we didn’t have a printed publication of our own, which is absurd, considering our company name. Here is our first ever tangible, printed publication. Touch it, smell it, read it and have a look, put it on a bookshelf, highlight words that you connect with, bookmark favourite pages and share it with a friend. The story of this magazine is ironic, our bold title ‘Print Isn’t Dead’, was faced with our initial printer, Butler, Tanner & Dennis being placed into administration. Swiftly followed by the sad death of the infamous entrepreneur, Felix Dennis, who had already prevented Butler & Tanner from going into administration once before. Felix was an inspiration, who started his impressive career as a publisher, poet and philanthropist by selling copies of the amazing underground 60’s counterculture magazine, OZ. I would like to warmly dedicate our first issue to: Felix Dennis (27 May 1947 – 22 June 2014) We were approached by hundreds of offset litho printers after it was announced by Print Week that we no longer had a printer in place for our magazine. However, we are very happy to announce that we have been kindly supported by both Pureprint Group and Fedrigoni Paper to get this magazine into production. So here it is. Print Isn’t Dead! -Marcroy

Print Isn’t Dead

Contents 03 04 05 09 11 17 21 23 27 31 33 35 41 43 46 47 49 51 55 57 61 63 65 67 69 75 78 79 80 81

Colophon Foundry Quickies Hannah Pixie Snowden People in a Photobooth SB Studio Anna Lomax Richard Clark Risotto Build Nicole Martens Masha Kovalevskaya Publications & Studios Jordy van den Nieuwendijk Crumb Cabin Lil’ Bub’s Big Fund for ASPCA Spike Print Studio The Archivist Underground Press Bunny Bissoux Jan & Randoald James Lunn New North Press Shelter Press Age of Reason London-based Print Studios Fedrigoni x Pureprint Group Sticker Robot Quickies Department Store Thanks






Tom Hutchinson



I thought I was a designer. When I realised nature was better. So now I grow things.

We asked Hampus Larsson from TOP NICE, a creative collective based in Stockholm and London, to select his top three printed vinyl sleeves.

Based in Torino, Italy, PrintAboutMe is an international and annual art contest, gallery, artist residency and publishing project, all focusing on engraving, woodcut, screen printing, letterpress and lithography.

Palmistry - Lil Gem Palmistry recently played at my club, Body, and this is his latest release. If someone looked up 2014 in the design dictionary something like this would pop up. Encapsulating the artists persona well, and the rainy sad dancehall pop on the inside. I recommend to everyone!

FACES/PLACES/SPACES by Wim Starkenburg. Over the last 35 years Will had lead a double artistic life; as an artist with his own practice and as assistant and executor of Sol LeWitt’s works.

Porno Subito is a strip of sketches, created as a monotype then reproduced as a screen print, by young Milan-based artist Fulvia Monguzzi. who draws whilst watching erotic movies.

Los Microwaves - Life After Breakfast The first song on the album is about a person who would rather be in bed than go to work in the morning. A perfect photograph of the group on the cover makes you want to hang out with them and the classic natural typesetting makes this one of my three favourites.

This is Mattia and Beatrice, two fifths of PrintAboutMe, at Set Up Art Fair last January in Bologna.

Enchante - North End EP Great cover designed by my friend Thomas Bush. The artist Enchante is also a friend of mine and the track Ego is a warm dance monster. The mix of gold, green and yellow has a lovely balance to it, inspired by a convenience store somewhere in London. This is The Day I Became a Woman by Italian illustrator Philip Giordano living in Japan. This concertina book was screen printed in an edition of 70.


Hannah Pixie Snowdon Black Stabbath Tattoo



Print Isn’t Dead

We had the opportunity to talk to Hannah Pixie Snowdon, a tattoo and print artist based in Sheffield, UK. She features here as a model for Marco Ferrari’s People in a Photobooth project.

At the end of the day, the internet world, or whatever you want to call it, is not real.


Marcroy Smith Hannah Pixie Snowdon

Hello Hannah, could you tell us a little bit about what you do? Hiya! Well I own and run Black Stabbath Tattoo in Sheffield, UK. I doodle for a living, travel a bunch and just generally try my utmost to enjoy every single second of this existence.

How do you find the creative world in Sheffield? Honestly, I tend to keep myself to myself, but Sheffield is a sick little city. Even from just walking around town, you can’t help but notice all the mad artwork plastered around the city. There’s so many sweet little independent businesses here, so unique and outwardly creative in their image. From coffee shops to restaurants to book stores, you’d be amazed at how many sell prints, stickers and various other merchandise from local artists. Incredible artists like Kid Acne do their bit to make the city look that bit more special, and companies like Lives and Levels and Drop Dead Clothing - just two distinct businesses of many from here - really do their bit to promote excellence and that unique edge that really put Sheffield on the map, for me at least. 

How have you integrated print into what you do as a creative? It started off as a way to make a bit of spare money to get Black Stabbath up and running, but once I realised the sheer volume of people who were into my artwork, I decided to use it to the advantage of other people and charities who needed help a lot more than I did. I’ve always been very much into lending a hand to whoever might need it - I’m a big believer in karma, and selfishly helping people out makes me feel good. It’s a win-win situation really! I recently collaborated with an artist called Roman Pepper, he owns a charity called For The Love Of Dogs. I sold a bunch of prints to raise money for that, to aid in the rescue of the hundreds of stray dogs from death camps in Slovenia. No matter how big or small I like to try and do one good deed a day and using my artwork in this case is so beneficial because it not only keeps me doodling in my spare time, (I have a tendency to get distracted from work by video games) but it benefits everyone else involved!  

You don’t have Twitter or Facebook, which are known for their excellent marketing qualities, how have you side-stepped this approach to marketing? I bloody hate the internet! I can appreciate it is so good in so many respects, for self promotion as well as a bunch more. Honestly though, I’m so rubbish with emails, I can literally only handle one form of social media at a time. I try very hard to maintain a positive balance with the internet. It can be (and is) so useful for my work. I owe pretty much all my exposure to it, yet I see the way people can interact with each other and it just makes me feel physically sick. At the end of the day the internet world or whatever you want to call it, is not real. People create lives that look so good on the outside, worrying so much about taking a good photo of where you are or what you’re doing that you forget to actually look beyond the screen and enjoy it for real. However, to push against the incredible response I get from the Internet, or to be ungrateful for the work I get from it would be pretty stupid. You just have to avoid getting sucked into all of it. Keeping focused on my work and keeping my head down is the best I can do in that sense. That’s not to say that I don’t appreciate all the love and support I get from it. It can just be a little overwhelming sometimes, and you can’t let that stuff go to your head.  

Have you used print for anything else besides your own work, promotional material, flyers & other design work etc? Not particularly. I don’t really have time to concentrate on anything else besides my own work at the moment. Although I do have a bunch of exciting collaborations planned for as soon as my schedule chills out.

What do you look for in a quality print? Honestly I’m no expert when it comes to this stuff, but I really appreciate a good heavyweight cotton paper. Flimsy little scraps of paper suck, I want something thick, sturdy and fully archival that’s not going to look crap over time, because I’m a hoarder and I never throw artwork away. I love good packaging too, throw in some stickers and a cute note or any other treats, and I’m all yours.

Could you walk us through your creative process when creating artwork for either tattoo or for print? Every design is usually totally different, sometimes I doodle in bed or on the kitchen table and sometimes I’m in that zone where I just have to be in work and surrounded by all the necessary equipment. My customer usually gives me a relatively strong idea of what it is they’re after though and then I just warp it until it suits my style. I collect books too, I have so many incredible reference books for pretty much anything you could throw at me...except people. I couldn’t draw you a portrait to save my life. I sketch something up and then perfect it. Then comes the long laborious process of stippling. Do you create differently for tattoos than you do for print-based work? Nope! I work exactly the same. Although if it’s for print I tend to use a computer more. I’m pretty bad with technology to be totally honest, but I can just about make something as geometrically perfect as possible if need be, that’s as perfect as a doodle can be anyway.


Print Isn’t Dead

Now that you have your tattoo business, how do you see it evolving? I have no interest in creating some mega company or a chain of tattoo shops or anything mental like that. I’ve got my studio, it’s my baby and I plan on it being an only child (haha!). I don’t want Miami Ink or anything like that. It just feels amazing to have my own space where I can focus on my work without distraction. I work so much better alone and I’m way more confident when it’s just me and my customer, with nobody peering over my shoulder. I’m a loner, but I’m totally cool with that. I would love to have all my favourite tattooists and friends guest at some point though.

What do you have lined up for the near future? I have got something AWESOME planned for later this year regarding Drop Dead Clothing. That’s all I’ll say for now though, but make sure you’re socks are on tight because they’re most likely gonna be blown off.

Do you think that ‘print is dead’? NO! NEVER! If anything I think it’s being reborn in a way. People seem to appreciate art so much more right now. They’re willing to spend money on it as well as just admire it from afar. Knowing that people like my doodles so much that they want to hang them in their homes and wear them on their skin... there’s no better feeling! Tattoos have become and will only continue to become more popular. As this happens people will naturally only appreciate art more and more in all forms. It makes life more beautiful, and fun. It might not necessarily save lives directly but it certainly brightens the fuck out of my day and I don’t know where I’d be without it. It’s a release, doodling, and receiving something beautiful can bring equally as much happiness.

What is your favourite biscuit? OREOS! That’s only because they’re literally the only biscuits that are vegan though. I’m more of a cookie girl myself.



Marco Ferrari People in a Photobooth

Marco Ferrari is an Italian photographer who is currently based in London. His work focuses on people and he only uses analogue media; photobooths, Polaroid and film. The camera he loves the most is the colour Dedem FT-22 photobooth that he has owned since 2009. Some say he only moves where photobooths are… My main projects at the moment, Inked and Photographers In The Booth are about people. With Inked I explore the relationship tattooed people have with the art they carry on their skin. With Photographers In The Booth I want to see if photographers understand the photobooth as a camera and if there is a connection with the way they pose and the photos they take. Both projects are shot using a public photobooth because it represents the ‘absence’ of the photographer. I am the photographer because I make the photos happen, but I don’t press the button; inserting the coins is the equivalent of shooting the photo. I love the immediate feeling and feedback of instant photography. The photos are the link I use to create a connection with my models. Photobooth and Polaroid photography are slow processes, but thanks to this I have the chance to know the models I am shooting with, to understand them and to improve our work together. I work only with analogue photography and believe that printing is extremely important, especially nowadays for people only shooting digital, amateurs and photographers love that risk of losing all their photos in broken hard drives or in lost memory cards. I believe in printing because I believe in the emotions given by a physical photo.

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Print Isn’t Dead

I don’t press the button; inserting the coins is the equivalent of shooting the photo.

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Interview Feature

SB Studio 100/100

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Print Isn’t Dead

SB Studio is a brand and ideas agency which elevates brands in unique, engaging and compelling ways; their not-for-profit 100/100 project fits perfectly within this description. As we are becoming ever more saturated by the increasing demand for craft beers, SB Studio have collaborated with The Liverpool Craft Beer Co. to brew their very own beer and present to us a branding project with a fun twist and fresh approach. This live collaborative experiment between the public and 100 carefully selected artists, illustrators, designers and writers, began with a call for the public to come up with a name for a beer, using the letters S and B. Eventually 100 names were shortlisted out of 1,000. The group of selected collaborators then created 100 unique labels representing each. This project is currently exhibited online and the individually branded beers will be available to purchase during an online auction. It will also be featured in a book which runs alongside the project. All the profit generated will be going to Art Fund, to continue supporting art nationally. We had the opportunity to interview the SB Studio Creative Director Benji Holroyd to find out more about the background of the project, its intentions, and to explore how branding, identity and print work together to engage and excite.

100 bottles, 100 names, 100 collaborators, 100 unique identities.















Soapy Baboon Seymour Chwast

Soul Boss Paul Bedford

Stranded Badger Andy Smith

Sweet Brenda Peter Quinnel

Solo Blonde POST

Super Being Supermundane


Print Isn’t Dead













Scandinavian Barmaid Jack Hughes

Slippery Banana Magnus Voll Mathiassen

Sombrero Bolero Think Work Observe

Smoking Beast Build

Simply Baskerville Design Project

Strong Bear Adrian Johnson


Hannah Dawson Benji Holroyd

How did the idea for the 100/100 project and the collaboration with The Liverpool Craft Beer Co. come about? We have a number of self initiated and not-for-profit projects that we run each year in the studio. After recently rebranding The Liverpool Craft Beer Co. we were presented with the opportunity of brewing our own beer, we looked at different ideas of what we could do with the beer, other than just consuming it. This is when we came up with the idea of involving more people in the project; designers, artists etc. that we admired or whom we’ve worked with in the past. Why did you decide on 100 as being the constant number throughout the project? It wasn’t a decision or particular theme, just a decent number that we could manage. How were the 100 artists, illustrators, designers and writers selected to collaborate? All of the creatives we selected from a long list of friends, collaborators and artists whose work we have admired over the years. Did the collaborators get to choose their favourite beer name to design a label for from the shortlist or were they assigned one? Yes, each of the contributors selected their own through a private online selection tool that we built into the website. Did you set any limitations in relation to the design of the labels? The only limitations were on production and size — everything else was completely open. We wanted to allow as much freedom as possible. How will the labels be printed? No fancy print processes unfortunately, due to the size of the project. All will be litho printed and in a full production run of 2,000 per batch. Where can we get ourselves a bottle of beer? All the beers will be available at the launches, and then stocked across the UK in bars, restaurants and bottle shops. Do you have any particular favourite label designs or names from the project? We have lots, it’s very difficult to decide and would be wrong to select one. What we’ve found most interesting is the way in which different designers and artists have approached the project. What is next for the project? Will there be an exhibition or event? There will be two launches, in both London and Manchester. The exhibition will showcase all 100 bottles and the beer will be available to buy along with the book, which is a large format loose leaf book of every label. How has working collaboratively challenged and engaged the 100/100 project? It’s been hugely challenging, curating 100 artists is no mean feat. However, it has been brilliant to start conversations with new collaborators etc. whom we hadn’t worked with in the past. Off the back of the project we’re now working with six new illustrators on brand projects. Craft beer is becoming ever more popular, how do you see the relationship between identity and label design evolving? We’re seeing brands promote themselves in different ways in every sector, not just the drinks industry. I don’t think it’s something that will take over identity, it’s a element within a brands identity. And finally, what other not for profit projects has SB Studio got planned for the future? We’re working on a new book at the moment that celebrates the unsuccessful pitch, which will be published and available through our sister company Cow&Co.


San Bruno Believe In


Print Isn’t Dead



Interview & Visit

Anna Lomax Kitsch Bizarre


Print Isn’t Dead


Born and bred in South London, Anna Lomax is a legendary maker and collector who has been wowing the industry with her vibrant, weird and wonderful creations. Working in the fields of art direction and set design, Anna’s artwork invites you on trippy, dream-like journey into a bizarre world of pound shops, other peoples junk and pop art. We were lucky enough to spend a day in Anna’s world. We met in her studio where we talked about collecting things, car boot sales, artistsic process and of course, print.

I did an MA in printmaking at the RCA, which is funny as I never made a print the whole time I was there!

Interview & Visit

Lo Parkin Anna Lomax

How does your background studying illustration inform your current practice? I still very much think of myself as an illustrator, but just a 3D one. I’ve always liked to work across disciplines and I think that it’s becoming more acceptable these days. I like the idea of being able to work across design, product, environments, installation and make work that is conceptual but still sits in a design arena. I think your work is a great example of how contemporary illustration and graphic design are pushing forward and can be translated through 3D media. What are your reflections on this and what do you want to see from contemporary design? There is so much exciting stuff going on out there. I’m not that sure what I want to see from it exactly, but I like being surprised. I think it’s a very traditional view that illustration and graphic design should be solely 2D – it’s like saying a painter can’t make a sculpture. It has just become a medium for me. I think I was super lucky to go to Brighton University to study illustration as they accepted that work could be 3D and not necessarily as a piece of paper or print. Even though you don’t work predominantly in print, tell us of some examples where you have used print in your work, or that your work has been used in print.  I actually did an MA in printmaking at the Royal Collage of Art, which is funny as I never made a print the whole time I was there! As time goes on I see a lot more links between my practice and my time there. I love the world of the edition as I’m fascinated by ideas around low and high culture and mass production versus limited edition. I really enjoyed doing Pick Me Up Selects last year as it gave me a bit of time to explore these themes. I really like the manipulation that you can do with a constructed set for an image. I like the idea of it all being so impermanent and the false impression you get from the polished final image. Your work translates a DIY approach to craft, art direction and set design. Would you say getting your hands dirty and generally ‘making stuff’ is an important part of your process or is it more about the concept side of things? I love making things although sometimes I’m not the best at it! If I can’t do something myself or want a specialist process done for something, I’ll proper hunt to find someone who can do it. Alongside meeting them, I’m interested in learning about what makes them tick or why they might have picked that particular craft. I really like the idea of being a master of your craft and can’t get enough of peoples eccentricities around their chosen path. You collect all sorts from pound shops and markets. When you’re searching for your treasures are you looking for things with ideas in mind (in terms of your work) or do you find you just ‘need them’ and find a place for them later? It’s a bit of both. I have things in my studio that I have collected from years back that are still waiting for their debut or to find the right stuff to put with them to show them off at their best. But often I will be planning for a shoot and I take a trip to the pound shop to see what weird, wonderful and playful items can be found. Seeing what I can get away with putting into a shoot of a posh shoe and if anyone will call me out on it’s absurdity! I like the idea of how luxury is portrayed in a material sense and try to explore and play with these ideas with in my work. My pound shop treasures often work well in this idea.  Who do you admire and how does this play a part in your practice? I admire a lot of the people I work with and a lot of my peers. Everybody seems to being going from strength to strength and it makes me really happy. Alongside that, it would be the photographers I work with, as they bring an added element to each piece of work that I couldn’t achieve on my own.  Can you describe your process a little, how do you begin approaching a new project? Do you spend a lot of time planning or just roll with your ideas? It really depends on the project. I always have a few things cooking alongside all the commercial work, so I tend to collect ideas for them quite slowly and let the concept develop. I try and do one of these projects every few months. All the other work nearly always has a mad time constraint, so I very much have to roll with an idea. It’s good if I can use an idea I have been developing, but sometimes I’m just in at the deep end.  I’d love to spend a day inside your head! Is it as colourful and crazy as your artwork?!  I’m really disorganised and dyslexic in my approach to everything! I have to try really hard to separate the chaos from the work, especially when working for commercial clients! When I work physically I leave horseshoe shapes of mess around me as I go and then move on to a new clear surface or bit of floor. I try my hardest to control this - I think the inside of head probably looks like this!  Do you have a favourite piece of work or particular brief you loved working on? It would have to be the Clarks Originals project I did. They gave me total freedom to do what I wanted. I asked to do a residency in their HQ at Somerset House, working with the master craftsmen that they still employ to make prototypes of the shoes and create 15 pieces of work around my time there. They gave me total free reign and really got behind the project. It was a dream job.


Print Isn’t Dead


Do your clients often let you have free roam with the art direction side of things? How has this changed from when you started out? When I started out I said yes to everything no matter what the budget was or how unrealistic it was to achieve. I do less of that now as I know there is no point in doing something unless you are able to make it be the best thing it could possibly be. I think that treating the paid and unpaid jobs exactly the same has allowed me to get to a place where clients do let me have quite a bit of freedom. It’s very easy to put work out that you might not like visually just because it’s for someone cool. I never do this and only put out the work I can stand by and say ‘I’m proud of this’. I think the only thing that has changed since starting out would be that I don’t get asked so much to do things that are totally unrelated to the ‘look’ of my work - which is quite nice Is working on personal stuff important to you and how do you balance this with working for clients? The personal work informs the commercial work. It’s where I get room to make some mistakes and learn from them. Also its great to make some stuff off your own back that then somebody might see and commission more of, but it’s a balance. I’d say editorial is pretty free and there are stages of freedom on commercial work. You get the measure of how free a project is going to be pretty quickly and I’m happy to work either way as long as I know it isn’t going to be one or the other for too many projects in a row. With the lead times always being so short sometimes it can be a welcome relief to make something with out worrying too deeply over the concept. What are you up to at the moment and is there anything in the pipeline you’re really excited about? I have a couple things in the pipeline for 2015 but I can’t jinx them by talking about them yet. I’m also working on a project with photographer Jess Bonham that is heading towards a Riso book for the end of the year. It’s a long lead project and really nice to develop some work at a bit of a slower pace. 


Interview & Visit

Richard Clark Unsung Hero

Across the country there are talented and dedicated individuals, happily working away in their print studios. In my experience of working alongside some of these masters of their craft, I have never met anyone more dedicated than Richard Clark. I met Richard Clark back in Birmingham as a fellow member of Birmingham Print Makers, he was part of the furniture. His presence in the studio is missed after he moved to Brighton several months ago. Luckily we swapped phone numbers and kept in touch. What I find most inspirational, apart from there being zero input from a computer, is his attitude and commitment to making work for no other reason than the joy of creating and furthering his artistic knowledge. Financial gain and recognition are not on his radar. We had the privilege of meeting up in his new workshop in North Star Studios, Brighton to ask him a few questions about his practice. His work is incredible...

How long have you been practising print, and what methods do you use?

Jim O’Raw

Although I trained as a painter, I always enjoyed printmaking. I was a founding member of Birmingham Print Makers and helped establish the workshop over 30 years ago. At BPM I had to abandon the traditional resin aquatint in favour of the acrylic spray version. I have recently joined North Star Studios in Brighton, which still uses this particular method, which I much prefer. I also like to use the traditional hard and soft grounds methods in my printmaking.

Richard Clark

How long does it take you to produce an etching, and how many do you normally print of each? On average it takes two months to create a medium sized print, some larger more complex prints have been known to take up to five months. I have just started some small works which will only take a few weeks to complete. I have only ever editioned two of my prints. I usually print around 10 artists proofs. What and who inspires your print work? I’m influenced by the environment around me, mainly architectural details from buildings. I have visited Paris a number of times and have produced various works based on Parisian architecture. There is no particular artist that inspires me, however I get inspiration from other members of the print workshops I have worked in. Do you print every day, what is your motivation? Yes, I am a full-time artist. I am motivated by each new print that I am working on and I am always on the lookout for new subject matter. Etching is an extremey old manual process, how do you feel about new technology? I have no interest in using new technology to replace the traditional printing methods. What are you currently working on and what would you hope to happen with your prints in the future? I moved to Brighton nine months ago and to my surprise found plenty of interesting houses in my locality, from which I have been making new prints. I am also working on a small print based on a cup and jug grouped together. I would like my collection of prints to be seen and exhibited in a solo show, but in the meantime I try to show individual prints wherever possible.

Print Isn’t Dead



Risotto Glaswegian Riso



Print Isn’t Dead

Gabriella Marcella is a Glasgow based designer and director of RISOTTO print and design studio. She specialises in risograph printing, providing events, venues, labels and individuals with all manners of creative print and design. Her clients range from Dr Martens to Urban Outfitters, to Inverness Public Library and the BBC.



Print Isn’t Dead



Build Boutique Creative Agency



Print Isn’t Dead

Build is a creative agency based in London that produces modern, graphic solutions for lifestyle clients, both corporate and independent. Clients include Getty Images, Design Museum, Nokia and Build specialise in producing visual identities and communication for design-led clients. Their portfolio encompasses brand identity, graphic design and art direction, with extensive experience of production including websites, print and moving image.



Print Isn’t Dead




Nicole Martens Light Turquoise

Cody Lee Barbour

Conjuring up trippy, multi-coloured designs using pastel patterns, new shapes and thoughtful inspiration. Nicole produces graphic artwork and typography with a refreshing unique style. We chatted to Nicole about stamps, colours and her designs...

Nicole Martens

Where do you gather most of your inspirations from? Visually? So much! Fashion, people, art, buildings, old books, album artworks, weird, obscure and ‘off’ things. Little from the internet. Growing up in the eighties and nineties influenced my taste, as did the visual languages of the sixties. Total Design inspired me, architects such as Le Corbusier, artists like Keith Haring, Pipilotti Rist and El Lissitzky, in works and personalities. Many contemporary designers, artists and creatives who are doing amazing things, setting exciting standards and speaking their own mind, giving the world a more diverse flavour. Making an effort to make a difference and exceed the obvious. It is more about feeling than seeing I guess. Contexts are inspirational, especially in the way they influence perception. I am very curious about how the world works and the force of nature. Behaviourism*. I read the science section in the newspaper first and I am a sucker for documentaries on most world changing subjects. Electronic, esoteric and obscure music, nightlife, daytime, Seinfeld.

* The theory that human and animal behaviour can be explained in terms of conditioning, without appeal to thoughts or feelings, and that psychological disorders are best treated by altering behaviour patterns.

How do you create the designs for your posters? It depends how visual, conceptual or informative they have to be. For every project I have the same method of design and creation. My processes are quite intense, I take in everything given to me. Then I start with my own associations and references. At a certain point both come to together and a concept is born. I start working and sculpting with all of the elements until it is beyond what I intended it to be. With the Greed is Out Empathy is In poster, the title was the given theme to work with. Immediately my concept was my disagreement with the statement; it’s from a renowned Dutch biologist, Frans de Waal and it fascinates me a lot. In the human world with the means and options available I believe it doesn’t work that way (yet). My answer therefore was ‘I Just Can’t Get Enough’ visualised in an aesthetic and bling-language way, with a Clair-obscur characteristic to it. I wanted to set the observer off, to instigate thoughts, to feel the conflict, the duality.  With the Shiny Curtains design for the Wish You Were Here booklet and exhibition the theme was about a group of like-minded artists who were very locally connected, both in their affection and taste for art and music at the start of their careers. For me it was about the melancholy and the joy of reminiscing and celebrating where we are now. The paradox of looking back and forward. Move and float on.  How did working on your stamp design differ from working on other projects? To be invited to design a postal stamp for the Dutch Postal Service was truly a great honour. The list of graphic designers asked to design a stamp include Piet Zwart, Wim Crouwel, Ben Bos, Karel Martens and Ooitje Oxenaar. By designing a stamp, I was joining the ranks of people I really admire. Being quite a critical designer, questioning (commercial) conventions, I was dead set on delivering an outspoken design very much in line with the longstanding Dutch tradition of beautifully designed stamps.  I was really happy that I got to use a free font by Thomas E. Harvey on the stamp. Usually in a commercial setting, such opportunities like that are few and far between. This was a whole new experience at the time, very different indeed. The process though is the same for any other project. I approach every assignment with the same attitude and attention to detail. What is your stamp design based upon or inspired by? My childhood experience was a great inspiration. My grandmother used to buy most of the special stamps and my mom would buy the standard stamps designed by Wim Crouwel, which are amazing. The special stamps are usually printed all over the sheet, so I would keep the wonderful leftover pieces which I used to decorate letters and cards to my friends, in poetry albums and what-not. They were significant pieces of decoration for me. I wanted to bring back the joy that these little scraps gave to me into my design. I consider cards and letters as little presents, where the envelope is the wrapping, the stamp is the ornament and the leftovers the extra decoration. This became my visual concept, combined with Spring and festiveness. A few shapes were leading;  flowers and their petals, little windmills that children play with and the forms and meaning of  mandalas. By mixing them up, blending and moulding the different elements, the result was little, layered compact forms.


Shiny Curtains

Did you ever receive a genuine letter in the post that had your stamp on? 2

Yes! They asked for my signature! That was such a blast. Also, I got to see the release envelope, which was not designed by me, yet very much inspired by my stamp, that is issued by the NVPH, Dutch Association of Stamp dealers.

TNT stamp sheet 3

SOLO club night identity

What are your favourite colours? 4

Haha I love this question! It is old, light peach and old, light turquoise. I like ‘off’ colours, and mostly matt ones, sometimes very bright and shiny ones; it depends on the combination and the context. I always could have an old, light turquoise or old, light peach wall. I have trouble liking red. I hate olive green.

Take Over event identity 5

Greed is Out Empathy is In

Print Isn’t Dead









Masha Kovalevskaya White Walls Problems I visited the Venice Biennale 2013 when the Angolan pavilion won the Golden Lion with their project consisting solely of prints. Other national pavilions had prints as the core of their shows as well. (In the UK pavilion you could make your own print with stamps in the form of an eagle or of a man throwing Abramovich’s boat in the sea.) I realised that I had found the starting point that I had been searching for. The most democratic form of art, as Joseph Beuys puts it, which could spread ideas and be present in many places at the same time. It was print. Back in Moscow I started making calculations and consultations for a project that proved to be unique and await a model for a local landscape.

At the moment, we operate as an online gallery, with pop-up shows in different parts of Moscow. As with any online art start-up, we dream about permanent facilities. We have launched the project with our first collection of digital prints. I approached four Russian artists who have great experience in creating images to be seen by thousands, who had either worked with multiples before or have glorious experience in creating memorable posters and styles for cinema festivals. Some of them originate from the most successful Russian graphic design bureau, Ostengruppe. The message we discussed with them is that we aim to create prints for a living space, a picture that people can encounter everyday. The image should reflect our everyday life and solve ‘white walls problems’, by covering the emptiness and building a person’s identity through art. I sincerely want people to cultivate the habit of living with art, not just having [generic] posters inside their homes, but something that demands a search, otherwise no effort makes no difference. Art that demands, fulfils our life with stories, expands horizons, developing the ability to feel and think. It says more than the cars, clothes, gadgets or watches that we own.

Through typing ‘print’ into the search bar of Facebook we discovered White Wall Problems. Curious about the concept, direction and uncertain about the accuracy of Google Translate, we spoke with Masha Kovalevskaya to learn more about the past, present and future of WWP.

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What is really important to mention is the pricing policy of White Walls Problems. Since the goal is to make art affordable, all of the prints are priced at around 100 Euros, at a limited print run of 50. We print onto Litho-realistic paper with archival ink, a world standard for museum collections. The artists in the first collection of prints are: Dima Kavko, Protey Temen, Igor Gurovich and Andrey Logvin. Stylistically we have both abstract and figurative works and surprisingly, the abstract works sell better. We are currently finishing the first ever website in Russian about prints and culture of living with affordable art. Further plans include opening an offline print club with printing facilities and a gallery space. I feel a great need for real space, a digital experience can’t compete with a picture on the wall and there is also a demand for education in this field. As for inspiration for the project, I am a big fan of print clubs across Europe and the States, which I am in contact with. They are super helpful and open in sharing advice and ideas (special thanks to Barba and Print Club Boston), also there is Printmafia group and Ptichka Print, who are really cool guys with great technical skills and taste in printing. As for lifestyle, I’m really captivated by FVF blog and their interviews. The next collection which will be screen printed will be a very optimistic with a powerful and vibrant message, all of the artists invited are young women. We will stream the content online first then open a pop-up show in Moscow.

photo © Alan Vouba




Publications & Studios by Anna Chayasatit

Now seems like the time when digital platforms provide unlimited and more engaging forms of experience, speed is what we need and things are done to challenge the needs of our fast-paced market. We’re not going against digital by any means. However, you will be amazed by our selection of print publications and the works created by some of our favourite print based studios. Not only will you be drawn in by their design, but you will also enjoy exploring the artistic techniques used in each artwork, as well as dimensional appearance and textures that only print can produce.

1/2 Zine Paris, Berlin, Amsterdam, Vienna Bi–annual self-published zine

Arkitip California, USA Limited edition, hand numbered art publication

Arty Magazine London, UK Art and critic led writing periodical

Belles Illustrations Strasbourg, France Irregularly published drawings, illustrations and comics

Blood Becomes Water Sofia, Bulgaria. Non-periodical collage and art publication.

Bracket Singapore Contemporary design and interview publication.

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Creeps Annual New York, USA Non-profit experimental art publication

Fukt Berlin, Germany Contemporary drawing magazine

Library of the Printed Web New York, USA A physical collection of web-to-print work

Mékanik Copulaire Strasbourg, France Small edition, self-published art publication

Mould Map London, UK New comics & narrative art publication

Newwork Magazine New York, USA Bi–annual large-format arts publication

Pig Mag Italy Art & culture magazine



Postr Magazine Gentbrugge, Belgium Free forward-thinking quarterly

Print Control Warsaw, Poland A collection and critical review of the best printed matter

Process Journal Melbourne, Australia Quarterly publication dedicated to graphic design

Show Paper New York, USA Free biweekly print listing events in NYC

Spheres Basel, Switzerland Documentation of a collaboration between an artist and the editor

Symbol Paper London, UK Paper for new art

Zug Magazine Hungary A biannual collection of selected contemporary artworks


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And Atelier Porto, Portugal Typography, graphic design

Atelier Bingo Saint Laurent sur Sèvre, France Collage, print, illustration

BB-Bureau Nantes, France Typography, graphic design

Bichos Da Ceda Porto, Portugal Graphic design, screen print

Bureau Mirko Borsche München, Germany Graphic design

Catalogue Porto, Portugal Typography, graphic design

Comet Substance Zürich, Switzerland Graphic art, illustration, screen print



Deutsche & Japaner Mannheim, Germany Corporate and graphic design, branding, editorial

Do The Print Spain Design, publishing, Risograph printing

Frenchfourch Paris, France Design, publishing, screen printing

Hey Studio Barcelona, Spain Brand identity, illustration, editorial design

Hvass & Hannibal Frederiksberg, Denmark Multi-disciplinary art and design

Kokoro & Moi Helsinki, Finland & New York, USA Branding, graphic design

Lodret Vandret Copenhagen, Denmark Publishing


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Palefroi Berlin, Germany Art, publishing, screen printing

Raw Color Eindhoven, The Netherlands Graphic design, photography

Sagmeister & Walsh New York City, USA Multi-disciplinary design firm

Say What Studio Paris, France Graphic design, editorial, branding

Shootmedia Groningen, The Netherlands Graphic and information design

Studio Fludd Venice, Italy Multi-disciplinary design, illustration

Two Points Barcelona, Spain & Berlin, Germany Brand identity, editorial design



The Jaunt #007 Jordy van den Nieuwendijk


This Spring, Jordy van den Nieuwendijk spent just shy of a week in the palm tree paradise that is Los Angeles, USA. Jordy was selected for the adventure  by art curator and travel planner Jeroen Smeets, who created the inspiring artist and travel combination concept - The Jaunt. Each artist creates a brand new artwork as a result of the inspirations gathered during their trip. Their trip is funded through capital raised from the pre-sale of their yet to be created print, only when the artist returns it realised, printed as a limited run of 50 and sent out to their eagerly awaiting owners. It seems somewhat confusing that all three of the gentlemen involved here, and the project itself, have names beginning with the letter J. To make it more confusing we caught up with all of them to find out what happened behind the scenes of trip #007 from the curator, the printer and the artist...

First up, we spoke to Jeroen, to find out why LA and why Jordy... Jordy has been a more than avid fan of David Hockney… in terms of finding inspiration Los Angeles was on the very top of his list. In his personal David Hockney library, Jordy had read about the years that Hockney spend in LA, and it was his dream to follow in the footsteps of his biggest inspiration. I’ve known Jordy for a while, and seen his work develop from the point where he was still working under his alter ego. I think right now Jordy is at the very cutting edge of the melting worlds between illustration and art, and right in between there he is making some amazing work. From what I see I expect a great career for him.

The Jaunt screen prints are proudly hand printed by Joris Diks in Utrecht, in the Netherlands. We asked Joris a few questions about his world of screen printing. How did you first learn to screen print and how long have you been doing it? I learned the basics at art school, but most of the important stuff I learned at a public print studio, the guys who set up the studio 25 years ago, were still printing there. I would help them stack the paper or clean their screens and watch over their shoulders to see them print, and of course a lot of trial and error. I have been screen printing on and off from 2001 but four years ago I decided to make it my business. What is your favourite colour ink to print with? There’s not one favourite colour, but lately I print a lot with transparent colours and for the keyline a very dark grey or dark blue instead of black. photo © Nick Helderman


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Day 2

Day 6

It feels to me as if every street has a different set of palms and cacti, flowers and bushes, weeds and trees. Even the plants growing near the sides of the roads amaze me. There are plants I have never seen before, and I wonder if you ever get used to rich nature like this.

Desperate to fully enjoy my last bit of time in Los Angeles, I went back to the south facing slope of Mount Hollywood. As I had to make my bags a little bit lighter, having the books in mind, I decided to go for another drawing spree. The easel I rented came in handy as the masking tape didn’t really stick to the trees. I did some pencil, acrylic, water colour and crayon sketches. As usual drawing on my paper intentionally and drawing on my clothes unintentionally. It was the perfect end to the perfect days here.

Jordy kept a hilarious blog that we loved reading whilst he was out on his American adventure. We were excited to catch up with him and ask a few questions. What were your first thoughts when you found out you were going to LA? To be honest I had to sit down for a bit. I enjoy sitting almost as much as drawing, but I remember standing at the moment of impact. When seated, a cocktail of thoughts hit me in the brain. Hockney. Palm trees. Muscle Beach. MOCA. LACMA... and freedom to be honest, being away from the computer at home for a while, going wherever I want doing whatever I want for a week. How often does one get a chance like this? Spoiler alert: one does not. So I tried right from the start to get the most out of it and make it a true adventure. What was a highlight of your trip and what was the best taste you tasted? The three things that impressed me the most were, without any doubt, the size of LA, the overall nature and candies being very cheap. The best taste I tasted must have been David Hockney’s Mulholland Drive at the LACMA. As I had visited his latest exhibitions I had seen most of his work, but seeing this one work hanging in full glory in its natural surroundings was impressive. What were the specific inspirations that make up your final design? I did a lot of drawings in LA. A few of them kept popping up in my head, and I kept fooling around with them. One of them being a sketch of a crooked chair. As this was something a bit further away from my usual drawings, I felt attracted to it and decided to work on the chair more and more for the sake of experimenting. In the end it ended up being my favourite image and Jeroen and I decided to use that one drawing for the final print.  How much did you spend on Skittles? Did you pick up any cool souvenirs? Besides eating enough Skittles to raise my energy levels to the point where I stopped blinking, I spent a lot less on them than I did on art books. I remember seriously considering leaving my shoes behind so that I could fit a few more books in my bag. In the end I went for another piece of hand luggage and stressed it through the airport security. 


Crumb Cabin RISO RP3105EP



Print Isn’t Dead

A pastel coloured flyer on a notice board was the Risographed ticket through which we discovered the world of Crumb Cabin. We had the pleasure of visiting Joey Fourr and Moema Meade in their South London studio on a rainy afternoon...


Decked out with perspex shapes, gold cushions, floral vinyl and psychedelic fashions; we were instantly charmed by the Crumb Cabin studio. We spent our time looking through boxes of neon cassettes, playing with cutting edge stapling machines and checking out the Crumb Cabin zine archive. As well as an independent Risograph printers, Crumb Cabin is also a publisher, zine distributor and a record label. We admire the ethos behind this creative duo, wanting to make Riso printing affordable for artists, so that they can sell their work at a reasonable price so they can actually make some money for themselves. They simply like to get a feel for what somebody is working on and what they can afford, then adjust their costs accordingly. Their aim is to be able to get more people printing. The previous owner of their high-speed printing system was the UK Tory party, which could explain why it only had blue and black ink drums. Since 2011, they have expanded on this colour range by adding red, green and fluoro inks into the mix. I want yellow. I have got red. I don’t even like red… but it’s almost yellow, admits Joey. Another interesting element is that Joey and Moema are both artists and musicians in their own right. Joey’s discography carries hot EP titles such as; Museum, Happy Birthday Songs and Sunslime, whilst Moema is the dreamy lead singer of Lady Neptune. Through combining their music scene influences with their Risograph venture, they are using print to bridge the gap between art and music. Inviting an artist to design a zine that features a download code for the music of another. These limited edition runs, that are often released as cassettes, are highlights of the eccentric and interesting world of Crumb Cabin. On our way out, we asked Joey why they chose the name Crumb Cabin, to which he responded, we just wanted something CC.


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Spike Print Studio Print Club Bristol

In the city of Bristol you will find Spike Print Studio which was established by Peter Reddick in 1976 and is the largest open-access print studio in the South West of England. SPS is a not-for-profit studio group of Spike Island, which is an international centre for the development of contemporary art and design. They provide exceptional studio facilities for fine art printmaking and beautiful, spacious studios which are available for individuals to undertake and explore their own work. They also provide ongoing training in contemporary and traditional printmaking by means of a mixed programme of courses, workshops and various master classes.

The Print Club Bristol initiative has been set up by Spike Print Studio to help the public understand and enjoy the beauty of print and see how it can be a great way to start collecting contemporary art. Print Club Bristol is free to join and the next open day will be Saturday 1 November from 12–2pm with guest speaker Dr. Paul Laidler,1 who will be talking about digital print from 12:30pm. NEW: 1 YEAR PORTFOLIO COURSE IN BOOKARTS TUTOR: ANGIE BUTLER 2 There are no other long term book arts courses currently running in the South West of England. Book arts practice is increasing in the UK yet there are no opportunities for longer term study at this level (only MA level and as single projects or modules within BA Hons degree courses such as graphic design, illustration etc.) This course reflects and responds to the increasing demand for printmaking courses that offer a deeper understanding and a greater knowledge of processes and methodologies available through printmaking (in comparison to weekend courses and short-term evening courses, which offer introductions to printmaking), and how they relate to each other through continuous study. It places those printmaking processes and methodologies within a book arts context, thus providing an approach that combines art and craft, and responds to current practices and theories of the resurgence of traditional processes within a contemporary frame of reference.


Dr.Paul Laidler is a Research Fellow specialising in the field of digital printmaking at the Centre for Fine Print Research, UWE Bristol. The main focus of Paul’s academic activities stem from the close relationships that exist between technology, ideas and making in the visual arts, particularly in the area of digitally-mediated print and its many offshoots.

Spike Print Studio Spike Island 133 Cumberland Road Bristol BS1 6UX 0117 929 0135


Angie Butler is an artist with a multi-disciplinary approach to making, producing artists’ books and printed matter with letterpress, hand typed text, and other traditional and contemporary low-fi printing methods. She has lectured, lead workshops and courses teaching into various CPD programmes, undergraduate and postgraduate degree courses at Universities and Studios throughout the UK for the past fourteen years.

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The Archivist 22x Zoom Close-ups

The Archivist and STH. TO PRINT was founded in June 2013 by Minchaya Chayosumrit & Kanaporn Phasuk. The Archivist is a platform that acts as a curator, gathering and selling contemporary graphic art prints by illustrators, designers and those who are interested both in Thailand and other countries. STH. TO PRINT is a small screen printing studio based in the same location.

Together we set up a small studio, working together on projects and selling prints in hand-made flea markets and fairs in Thailand. We started slowly at the beginning, producing and selling prints ourselves allowing us to understand more about our audience and like-minded friends who also love paper and working on hand-printing and letterpress. Our goal is to gather as a collective, to find the right collectors and to increase awareness of this kind of graphic art. STH. TO PRINT studio supports the printing service for both ourselves and other collaborators. The Archivist collects every piece printed by STH. TO PRINT for our archive. At the moment, we use screen printing not only for The Archivist prints but also for the graphic design work that we do. Every process is done in our small studio, so we’re planning to move to a bigger space soon where we will also open a workshop. We love to have a very close look when we print. These macro images were shot using an iPhone 5 camera through the Peak Loupe 22x Detail Magnifier Loupe which increases our understanding in screen mesh, colours and paper. The closer we look, the better and more skilful we print.

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Underground Press by Patrick Savile I’m in no way a qualified historian on zines, but a quick Google reveals that the first ‘fanzine’ was called The Comet which appeared in the 1930’s, and was a fan-made publication, produced as a non commercial exercise to create a platform where fans and science fiction writers could exchange thoughts on rockets, rayguns and shit. These days you can Google terms such as Star Trek message board, and within seconds be exchanging harsh words over whether the Borg grow their ships, or build them in shipyards like other races. But way back before the age of information, (pre 1994) there were no online platforms for discussion and dissemination of information, which is where fanzines, and later, zines came in. Moving on from the network of sci-fi fanzines that built in the 30’s, the mid 40’s saw the San Francisco Beat poets start using duplication machines to create poetry chapbooks, to spread their new work to their peers and other ‘scene’ ‘cats’, and in 1955 Allen Ginsberg released the original Howl and Other Poems in this format. Often these publications are cited as the most direct precursor of the modern zine, as most publications you see today at zine fairs are a way to showcase people’s art. Changing along with the subject matter, were the reproduction techniques. The first 30 years of small press used either the Mimeograph, which used a wax roller that printed ink through a stencil, or the Ditto machine, which printed a purple ink that looked akin to that carbon copy you made when taking orders in the cafe you used to work in. Then in 1960

I started reading comics because looking at a page of words was one of the most boring things I could do as a kid. I’ve got better now, but not much. Comics kept me going, and made me choose my career path as an illustrator. In the following pages I give a little history lesson on underground press and I review a selection of today’s self published zines, comix, and photobooks.

Photocopying, or Xerography blew up on the scene, ready for the decade that was going to do the same. At the midpoint of the 60’s, underground presses started publishing underground magazines, like The Rag in the US, OZ and IT (International Times) in the UK. They, among numerous other magazines, focused more on political and cultural subjects, as well as the obvious counterculture fare – drugs, squatting, and, of course, the rock ’n’ roll. Thus the zine was born out of the new interest in subculture – the hippie, wayward son of fanzines. Many of these magazines featured comic strips, and full Comix books were being released in Texas as early as 1964, but it wasn’t until Robert Crumb’s Zap Comix came out in San Francisco, the hippie HQ of the world at that point, did the format really take off. It’s mix of sex, parodies of political topics and lysergic linework paved the way for the next few decades of underground comix. Some issues were pretty extreme, a few being banned for indecency in the US – the ‘x’ on the end wasn’t just to differentiate themselves from major comics, the ‘x’ was for X-rated, and people loved it. At the beginning of the 70’s in the UK, comix such as Cyclops followed the American lead, and made waves in the underground with similar fare from British artists, including a strip penned by American weirdo genius William Burroughs. Zines are a mouthpiece for the underground, and no community needed a mouthpiece more than the disenfranchised youth in the mid 70’s.

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Punk zines, featuring punk poetry, reviews of punk bands, punk chat, and punk comix, proliferated all over the US, UK and Europe, providing a support network and kind of chatroom for likeminded kids everywhere. The most important was Maximum Rock‘n’Roll, which started before punk was around, though quickly became the go-to publication to get your info on the scene. Comix continued as well, and changed with the times – Gary Panter became known for his scuzzy drawing style that was introduced in Slash, which started in the late 70’s in the US, and similarly in the UK, Savage Pencil, became well known for his jagged pen marks, and made his name in Escape magazine. The 80’s was really an explosive time for small press; off the back of punk, a strong subculture still existed and the raging anti-thatcherism of the era called for angry voices to be printed, photocopied, and then stapled into A5 booklets. Feminists were another marginalised group that really took to using zines to get out their word, and in the 90’s the Riot Grrrl scene took off, thanks in part to Bikini Kill, the frontrunners of the scene, who made a self-titled zine, which pushed other bands in the movement to follow suit, which in turn caused other bands to form – zines were the primary sources of information for the punk and hardcore scenes both sides of the Atlantic, so were really central to the propagation of the network. Internet message boards and blogs didn’t completely kill zines off; cheap digital print services, photocopying, and the


recent adoption of Risograph machines still appeal as you can get your message out there off your own back without needing a financial backer, and you also have the chance of selling them in one of the hundreds of zine fairs worldwide. There has been a real resurgence in the last decade, partly due to the 90’s revival Retromania thing, and partly due to artists’ love of the handmade and tangible, and reacting to the continuing digitisation of everything you can think of. That’s definitely where my love lies; the feel of a printed object, the error and degradation of cheap printing processes. There are so many zines out there today, ranging from looking as they were straight out of 1985 (yet written in Courier New font, as opposed to on a typewriter) to high design, multicolour artist books, published by houses such as Nieves and Motto. I love zines because they are a labour of love, done by any means necessary in order to reach other people, and I am a big supporter of printed matter. You can pick up a couple of zines for very little, and be informed or amused, and then stick them on the shelf for a rainy day; you digest information differently to that on the internet, it’s far less likely that I will return to the same page on the web once I’ve looked at it once, and I think I’m like most people in enjoying a physical object that someone has gone out of their way to make look amazing. I don’t think that will ever go away.



I Trust My Guitar No. 2

Black Man Comics #1

Hepatic Portal

Rachel Aggs / Crumb Cabin

Michael Adebayo / Thunderbolt Comics UK

Emix Regulus / Self Published

Insightful and passionate music fanzine that could be straight out of the 80’s. Rachel Aggs is in, as far as I know, two indie three-pieces; Trash Kit and Shopping, in which she plays the guitar and sings. ITMG is a paean to the guitar music she has devoted her life to, as we are told in the opening pages. This issue, however, finds Rachel raving about her favourite African musicians, old and new, and not just guitar stuff either, she writes super vigorous personal accounts about artists old and new; from synth genius/ weirdo William Onyeabor to transexual rapper Titica. Each page is accompanied with cut-and-pasted photos and drawings, and it’s Risograph printed in black, by south London printing and publishing upstarts Crumb Cabin. In Rachel’s own words, Check. It. Out. Would appeal to music fans, music review fans, fans of good stuff.

I was blown away by the amount of stuff on this guy’s stall at the DIY Cultures event, which was all hand made; at least ten photocopied and glued comics, drawn tees, and remodelled action figures. BMC#1 is about a black activist, who gets tired of the daily grind, getting stop-and-searched by the police, getting beaten up in his community, he decides to become a super hero, with a mission to Fight the bastards and powers at [sic] be! At only four pages long, it’s no epic, but it makes me want to read subsequent issues, as the concept could lead some really interesting places. I gather it’s not that new, but I wanted to start at the beginning. The cheapness of the production, and overall appearance remind me of comix from the mid 70’s and before the American Comics Code Authority, when the muscle-bound all-American Superman image didn’t dominate the comic world. Would appeal to those into fighting the bastards.

A beautifully drawn and finished collection of past sci-fi comic strips. Emix Regulus has a great attention to detail, and obviously super-human patience levels, as her 0.05 fine-liner-rendered tales attest. The stories in this collection are very human as well as being very inhuman. Emix obviously has a deep interest in the minutiae of biology and also for astral travelling; the narratives mix up plant and animal matter, and also mix the extraordinary with the everyday. It makes for a very trippy read, despite being drawn and presented so neatly, with a digitally printed full colour cover, and monochrome laser inside. I’d expect great things from this one, and she has already been featured in the new Decadence Anthology and Off Life Magazine. Would appeal to those want to look inside themselves, and outside the realms of understanding.

Gloss Rejection

Decadence #10

New Prose By Spambots

Male Multiple / Crumb Cabin

Various Authors / Decadence Comics

Peter Willis / Self Published

A music fanzine featuring interviews with some of their favourite bands, cuttings and scribbles by London post-punk band Gloss Rejection, which accompanies a cassette EP. This could be straight out of the pre-internet-era, as if the 90’s never happened. It’s weird, but not only is Riso printing, which was invented and used in the 80’s, having a massive revival, but so are cassettes tapes. I don’t think it’s a bad thing at all. I still have my walkman from when I was five, and all the better, so I can give my two cents on this. It’s a great little zine which starts with a cutting about dream meanings which doesn’t seem to have much bearing on the rest of the pages, followed by five interviews with bands, including Tense Men, and the cool sounding Ravioli Me Away. Worth checking out if you like your punk gloomy. Printed and put out by Crumb Cabin, who don’t just focus on guitar music, also having put out stuff by South London electronic cool guy My Panda Shall Fly. Would appeal to paintfinish enthusiasts and cassette tape junkies.

I’m kicking myself that this is the first issue of their anthology I’ve seen, as the breed of dystopian and weirdo comics gets me really excited. Decadence is run by two artists - Lando, and Stathis Tsemberlidis, who do a great job of pulling together similar artists with unique storytelling abilities. Most of this book’s 114 pages are wordless, which works for me, because the strange stories then become even stranger. Some brilliant drawings in here from unknown artists to me, but who I’m definitely keeping an eye on from now on. Some highlights are a jarring psychedelic exploration from Dunja Jankovic, some great loose line-work from Jon Chandler, Patrick Crotty’s manga-esque story and both of the publishers painstakingly drawn epics. Apparently the first of their anthologies that was printed and bound out of house, this issue features a full colour digital cover, which mimics the look of it’s predecessors, and monochrome printed, matt newsprint inside, that reminds me of pulp books. Would appeal to sci-fi freaks, and fans of Akira and Dune.

Peter, who runs London Risograph printers Studio Operative, has hit the nail on the head with this one; printed onto offcuts from the studio floor, he has collated a couple of weeks in April’s emails from the most literary of spambots, both words and images. I am very familiar with the kind of email; they’re usually pretty funny, as words from all over the web are randomly pulled together to form sentences, like an uninvited William Burroughs generator. The other great thing is often the sender’s name- the first story was sent by Dann Laughinghouse, and the last one, despite ending up in Peter’s inbox was sent to ‘Membership’, the subject line being “Hi there Membership...” The bulk of these bots seem to be heavily into theatre, as most of the words are scripts, but kind of stuffed together to read as normal prose, yet throwing you off the scent that it’s wholly lifted from somewhere by beginning with such inventive sentences as “’t say”, and “alike unknown—unknown, but.” Would appeal to anyone worried that machines are one day going to take over.


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Heroine Spring 2014

Queen Of The Track #1

Hoss Bay

Various Authors / Self published

Various Authors / Self published

Dominic Kesterton / Self published

A nicely designed and printed feminist zine from Liverpool, Heroine’s third issue does a great job at fulfilling their manifesta, as listed on the first page, we want to… be a magazine that celebrates women exactly as they are; no airbrush, no body shaming, no product placements, just creative ingenuity. From an article about Liverpool roller derby, a sport which has historically been associated with feminism (and often misconstrued as just for lesbian), to poetry, and other Liverpoolcentric articles, Heroine is a great read, and a great introduction to feminism. It features some great local illustration and reviews of hotspots around the city, as well as a review of another zine called grinzinzaraza, and all expertly laid out by Bound To Be Books, and printed by environmental Manchester Riso printers, Marc. Hats off to these guys, I hope to see much more of Heroine in the future. Would appeal to anyone into brilliant creativity.

The second Liverpool-based feminist zine on these pages aim to, in their own words combine the visual sensuality of a luxury women’s magazine with the fizzy unpredictability of the underground press. It delivers on that promise, bounding in with full colour, professional printing and guillotine work, and some very funny pieces tackling gender bias and the general stereotypes associated with female issues and ‘womanliness’. Also, due to the full colour pages, they can depict fashion, which is done with tongue-incheek costumes and brilliant staged situations, one featuring a squirrel and an air rifle. I know very little about feminist literature, so I can’t compare this with much, but if QOTT and Heroine are anything to go by, considering their both from the same city, the feminist underground press is having a strong revival, and it looks like this magazine could make the leap into the mainstream if a few more issues really hit the same mark as this one. Would appeal to feminists and anyone into battling stupid stereotypes.

Dominic is a pretty inventive chap, this book reads as a visitors guide to an imaginary geographic inlet in his mind, filled with local flora, diagrams of the ‘Hossian’ workers, and annotated scenes from local life. It makes me want to see more of this world; I gather he hasn’t made any more in this series, but maybe if he reads this, it’ll make him consider it. Using a powerful claireligne style, and his own hand drawn typeface, some of the pages in Hoss Bay also bring to mind old floppy disk platform games, in-fact, this could be just a walk-through of a level. I gather he hasn’t created a computer game based on this world, but perhaps if he reads this, he’ll consider it. Completely black and white, and Riso printed, it’s a good showcase of Dominic’s skill, and his very up-to-date illustration style, which you can grab from his online shop, along with lots of other goodies in the same vein, or from Analogue Books. Would appeal to those interested in other cultures, albeit weird ones.

The Reach Of The Mind - Book One

Eyeball Comix #4

Fallen Empire I

Sam Bell / Self published

Various / Eyeball Comix

Alex Bocchetto & Valentina Abenavoli / Akina Books

It’s pretty funny how frequently people whap out the phrase “It was like… but on acid”, to allude to something that is weird or intense, mainly because it’s never anything like LSD has been anywhere near it. Sam Bell has done something pretty extraordinary in making a book that looks like Charles Burns, but ON ACID. The pure monochrome style of shading is really Burns-esque, but the subject matter, is somehow much more intense than Burns’ work. Sam’s website, where I first heard about this, explains it as the first installment of an epic, surreal and physiological horror, which pretty much sums it up. It is brilliantly realised, and echoes many underground comics I’ve seen in early Nemesis 2000AD comics. This is another publication on this page that has no words, the images tell the story more than adequately. Printed very nicely by Ditto Press, all in black apart from the inside covers in fluoro orange. Zing. Would appeal to those with a dark disposition.

Truly earning that ‘x’ on the end, Eyeball’s fourth outing is a continuation of the comix timeline started in the 60’s, but stylistically reminds me more of early 90’s skater and surf art, harking back to the days when terms like “scuzz-balls” and “crud” were in parlance. With dicks, shit, tits and clits adorning every page, it doesn’t make for an easy read, not for the squeamish reader. As well as some suitably scuzzy illustration styles, like Abraham Diaz’s, reminiscent of a Viz strip scratched out with a fingernail, there are some really intricately rendered pieces by the likes of Gunsho, Sam Bell, and Rob Amos’ spot the difference featuring a penis-nosed frankenstein’s monster. Nice Riso printing, with a three colour cover and monochrome innards, though pretty disgusting apart from that. Would appeal to those who find everything a bit tame.

It’s a kind of fantasy of mine to call a nuclear bombscare in London, and then me and a few others could take control of all the coolest buildings, and speak with walkie talkies, and the like. This book seems to be based on that, the vignetted, highcontrast photos really remind me of Chris Marker’s post-apocalyptic epic La Jetee, but without the explicit narrative, this leaves space for your own interpretation, and although it’s hard to avoid the dystopian associations, the story could be any number of things. The images have a great dreamlike feel, and nearly all of them are devoid of people, which makes it feel all the more likely the authors have actually taken these from my fantasy. This is Akina Books’ first release from a couple of years back, and comes in the form of a saddle stitched landscape photo book. Their newer publications take on more expensive forms, but still focus on black and white imagery. Creepy stuff. Would appeal to those who don’t like rush-hour.



Bunny Bissoux うお座 (魚座)Pisces 血液型 Blood Type A Born in Leeds, raised in Birmingham and currently living and working in Tokyo, Bunny Bissoux is an artist, illustrator and self described obsessive fanatic. Inspired by Bunny’s list of SOME CURRENT AND ONGOING INTERESTS on her website and hot Instagram presence, we asked her to capture a collection of some of her most adored print based favourites…



This is what some section of the inside of my brain probably looks like. Part of my studio wall & desk, posters, photos, drawings, notes, fabric patches, various printed ephemera, as seen May 2014.

お!モガちゃん、ねむきゅん...でんぱの皆さん、す き~だよ! My favourite girl idol group でんぱ組.Inc released 16 versions of their last single, including individual member versions available as 7” records. I could only afford to buy a few and it broke my heart.



Comic books for girls who like to wear ribbons in their twin tails. 『プリンセス』 (“princess”),1978 and other assorted shojo manga, which is losely categorised as manga for teenage girls, commonly features romance, cute things and magic.

I feel intrigued, excited and scared at the same time. In a good way. Occultic punks and urban legend zine pack (with temporary tattoos), Tai Ogawa, 2014.


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It make’s me happy to wear Fumiko Chan and take her with me wherever I go. Fumiko Imano x Jenny Fax collaboration t-shirt, 2013. Fumiko is an artist I really admire, Jenny Fax is my favourite designer, dream collaboration !!

Titles include : ‘technique, ‘comfort zone’, ‘insert’ & ’deep night’. Part of my collection of 70’s and 80’s pornography. In Japanese print magazines (as with video) the genital area is censored by law.

Once a week I take purikura pictures by myself. 「プリクラ本」(“purikura hontou”) zine, Bunny Bissoux, 2013. Purikura is the Japanese photobooth popular with teenagers where you can chose different backgrounds and decorate the image.




I’ll tell you a secret. I really want to pick the glass out of their backs after a death match. 週刊プロレス magazine and various Japanese wrestling flyers and pamphlets, 2011-2014.

Dave Mustaine, as you’ve never seen him before, maybe you never wanted to see him like this... Megadeath & Metallica doujinshi Justice! 01,1995. Doujinshi are self published comics made by fans, they often feature romantic or erotic stories between two male characters.

お腹はぺこぺこです! I’m hungry!!! A selection of snack food packaging from my local convenience store.



Jan & Randoald Ten

To gather an insight into not just the work that Jan and Randoald create, but of the other elements that surround them. We encouraged a collection of highlights, be they epic or random, monumental or small, all things considered. There is not a specific order to which comes first, it is up to you to decide.


1. We love to build Our playground… A first attempt to exhibit… When we were asked to exhibit our work in a French gallery we decided to show our work not on paper, but on wood… The very same year we won the Best Poster Design Award in Belgium, at which we were awarded 40m2 of print. We used our archive as a starting point and printed multiplex panels with elements from our graphic repertoire… The formats of the panels varied from A5 to A0, the normal standards for the dimensions of sheets of paper… in a game of reiteration and duplication, multiplex panels are also wood in layers, just like sheets of paper … this created a modular system that allows our graphic work to be presented in different ways, much more concrete and tangible than the virtual experience of images on a screen. With this modular system we have created our Wunderkammer… a cabinet of curiosities. The predecessor of the museum... Just like the first museums, these are overstuffed art and curiosity cabinets, photos, visual patterns, graphic symbols and colour fields are combined, repeated, overlapped and adapted.

2. We love classical music Johann Sebastian Bach, Ludwig van Beethoven, Georges Bizet, Johannes Brahms, Chemical Brothers, Frédéric Chopin, Daft Punk, Antonín Dvorák, Edward Elgar, George Gershwin, Edvard Grieg, George Frideric Handel, Aram Khachaturian, Kraftwerk, Felix Mendelssohn, Wolfgang Amadeus Mozart, Sergei Rachmaninoff, Gioachino Rossini, Fat Boy Slim, Johann Strauss II, Pyotr Ilyich Tchaikovsky, Giuseppe Verdi, Antonio Vivaldi, Richard Wagner…

3. We keep it simple Buy it, use it, break it, fix it, Trash it, change it, mail - upgrade it, Charge it, point it, zoom it, press it, Snap it, work it, quick - erase it, Write it, cut it, paste it, save it, Load it, check it, quick - rewrite it, Plug it, play it, burn it, rip it, Drag and drop it, zip - unzip it, Lock it, fill it, call it, find it, View it, code it, jam - unlock it, Surf it, scroll it, pause it, click it, Cross it, crack it, switch - update it, Name it, rate it, tune it, print it, Scan it, send it, fax - rename it, Touch it, bring it, pay it, watch it, Turn it, leave it, start - format it. - Daft Punk, Technologic, 2005

4. We love typography I’ll make a wise phrase by Jean Norad Land 1. Walk loudly like a misty hyphen. Run quietly like a dusty threshold. 2. Dead, faceless glyphs calmly thrust a fast, hot hyphen. Action, anger and life. Old glyphs loudly love a cold, noisy glyph. Colons talk like big full points. 3. Death is a big full point. Life is a small hyphen.

5. We love We both teach at Sint-Lucas Ghent (Luca School of Arts). We are very proud to be part of the graphic design department. We think it’s the finest school for graphic design in Belgium. Every year we publish a brochure of students work. Our classroom is: to lecture, to play soccer, to exhibit, to work… in short check out



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5 4



6 6. We love Otis College of Art and Design, Los Angeles Otis College of Art and Design brings internationally recognised guests and attendees to its bi-annual design symposium. In 2012, we were invited by Kali Nikitas, the chair of the graphic design program and the initiator, during Design Week. Ever since we gave workshops and lectures at Otis she became our American agent :—) We were in good company: Ludovic Balland (Basel, Switzerland), Hugo Puttaert (Brussels, Belgium), James Goggin (Chicago/ UK), Hansje van Halem (Amsterdam, Netherlands), Boy Vereecken (Brussels, Belgium), Peter Bilak (The Hague, Netherlands), Jan en Randoald (Bruges – Gent, Belgium)

7. We love the Field Museum, Chicago The Field Museum of Natural History, located in Chicago, Illinois, USA, is one of the largest natural history museums in the world. The museum maintains its status as a premier natural history museum through the size and quality of its educational and scientific programs, as well as due to its extensive scientific specimen and artifact collections. The diverse, high quality permanent exhibitions, which attract up to two millions visitors annually, range from the earliest fossils to past and current cultures from around the world to interactive programming demonstrating today’s urgent conservation needs. - Wikipedia

8. We love 3D Labt, a studio for furniture design. Fresh ideas are issued in small editions. A new chapter in our book, a new turn in our practice… We play with wood and metal instead of paper. Wayfinding system for Festival van Vlaanderen - a classical music festival which takes place in the city of Mechelen at different locations. We designed a versatile system for use at these different locations. photo © Filip Dujardin

9. We love grids A design should have some tension and some expression in itself. I like to compare it with the lines on a football field. It is a strict grid. In this grid you play a game and these can be nice games or very boring games. - Wim Crouwel The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropiate to his personal style. But one must learn how to use the grid; it is an art that requires practice. - Josef Muller-Brockmann

10. We love to collect Graphic Mic Mac II starts without explanation and without introduction, it starts with the first pages of The Gentle Art of Making Enemies (1890) a copyleft book of James McNeil Whistler; on these pages, the painter published a few press reactions that appeared because of a pirate edition of his collected writings… Collecting and honest piracy describes how we say in a playful way: “It is our graphic material, we find it and give it back to you in our book so you can play with it too…” So, we collect text: — The Gentle Art of Making Enemies — Practical Mechanics for Boys (maybe 2 boys: Jan en Randoald) — Practical Taxidermy (we both collect stuffed animals) — The Great Book-Collectors, a collection of collectors (meta-collecting) — Standard Selections; a list of narrative, descriptive, pathetic, solemn, referential, sublime, patriotic, heroic, oratorical, humorous, comic, dramatic, not in the drama books… Besides text we collect images too: — Silex stones — If you wait long enough, stones become diamonds — Dirty hands — House things — Parking lines — Fur — Glass — Stone (gravel) — Marble — Bark — Books



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Work Not Previously Printed

James Lunn What are the dimensions? James Lunn is an international award winning designer, having previously worked at Barnbrook in London, Karlsonwilker, inc in New York and most recently as a designer of the independent magazine Flaneur. His work often employs complex processes, and as such a lot of the work produced is surplus to requirements, we asked him to supply some of these examples previously only existing in the dark corners of his hard drive.

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Feature & Visit

New North Press Letterpress

New North Press are an artisan letterpress print studio. Over the past 28 years they have specialised in artists’ books, portfolios and editions, as well as being directly commissioned to produce poster editions, film titles, book and magazine cover artwork, invitations, certificates, stationary and many other short-run, high quality print outcomes. They also work alongside design agencies and publishers to produce beautiful limited edition prints.

We were lucky enough to visit New North Press at their studio in Hoxton, East London. Their passion for traditional relief print and knowledge of handling type has created a workspace of enjoyment and possibility - we didn’t want to leave! They have an amazingly vast library containing hundreds of both wood and metal type blocks, including some very rare and beautiful fonts. Patiently set by hand, constructed like building blocks, paying attention to the tiniest of details and spacing before being hand printed using Albion Presses. The presses are also ideal for editioning linocuts, etchings and woodcuts. The New North Press partnership includes the founder Graham Bignell alongside Richard Ardagh, Beatrice Bless, assisted by Angie Gough, all of which believe that the key to survival for the letterpress is the exchanging of knowledge from one person to the next, which is why they run start to finish letterpress workshops with the aim of keeping letterpress alive. We salute them.

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Shelter Press Wonders

We enjoyed conversing with Bartolomé Sanson, one half of Shelter Press to learn all about the independent publishing company in the French Alps. With a constant stream of new releases, exhibitions and book fairs all curated to such a degree of excellence we could not help but be impressed. We asked Bartolomé some obvious questions, some not so obvious questions, what is on the Shelter Press shelf, what is the view from the window…

How did Shelter Press start? Shelter Press started in January 2011, but the story takes its sources from a few years before that… I used to run another imprint from 2005 ‘till 2011 which was called Kaugummi Books. It was focused on zines, consisting mostly of black & white drawings and photographs by an international range of artists. Everything was made using a very low level of resources. All the publications were printed on a Xerox machine in runs of 100 - 200 copies. It was a real one man operation, for the best (and the worst I guess) and after 150 / 200 titles I got a bit tired of the whole thing. It was really the moment where the ‘zine scene’ was operating a HUGE expansion and I felt like it was time to move on. After a few months out of the publishing game - we (Félicia Aktinson & I) decided to start a new project called Shelter Press. The main idea was to work with a smaller range of artists more closely, following them over many projects and using all kinds of publishing mediums. This meant that the publications, depending on their nature and economy, could become a hardcover book, a tape, a zine, a vinyl, and so on… to welcome the projects we love under our umbrella, to build a shelter above them.

What does it means to be an Independent Publishing Company? Running an independent imprint like ours is in some ways a radical choice, since you have to concede that you’ll not make any direct income from your activity. As soon as you accept that, then you can start to work. It is good for us to live in 2014 and not 20 years ago, and - even though it’s a bit obvious it’s always good to call it back - the internet is making everything way easier, there’s also a lot of big distribution companies and book fairs that are really helpful in sharing publications all over the world. It’s super exiting, you get to decide everything, work with great creative people without boundaries and attend book fairs around the world to present your publications. It also means that you’ll not have to pay any commission as your the only one on board. However, this economic model means that you have to have a day-time job in parallel of your imprint, which can be a bit overwhelming sometimes. We also chose not to have an official office or shop and because of that we are nomadic so are able to travel more. People invite us to their events. Some exhibitions we don’t even showcase books, we exhibit the found objects, artworks, texts that we produce for that event, in relation to our vision of what it is to be a publisher in 2014.

How does it work between you and Félicia, when commissioning, designing, writing? Since Félicia is an artist and I do the graphic design, it gives us enough skills to do everything in-house. Basically we do everything together, but some tasks are handled by only one of us. We are curating everything together, and we divide up the communication with the artists depending on the project. I do all the graphic design, she does all the writing. I take care of all the accounting and sales, she organises the events, and so on. All the work is easy to handle since most of the time the two of us are alone in our wooden house in the mountain.

What is your most favourite and least favourite part of running Shelter Press? It think we’ll both agree that our favourite part is to discover a new artist and imagine what we could do together. This first step is super exciting. Meeting someone, starting to collaborate and becoming friends is something highly valuable. The more time passes the more I see this as the biggest part of the adventure. Also the 2014 edition of LA Art Bookfair was amazing! Tons of peeps showed up! The least favourite part would be all the PR stuff. We are now reaching a stage where we really need someone to take care of all this.

What print processes do you use - letter press, riso, digital…? Actually it depends! The main idea of Shelter Press is to adapt the medium for each project. Right now we produce our main projects as a hardcover clothbound book, printed on an offset machine. We also do zines… I’m really comfortable with the Xerox photocopier since I have used it A LOT, so we use it for all the poetry books, and some other projects. We recently tried the Riso, especially for a project we did with Félicia for a show in Switzerland. It was all Riso printed using 4 colours - it looks SICK.


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Cody Lee Barbour Bartolomé Sanson

Do you print in-house or is it outsourced? At the moment we outsource everything, we work with a lot of different printers. I have worked with the same Xerox machine in a small printshop in Britanny for 10 years. We work with two different offset printers in Europe (one for the ‘small’ projects and one for the ‘big’ ones). We do the Riso printing with the fine folks of Hato Press in London. Since we are always working in a very nomadic way, it’s impossible for us to do this in-house. Vinyl production is a totally different world, and all I’ll say is that there’s some amazing plants in Germany right now!

Are there any interesting or funny stories that you would like to share? A great story could be about the place where we decided to build Shelter Press. We were doing this artist residency deep in the middle of nowhere in Ohio. There was only an Amish community around us… super tall, healthy guys building stuff… and some trailers with weird chemistry labs. Then us, in a HUGE house, doing our thing in total seclusion. I guess we needed to fantasise our ideal shelter to face the three weeks alone as a French couple in the middle of nowhere! Oh, by the way, the name Shelter is in a way a tribute to Shelter Publications, an amazing publishing house, inspired from utopian self-built houses in the sixties, (and still operating) by a guy called Lloyd Kahn.

Any future printing trends that we should look out for? Ouch, this is a though one. Since everything works in a circle we might be back to the prominence of meanings instead of the image which means a comeback - that is already happening - of the text, the poetry. I guess Riso is not that hip anymore and is becoming a new standard, which is good in a way. I feel like in the past years, people got really into the printing tricks (with the boom of the riso etc), then went back to the content, to the words. Now it’s time to be as experimental, to find a good balance between the printing technique, the images, the words, the concept of the book - what it shows and what it tells. Since any image is so easy to find, copy and paste, invention in the true meaning of it, through poetry, drawing, or fiction might be a very accurate thing to provide. Small books are also coming back, because people want to be able to ‘read’ them and not only ‘look’ at them. It’s like people have eventually rediscovered that books have to be READ, and that’s good!


Feature & Visit

Age of Reason Ali Mapletoft Ali’s childhood in Africa gave her a thirst for a vibrant creative life from an early age. Growing up as one of three daughters to artist parents who ran a village pottery in the rural mountain kingdom of Lesotho, Ali was never short of inspiration. As a child she travelled extensively with her family, taking in the dramatic landscapes, art, and beautiful cultural contrasts of the continent. Her family knew painters, weavers, printmakers and sculptors, so her upbringing was an art education in itself. Moving to the UK in the 1990’s, at the height of the grunge era, had an influence on Ali’s creative outlook. Today she marries her own sketchy drawing style with bold colour combinations and textures inspired by her travel and personal history. A dose of quintessentially British humour finishes off Ali’s signature style. I want Age of Reason to be the antidote to cute kitten and chitzy flowers on scarves, my passion is to surprise and delight people by creating things that are more thoughtful, bolder, naughtier or more exciting than expected. The more bonkers the better.

Ali Mapletoft is the brains behind Age of Reason. Her beautiful silk scarfs are digitally printed in limited runs to showcase her audacious illustrations. We took a trip to visit Ali at her gorgeous home-studio in Hove to catch a vibe what Age of Reason is about.

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Experimenting with process is important to the imagery Ali creates. She explained her best work is a result of happy accidents, working quickly and mixing hand drawn illustrations with digital mishaps. Age of Reason produce two collections a year, as well as limited edition special releases. It’s common in the fashion industry that collections are created a year before they’re released, which Ali explains is tricky to predict and for this reason she has made her collections smaller to make it more manageable. This also allows her to experiment further with process, for example mixing digital prints with hand pulled screen prints, keeping the label personal to the consumer. We like Ali and her ethos.



Sonsoles Print Studio SE15 4PU

Sonsoles Print Studio is one of the youngest print studios I visited, they just celebrated their second birthday. Tucked away in the Print Village in Peckham, the space is great. I met Ann-Marie Rayney who tells me that the space was set up from scratch, all the floors, walls, and levels are all self-built. They set up because there was nothing in SE15 and, as with a lot of print studios, just wanted a place to print after they graduated. Sonsoles is open access which means it’s the artist’s own space, which is ideal as there is a huge variation of artists or even some people just looking for a creative outlet. Members only have to pay for printing, not screen prep and all get lockers for storage, access to the three beds and the materials shop if they want. There are around 65 members but they’re always growing, giving me the sense that Sonsoles is a friendly, close-knit environment for printmakers. It’s early days, but in the future Sonsoles Print Studio is looking towards having their own members exhibition, expanding their facilities and staying open, which I’m told is usually the biggest challenge they face.

Louie Zeegen went out on a quest to visit several of London’s most exciting and prevalent print studios...

Thames Barrier Print Studio SE18 5NR

Thames Barrier Print Studio is one of the biggest print studios that I visited. As part of the 15 year old, Second Floor Studio, it’s also something of an institution now. Situated by the Thames Barrier, the space benefits from a great view of the river traffic. It’s honestly mesmerising. Thames Barrier Print Studio is a private business that is open access and handles every print practise and medium. They house studios right next to the print studio so it truly feels like a creative community where everyone can collaborate but also have space of their own. Key holders get 24/7 access and a full storage chest whilst members get access Tuesday, Thursday and Saturdays with half a chest for storage. You can also pay a daily rate as a visiting artist or join them on their courses which range from beginners to expert. They do editioning with gallery backing and have a digital service. They are also proud to say they have school taster sessions and away days. Although they’re pretty rare they’re always good fun and a good way to get kids into the practises of print even before art school. Throughout May they held an open studio where anyone could come in and see how Thames Barrier Print is run and look at some of the breathtaking work they have the ability to produce. They have a gallery called No Format and also a canteen and materials shop. Once you’re here, with the impressive views and great facilities, there’s little reason to leave. Thames Barrier Print was always set up to create big work. The space is surprisingly big for somewhere in London. All the equipment is begging to be used on gigantic projects. Truly a space where the industrial side of printing has very much influenced the artistic endeavours of the practise. Barton Hargreaves, the artist, printmaker and digital print tutor, took me on a very inclusive tour. While he was teaching me the ins and outs of screen printing and being kind enough to let me print my own People of Print logo, he spoke very enthusiastically about the ever more interesting relationship between digital and analogue. Although print is a tactile and physical process, the advent of computers has liberated the medium. How important the relationship between art and industry was and still is and about why he chose the Thames Barrier Print Studio. He was right, the space was very unique in that artists have the print studio and their own creative space under one roof. That proximity makes for a very exciting and creative community. He may have been biased and I might have just been caught up in at all, but Woolwich does strike me as somewhat of a new creative hub.



Jealous Print Studio N8 8TE

When I first emailed Adam from Jealous Print Studio, he was generous enough to get me a ticket to the London Original Print Fair. When I arrived the Jealous stall had a big group of people watching and listening to their print demonstration. Adam was then going to take who ever wanted to join on his ‘best of’ tour of the fair. It was this enthusiasm and pure hyperactivity that also transpired when I visited the Jealous Print Studio space. They opened in 2008 and it seems like they’ve been non-stop ever since. They began life in the back of an old carpet shop and are now expanding to the floor below them on Luke Street. There’s a sense of constant progression, they always want to go bigger. They deal with a huge spectrum of projects, from fashion to traditional print. They get lots of enquiries about embellishment and lots of work through ‘happy accidents’. I’m informed by Adam that Jealous are great believers that every medium should inform the other. That if something turns out cool when printing on fabric why not try it elsewhere? They are also great believers in the evolution of the print studio, how all creatives should feed into one big melting pot. The employees of Jealous range from illustrators to fine artists to BMX pros and teachers. This is why personality is the most integral part of the studio, everyone brings something fresh and new.

This sense of a quick turnaround is of no surprise as they have three full time and one part time printer but can have four to five jobs on at any one time. They describe it as a constant juggling act. What keeps them going is the ethos of just wanting to make prints and making those prints go out into the world. The plan was always to be unique in being a studio and gallery, although the gallery doesn’t represent it serves as a perfect shop front. Jealous are also big fans of the print fair. They love showing off what they do and for good reason. All the work they produce is incredible and for incredible artists. As much as they enjoy working with these big names and hugely influential artists, Jealous are also advocates of emerging talent. They make it their business to never ignore a new artist, as in Adam’s words they may just become the next big thing. They’ll always hear an idea out. That’s why they have the Annual Graduate Prize. It started in 2009 and now has the backing of V&A Collection and Saatchi Gallery who see it as a reinvestment into youth. Everything is cyclical in nature so you should provide a platform for this emerging new talent. There are lots of different facets to Jealous. They’re not just a studio. They do exhibitions, installations and commissions. When I ask what the most important aspect of Jealous is, Adam tells me that it’s all about buzz and the aura, but you’ve got to be able to back it up with great work. That’s when you really have something. To sum Jealous up in one word didn’t prove that hard for Adam. ‘Proud’ he says. They want to be the best in the world but not just in print. They get excitement from going off on tangents, from exploring the connections between screen printing and digital and they are always looking for the next thing to do.

Print Isn’t Dead

East London Printmakers E8 3RH

East London Printmakers is a great space situated in the creative hub of Hackney. Susan showed me round the very open space. A hive of activity that has prints and artworks framed on every possible inch of wall space. Susan talked me through what East London Printmakers is all about. It’s a non profit organisation that is home to 250-300 members. Of those members 24 are granted the privilege to be key holders which entitles them to 24/7 access. The waiting list to be a key holder can be up to three years long. As a member you’re able to attend artists talks and workshops and submit for the 70-80 places in the summer show. Project Key Holder is an initiative that anyone can apply for. Artists just have to demonstrate the project they’ll be working on and and show the space will be used properly. It’s a great idea to give someone the chance to have key holder access for two months that would never usually be given the opportunity. They run courses for everyone, from beginner level, right up to competent printmaker courses. They also have resident tutors, some are key holders but it’s not necessary to be one. They also run open studio events for everyone, there are demonstrations of all types of printing and they have a print sale where you can purchase artists’ proofs for £10. A great time to go down for a gem. They also contribute to the Independent Label Market where two to three times a year, the world’s best independent music labels sell some of the most sought after records. There’s a huge variation when it comes to members. From illustrators to fine artists, from textiles to designers. This is all very impressive when there’s only three full time employees. Maybe the most curious and charming opportunity that East London Printmakers offers is their Boxset. Every year key holders and members are invited to create an edition of 50 prints using their preferred print process. Once the work is completed all the editions get spread equally among boxes and given to each contributor.



Peckham Print Studio SE15 4QL

Peckham Print Studio were kind enough to invite me down to one of their beginners sessions as they said it would give me the best insight into the practises of their studio. Situated beneath the Sunday Painter, a gallery off Rye Lane in Peckham. The new found creative buzz of Peckham has found its way into the studio. Every Saturday there’s a beginner’s workshop for a maximum of four people. It was one of the most comprehensive and in-depth print tours I have experienced. Our guide, Thomas Murphy took us through every stage in great detail. Not just showing us what we had to do, but why and what would happen if we didn’t. The workshop lasts all day from 10:00-17:00 and is definitely worth the £60 it costs. Tom was very keen to show us the diversity of screen printing, to quash any myths about it purely being for block colours, posters and t-shirt design, by showing us a variation of other beginners’ work from other Saturday workshops. From photographs to illustrations, all the work was very impressive. Peckham Print Studio are big believers in the nuances of print, how no two prints are the same and some mistakes can make for some beautiful work. We talk about membership, it’s interesting because Tom says Peckham Print Studio never intended to do a membership scheme but now it’s one of the most important aspects of the organisation. But, they still only have 10-12 members at any one time. Membership is £100 a month, giving you access to all the equipment, unlimited preperation time and 3 x 3 hour printing sessions a week. Or there’s a £80 day rate for non-members. What’s also great is that all members are key holders, meaning they get 24/7 access and you don’t have to be a pro-printmaker to become a member. Tom stresses that they’re always there to lend a helping hand or advice, all they ask is that you take one of their beginners classes first. Again, I printed the People of Print logo, but the other beginners printed photographs, their own logos and a horror night movie screening poster which all came out looking amazing. They have done commercial work for the likes of Kyle Platts, Urban Outfitters, Super Mundane and Anthony Burrill. The whole day was incredible and I strongly recommend it to anyone thinking about getting into printmaking, being able to go to a studio where a level of mistakes and mishaps could be celebrated as something you’d never be able to replicate.


Print Isn’t Dead

Print Club London E8 2DS

You can’t really say Print Club London is situated on Miller’s Avenue because in reality, Miller’s Avenue is Print Club London. Just off the side of Kingsland High Street in Dalston exists a cobbled and beautiful street that is bursting with creative energy, and that’s all thanks to Print Club. Mag and Romain were kind enough to show me around every aspect of Print Club London. Mag’s position is Studio Manager and Romain is in charge of PR. Started in 2007 by Rose Stallard and Fred Higginson as a place to carry on screen printing after university, but with affordable memberships. Kate Higginson joined the team as a director later. They became 24/7 access and eventually home to every aspect of print; screens, equipment, exhibitions, curating and a studio management team. They’re currently going through a refurbishment but that doesn’t hinder anything, the print studio has a beginner’s t-shirt workshop taking place. I’m told the usual workshop calendar is two beginners workshops a week and beginner’s workshops for t-shirts and tote bags twice a month. There’s also a deluxe workshop twice a month. What’s interesting is that the beginner’s workshops never have over 13 people and they have 2 or 3 tutors in attendance, meaning that everyone gets a lot of quality time with a tutor. Print Club London is based on the very essence of screen printing. All prints are unique, they’re signed and numbered. All artists are under one roof, together. Romain explains there’s a real sense of collaboration and a close knit environment and I can really feel it as I’m taken through all the different rooms. Even parts of the space that aren’t technically Print Club London, for example Absorb Arts, the fine art studio and Millers Junction, the creative desk space, all feel like part of the same family. The passion runs through everything. I’m lucky enough to have the Gallery Manager Sarah Mei, talk me through the gallery space. She explains that all the founders are still active in design and that everything that appears in the gallery was printed in the studio next door. A very impressive feat considering the amazing work on show. She speaks about the member’s show and just the sheer vastness of applications, how she’s always in the studio looking for potential work to fill the walls of the gallery. At Print Club London, screen printing is a timeless medium, there’s nothing they can’t do with it and they’re always pushing it further and further. For instance, Print Club London’s realisations range from screen printing bags for Stella McCartney and bespoke pop-up workshops for John Lewis to edible screen prints for Saatchi X. Print Club London want to use the gallery space to show this off too, to show the skills of screen printing. I don’t even need to prompt them into talking about how involved they get with shows. Every year Print Club London organises a screen print show called Blisters. Every year has a different theme and this year’s is Sound Sessions. The show will take place from the 12 - 14 September. In a nutshell the format is 40 artworks of 40 editions from 40 artists for £40. To decide who goes in the show the Print Club London team have to view over 500 submissions. Pretty daunting stuff, but none of them see the negative side, it’s a chance to have a good detailed look at all the best of the work made that year.




Pureprint & Fedrigoni Ink & Paper

We are extremely happy to be supported by both Pureprint and Fedrigoni, who have made it possible for this magazine to be in your hands right now. The Pantone 805c, I’m sure you will agree, is zinging off the paper, which is down to the superior quality of print alongside the brightness and quality of the Fedrigoni Arcoprint paper. We are over the moon with the results.

The quality and level of service at Pureprint was tremendous, we got to see our magazine in production on one of their many Heidelberg 105 XL presses. It was delightful to see the care over quality control from all of the staff as we were shown around their three huge units in Uckfield during the press pass, this included a selection of HP Indigo digital presses which are capable of superb printing options, including the printing of white ink onto dark surfaces. We have worked with Fedrigoni many times in the past, who are truly doing things their own way, not only do they supply a huge range of amazing papers, they run events out of their Imaginative Papers Studio in Clerkenwell House, where they aim to bring their paper closer to the design and print community.

Print Isn’t Dead


pulling The prinT Quality screen printing supplies, equipment and services. Outstanding customer service, practical expert advice and excellent value for money. We provide everything you need to get printing and keep printing. | T. 01474 709009 | Visit our YouTube page for tutorials Wicked125x90mm_ad.indd 6

15/06/2014 21:48


Sticker Robot CMYK Stickers When it comes to the quality of stickers, we have found that there is an apparent difference between silkscreen and digitally printed stickers. Screen printed stickers are the most durable of all custom sticker printing methods and they just look amazing because the colours are so vibrant. The vibrancy is down to the ink being ten times thicker than digital ink, making them look so bright and vivid. These guys also have a specially printed backing for your sticker which is really thick like a postcard so your stickers don’t get bent or damaged.


Our search for quality, long-lasting screen printed stickers stopped when we came across Sticker Robot. They really know what they’re doing when it comes to making stickers. Their client list is huge and they deliver worldwide. Our customer experience with them was incredible and we can’t speak any higher words of their delivery speed and sticker quality. We called upon their services to print our limited edition Kyle Platts sticker set, exclusive to the launch of this magazine.



Victor Hwang

Ian Stevenson

Sean Francis Burns

A few months ago we were overheard by Victor Hwang in a gallery trying to describe 3D rendering software, which led us to meeting him and discovering his work.

Ian draws lots of funny pictures, and everybody loves his work, including this guy: You are an embarassingly bad “artist”. I am even wasting my time telling you. Grow up. Your kinda shit pollutes the world. - Kristian Andersen

We have admired the poetic and beautiful work of Sean for a while now. This is one of our favourites...

Currently in the middle of a BA in Graphic Design at Kingston University, Hwang uses a wide variety of mediums within his practice; photography, ceramics, print, screens, brooms, pine blocks, oil… Impressed by his style and great potential here are some highlights. What Would Carl Andre Do? An attempt to awkwardly jump the gap between the object-based output of the past and the participatory output of the present. Participatory art is particularly in vogue… I guess this is my personal homage to the timeline of British art, and the public’s changing perceptions. I asked anyone I could find who had a large stack of bricks to arrange them in the same way as Carl Andre’s Equivalent VIII. Unfortunately, only one of the people contacted took me seriously enough to do it - this photo is a documentation of that. I see this more as a personal, perhaps naïve, response to the work I really love, rather than anything authoritative or too serious.

Mina Loy’s Feminist Manifesto Mina Loy’s Feminist Manifesto typeset to reflect the text’s contradictory call for the suppression of emotions and the emotive language used. A5, french folded, printed onto 60gsm bible paper. This piece of work was an attempt to marry two aims through print. I wanted to combat the image of feminist literature as stuffy or boring, and to inject a bit of the radicalism found in the content into the form.

Distracted with systems within forms - ideologies embedded within the surface of an image or the fabric of an object. Wounded or Failed Wounded or Failed is a photographic allegory for a failing masculinity. The title is taken from Norman Bryson writing in relation to French Romanticism in Géricault and Masculinity. C Print, 841 x 1189mm Produced for Commando Temple Commando Temple Gym, London, 2014

Print Isn’t Dead



We couldn’t have produced this magazine without the support from everyone who has pledged, sponsored us or contributed to our publication. We had over 300 backers through Kickstarter and tonnes of pre-orders. Thank you for having faith in People of Print. We really hope you enjoyed this issue.

A Special Mention

Pureprint Group Fedrigoni

Noted Pledgers

Adam Banks Adam Mitchinson Aimee Jade Smith Becky Lu Bethanie Yeong Catherine Moleski Caz Brett Christopher McNamara Ciara Phelan Dan Forster Dee Maher DR.ME Dylan Abrunhosa Ed Rimmer Emily Sear Emma Fisher Euan Monaghan Fiona Grady Gabriela Comba Gareth McMahon Gary Parselle Gaspard Weissheimer Graham Stephens Greg Lang – Fatherless Jacob Lindgren James Robinson Jane Elliot Jean Edwards Jeremy Leslie – magCulture John Powell-Jones Laura Cermeno Laura Chant

Laura Stromberger Library Resources & Systems (CSM acq) Louise Brody Luciole Luke Carlton Lynne Eccleston Marc de Varga Marc Southey Mark Glendinning Maros Kvasnak - Mateusz - Dot Studio Matthew Coles Mavis & Dennis Eccleston Mihai Pop Mike Hillman Mike Williams Niall Smillie – Fourtwentyseven Design Pat Mackle Paul Garrett – Stoke & Dagger Phillip Clegg Rebecca Palfery – Colours May Vary Richard Horne Ritter Iris C. Rose Thomas Sam Knight Stephen Anthony Smith Stephen Liddell Steven Hedley Thea de Gallier Tom Rowe Tom Tebby Victoria Umansky

Print Isn’t Dead



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Print Isn't Dead™ Element 001  

A showcase of outstanding illustration and design work demonstrating and pushing the boundaries of print in all forms.

Print Isn't Dead™ Element 001  

A showcase of outstanding illustration and design work demonstrating and pushing the boundaries of print in all forms.