My first document by wennadesigns

MINI PRINT CYMRU 2023

MINI PRINT WALES 2023

MINIPRINT CYMRU 2023

Rhifyn 1, 2023

Cyhoeddwyd gan Weithdy Argraffu AbertaweCedwir pob hawl. Ni ellir atgynhyrchu unrhyw ran o’r cyhoeddiad hwn heb ganiatâd yr awdur.

Dyluniad y Catalog: Morwenna Stewart

19a Clarence Street, Swansea SA1 3QR, Wales, UK swanseaprintworkshop.org.uk

Edition 1, 2023

Published by Swansea Print Workshop

Catalogue Design: Morwenna Stewart

19a Clarence Street, Swansea SA1 3QR, Wales, UK swanseaprintworkshop.org.uk

Cynnwys | Contents

Rhagair | Foreword

MiniPrint Cymru | MiniPrint Wales

Andrew Baldwin

Mark Pavey

Judith Stroud

Flora McLachlan

Vinita Voogd

Gweithiau Dethol | Selected Works

Artistiaid Arweiniol | Lead Artists

Artistiaid Cynorthwyol | Assistant Artists

Gwirfoddolwyr | Volunteers

Cydnabyddiaethau | Acknowledgements

- 7 8 - 9 10 - 13 14 - 17 18 - 21 22 - 25 26 - 29 30 50

Sefydlwyd Gweithdy Argraffu Abertawe gan grŵp o artistiaid ym 1998. Roeddent yn rhannu

angerdd am wneud printiau, ac ar ben hynny y weledigaeth hael o ddarparu mynediad at offer arbenigol – a oedd yn aml yn drwm ac yn ddrud.

Yr un mor bwysig â hynny, roeddent yn gobeithio adeiladu cymuned ar sail y ffurf gelfyddydol amrywiol a hael hon.

Wedi’i leoli o hyd yn y safle gwreiddiol yn 19a

Clarence Street – hen ysgol ddawns mewn tŷ teras dinod yng nghanol Abertawe – mae Gweithdy

Argraffu Abertawe wedi tyfu o ran cyrhaeddiad ac effaith. Mae’n ganolfan sylweddol o weithgarwch creadigol lleol, ac yn dod â gwneuthurwyr printiau a phobl greadigol ynghyd o bob cwr o’r byd, ac mae wedi cyflwyno cannoedd o bobl o bob oed i alcemeg gwneud printiau dros ei hanes tair blynedd ar hugain.

Mae coridor hir yn arwain o’r drws blaen ac yn agor allan i’r brif stiwdio, sy’n gartref i’n casgliad o weisg a weithredir â llaw, sy’n dyddio o 1853 hyd heddiw.

Defnyddiwyd ein gwasg hynaf, gwasg Columbian, yn wreiddiol i argraffu taflenni llydan a phapurau newydd, cyn i’w pherchnogaeth basio i’r artist

Bernard Green o Solfach, a’i defnyddiodd i argraffu

ei doriadau leino lleihau hynod fedrus. Daeth ein gwasg ysgythru fawr arall, a adeiladwyd yn y

1920au yn ôl pob tebyg, o Goleg Celf Chelsea,

ac fe’i defnyddiwyd gan wneuthurwyr printiau mawreddog megis Frank Brangwyn a David Hockney.

Rydym yn gwerthfawrogi’r dreftadaeth gwneud printiau hon, gan gefnogi’r traddodiadau y tu ôl i’r broses a’r dechneg, ac ar adegau, gan groesawu adfywiad dulliau, megis gweithio gydag argraffwaith pren, a allai fod wedi mynd allan o fri a defnydd o’r blaen.

Ac rydym yn flaengar hefyd: mae gennym ddiddordeb ac rydym yn agored i dechnegau a dulliau newydd sy’n cyfrannu at y ffurf gelfyddydol hon.

Ar y wal bellaf mae ein hardal ysgythru, a adnewyddwyd yn 2023, sydd bellach yn cefnogi ysgythru diogel Baldwin’s Ink Ground (BIG). Dyfeisiwyd y broses hon gan yr artist a’r darlithydd o Gymru, Andrew Baldwin, mewn ymateb i’r cemegolion peryglus a ddefnyddir mewn prosesau ysgythru traddodiadol. Mae BIG yn cynnig llawer o bosibiliadau creadigol gyda chanlyniadau cyson, rhagorol.

Trowch y gornel, a gwelwch y cyfleuster argraffu sgrin. Daeth argraffu sgrin yn boblogaidd yn yr

ugeinfed ganrif ochr yn ochr ag ystod enfawr o gymwysiadau masnachol, a hon yw’r hoff dechneg yn ein stiwdio. Mae’n cynnig llawer o wahanol lwybrau a dulliau i greu gwaith celf o

Rhagair

stensiliau syml i brintiau ffotograffig, amryliw cymhleth, ac mae’n ymatebol i gymwysiadau digidol a thechnegol cyfoes.

Mae ein cymuned yr un mor eclectig â gwneud printiau – o blant ysgol i wneuthurwyr printiau proffesiynol, mae ein haelodaeth yn allweddol i’n goroesiad ariannol, ein gwirfoddolwyr ac i redeg y sefydliad. Mae’r artistiaid sy’n ein cefnogi yn rhai lleol ac yn dod o fyd ehangach gwneuthurwyr

printiau, gan rannu meddyliau a gweithio ar gyfryngau cymdeithasol, neu fel artistiaid gwadd rhyngwladol trwy brosiectau a gefnogir gan gyrff cyllido.

Trwy’r gymuned eang hon o artistiaid, rydym yn cadw etifeddiaeth gwneud printiau, yn ogystal â gallu archwilio’r newydd. Mae eu parodrwydd i drosglwyddo eu dysgu a’u harbrofi yn golygu bod Gweithdy Argraffu Abertawe wedi tyfu fel gofod creadigol ar sylfeini cadarn, a’n bod yn gallu symud ymlaen wrth i argraffu ei hun esblygu fel celfyddyd.

Jackie Ford, Cyfarwyddwr Gweithdy Argraffu Abertawe

Swansea Print Workshop was founded by a group of artists in 1998. They not only shared a passion for printmaking but also the generous vision of providing access to specialist - and often heavy and expensive - equipment. Equally importantly, they hoped to build a community around this diverse and generous artform.

Still based in the original premises at 19a Clarence Street – a former dance school within a modest terrace house in the centre of Swansea – Swansea Print Workshop has grown in reach and impact. A significant centre of local creative activity, it brings printmakers and creatives together from around the world and has introduced hundreds of people of all ages to the alchemy of printmaking over its twenty-three-year history.

A long corridor leads from the front door and opens out into the main studio, home to our collection of hand-operated presses, dating from 1853 to the present day.

Our oldest press, a Columbian, was originally used to print broadsheets and newspapers before its ownership passed to the artist Bernard Green from Solfa, who used it to print editions of his extraordinarily skilled reduction lino cuts. Our other large etching press, probably built in the 1920’s, came from Chelsea College of Art and has been used by prestigious printmakers such as

Frank Brangwyn and David Hockney.

We value this printmaking heritage, supporting the traditions behind process and technique, and at times, embracing the revival of methods, such as working with wooden letterpress, which may have previously fallen out of favour and use.

And we are forward-thinking too: we are open to and interested in new techniques and new approaches that contribute to this artform.

On the far wall, is our etching area, refurbished in 2023, which now supports Baldwin’s Ink Ground (BIG) Safe Etching. This process was invented by Wales-based artist and lecturer, Andrew Baldwin in response to the hazardous chemicals used in traditional etching processes. BIG offers many creative possibilities with consistent, excellent results.

Turn the corner to find the screenprinting facility. Screenprinting became popular in the 20th century alongside a huge range of commercial applications and is a favourite technique at our studio. It offers many different routes and approaches to create artwork from simple cut stencils to complex photographic, multicoloured prints and is responsive to contemporary digital and technical applications.

Our community is as eclectic as printmaking - from

Foreword

schoolchildren to professional printmakers; our membership is key to our financial survival, our volunteers to the running of the organisation. The artists that support us might be locally based or come from the wider world of printmakers, sharing thoughts and work on social media or as international visiting artists through projects supported by funding bodies.

It is through this wide community of artists that we preserve the legacy of printmaking as well as being able to explore the new. Their willingness to pass on their learning and experimentation means Swansea Print Workshop has grown as a creative space on solid foundations and that we can move forward as printmaking itself evolves as an artform.

Jackie Ford, Swansea Print Workshop Director

MiniPrint Cymru

Yn fwy nag erioed o’r blaen, mae lefelau newydd o soffistigedigrwydd yn cael eu cyflawni trwy

wneud printiau arbrofol gan nifer fwy o artistiaid sy’n deall y gwerth y gall y cyfryngau gwneud printiau ei roi i’w creadigrwydd.

Mae’n hynod bwysig i ni yng Ngweithdy Argraffu Abertawe i helpu i feithrin artistiaid o Gymru, trwy roi cyfleoedd iddynt ddatblygu eu harbenigedd, a’u grymuso i rannu eu sgiliau gydag ymarferwyr sy’n dod i’r amlwg. Mae trosglwyddo gwybodaeth trwy brosiectau creadigol yn codi dyheadau cyfranogwyr a hyder arweinwyr gweithdai. Mae’n creu diddordeb yn y maes creadigol, sy’n arwain at gyfleoedd gwirfoddoli a chyflogaeth.

Gyda’r nod o rannu sgiliau wrth wraidd ein prosiect, datblygwyd MiniPrint Cymru i gyflwyno printiau i artistiaid sy’n dod i’r amlwg a grwpiau targed yn y gymuned. Ei bwrpas oedd hefyd ail-ymgysylltu â gwneuthurwyr printiau mwy sefydledig ar ôl effaith Covid ar y celfyddydau.

Mae’r her o weithio ar raddfa fach, o fewn ardal sgwâr 10cm x 10cm, nid yn unig yn gosod fformat ar gyfer y prosiect, roedd hefyd yn atgyfnerthu hygyrchedd ac amlbwrpasedd y cyfrwng, gan ganiatáu i gyfranogwyr weithio gartref ac mewn lleoliadau cymunedol, yn ogystal ag yn ein cyfleuster gwneud printiau celf gain yng nghanol y ddinas.

Cynhyrchodd rhaglen drawiadol o weithdai – dan arweiniad y gwneuthurwyr printiau profiadol

Andrew Baldwin, Flora McLachlan, Mark Pavey, Judith Stroud a Vinita Voogd – gasgliad enfawr o waith celf ar raddfa fach trwy gydol cyfnod y prosiect, a dewiswyd 180 ohonynt i’w harddangos.

Mae haelioni ein prif artistiaid, a’u gallu i addysgu a meithrin dawn yn ogystal â chyfraniadau ein hartistiaid a’n gwirfoddolwyr cynorthwyol, wedi annog amrywiaeth fwy o gyfranogwyr i ddod yn ddefnyddwyr rheolaidd Gweithdy

Argraffu Abertawe.

Mae ein cymuned gwneud printiau hyfryd yn ffynnu!

Sarah Hopkins, Cyfarwyddwr Prosiect

MiniPrint Wales

More than ever before, new levels of sophistication are being achieved through experimental printmaking by a greater number of artists who understand the value printmaking media can bring to their creativity.

It is hugely important to us at Swansea Print Workshop to help nurture Wales-based artists, by giving them opportunities to develop their expertise, and empower them to share their skills with emerging practitioners. Knowledge transfer through creative projects raises the aspirations of participants and the confidence of workshop leaders. It generates interest in the creative field, which leads to volunteering opportunities and employment.

With the aim of skill-sharing at the heart of our project, MiniPrint Wales was developed to introduce printmaking to emerging artists and targeted groups in the community. Its purpose was to also re-engage more established printmakers after the impact of Covid on the Arts.

The challenge of working small-scale, within a square area of 10cm x 10cm, not only set the format for the project, it also reinforced the accessibility and versatility of the medium, allowing participants to work from home and in community settings, as well as at our fine art printmaking facility in the city centre.

An impressive programme of workshops, led by experienced printmakers Andrew Baldwin, Flora McLachlan, Mark Pavey, Judith Stroud and Vinita Voogd, generated a huge collection of small-scale artwork throughout the project period, from which 180 have been selected for display. The generosity of our lead artists, and their ability to teach and nurture talent as well as the contributions of our assistant artists and volunteers, has encouraged a greater diversity of participants to become regular users of Swansea Print Workshop.

Our wonderful printmaking community is thriving!

Sarah Hopkins, Project Director

Andrew Baldwin

“Dydw i ddim yn gwybod am unrhyw ddisgyblaeth celfyddyd gain

sy’n cynnig cynifer o bosibiliadau creadigol ag ysgythru.

Mae MiniPrint

Cymru yn rhoi’r cyfle i mi agor y drws i artistiaid archwilio’r broses hyfryd hon.”

Andrew Baldwin

Fel artist proffesiynol a gwneuthurwr printiau am y 36 o flynyddoedd diwethaf, mae ymarfer

Andrew Baldwin wedi dilyn dau brif gyfeiriad: fel artist gweithredol, ac fel ymchwilydd ac athro

gwneud printiau mwy diogel. Trwy gydol ei yrfa

flaenllaw, mae wedi cyfrannu at arddangosfeydd

nodedig yn Orielau’r Mall, Llundain a Neuadd Dewi Sant, Caerdydd.

Yn 2006, derbyniodd Andrew y Wobr Artist Mwyaf Eithriadol gan Ffederasiwn Artistiaid Prydain, ac yn 2007, Gwobr Artist y Flwyddyn Cymru mewn

Gwneud Printiau. Mae hefyd wedi arddangos ei waith yn rhyngwladol gydag arddangosfeydd

unigol yn Awstralia, UDA, yr Almaen a’r DU.

Dros y degawd diwethaf, mae Andrew wedi datblygu a chynhyrchu grwnd ysgythru mwy

diogel arloesol fel rhan o ymgyrch i leihau rhai o’r prosesau mwy peryglus wrth ysgythru. I gyd-fynd â’r grwnd, mae hefyd wedi datblygu llawer o ffyrdd diogel o wneud i ysgythriad gynhyrchu ystod eang o effeithiau.

Mae ei ymchwil i wneud printiau anwenwynig wedi arwain at wahoddiadau i addysgu gwneud printiau ledled y byd, gan gynnwys y gynhadledd gwneud printiau rhyngwladol ‘Impact’ ar dri achlysur, a llawer o stiwdios yn UDA, Canada, yr Eidal a’r DU. Yn ogystal ag addysgu wyneb yn wyneb, mae Andrew hefyd wedi recordio arddangosiadau o’i

ddulliau anwenwynig o wneud printiau.

Mae’r recordiadau hyn wedi’u gwylio dros gan mil o weithiau ar YouTube, ac yn parhau i hyrwyddo ei brosesau ysgythru mwy diogel heddiw.

Mae grwnd ysgythru traddodiadol yn cynnwys arsenig, plwm, arian byw, a llawer o elfennau gwenwynig eraill sy’n niweidiol i’r corff dynol. Y broblem gyffredin y mae llawer o brintwyr yn ei hwynebu wrth geisio dod o hyd i ddewisiadau eraill yw y bydd y grwnd yn aml yn brin o ansawdd ac ymarferoldeb. O’r herwydd, datblygodd Andrew ei ddewis amlddefnydd ac anwenwynig ei hun o’r enw Baldwin’s Ink Ground (BIG), sydd ar gael i’w brynu ar hyn o bryd mewn llawer o siopau celf a gwneud printiau.

“Y prif gyfansoddyn yw inc, sy’n caniatáu i’r gwneuthurwr printiau arbrofi gyda llawer o wahanol effeithiau ar eu plât ysgythru. Technegau sy’n amrywio o grwnd meddal a chaled, ysgythru

lluniau, marmori, ysgythru cerfwedd, acwatintau papur tywod a chodi coffi yw rhai o’r opsiynau y gellir eu harchwilio.” – Andrew Baldwin

Mae Andrew Baldwin bellach yn gweithio gyda Gwneuthurwyr Printiau Trefeglwys yng

nghanolbarth Cymru, ac mae’n parhau i addysgu

argraffu yn Ysgol Gelf Prifysgol Aberystwyth.

Andrew Baldwin

Andrew Baldwin’s practice has fallen into two main directions: as a practising artist and as a researcher and teacher of safer printmaking. Throughout his prominent career, he has contributed to notable exhibitions at the Mall Galleries, London and St. David’s Hall, Cardiff.

In 2006, Andrew received the Most Exceptional Artist Award by the Federation of British Artists and in 2007, the Welsh Artist of the Year Award in Printmaking. He has also exhibited internationally with solo exhibitions in Australia, USA, Germany and UK.

Over the last decade, Andrew has developed and produced an innovative safer etching ground as part of a drive to reduce some of the more hazardous processes in etching. To accompany the ground he has also developed many safe ways to make an etching to produce a wide range of effects.

His research into non-toxic printmaking has generated invitations to teach printmaking all over the world, including the international printmaking conference ‘Impact’ on three occasions, many studios in USA, Canada, Italy and the UK. In addition to in-person teaching, Andrew has also recorded demonstrations of his non-toxic approaches to printmaking. These recordings have amassed over one hundred thousand views on YouTube

and continue to promote his safer etching processes today.

Traditional etching grounds contain arsenic, lead, mercury and many other toxic elements that are harmful to the human body. The common problem many printmakers face when trying to find alternatives is that the ground will often lack quality and practicality. As such, Andrew developed his own versatile and non-toxic alternative called Baldwin’s Ink Ground (BIG), currently available for purchase in many printmaking and art stores.

“The main constituent is an ink, which allows the printmaker to experiment with many different effects on their etching plate. Techniques ranging from soft and hard ground, photo etching, marbling, relief etching, sandpaper aquatints and coffee lift are some of the options which can be explored.”

Andrew Baldwin

Andrew Baldwin is now based at Trefeglwys Printmakers in Mid-Wales and continues to teach printmaking at Aberystwyth University, School of Art.

“I know not a fine art discipline that offers such a multitude of creative possibilities as etching.

MiniPrint Wales gives me the opportunity to open the door for artists to explore this wonderful process.”

Andrew Baldwin

Mark Pavey

“Mae llawer o’m hymarfer yn troi o gwmpas defnyddio technegau hanesyddol mewn

ffyrdd cyfoes, ac rwy’n edrych

ymlaen yn fawr at helpu i lywio, ysbrydoli ac annog ton newydd o wneuthurwyr print fel rhan o brosiect MiniPrint Cymru.”

Mark Pavey

Mae gan Mark Pavey angerdd am ddeall a chadw gwybodaeth hanesyddol wrth ddatblygu ei ymarfer gwneud printiau arbrofol a chyfoes ei hun. Mae ei hyfedredd a’i wybodaeth amrywiol o dechnegau hanesyddol a chyfoes sy’n ymwneud ag argraffwaith ac argraffu sgrin, ynghyd â’i brofiad helaeth yn gweithio gyda myfyrwyr a dylunwyr â lefelau amrywiol o sgiliau, yn brofiad deniadol a chyffrous i gyfranogwyr ei weithdai.

Fel dylunydd graffeg hunangyflogedig, mae Mark wedi gweithio gyda sbectrwm amrywiol o gleientiaid ar ystod helaeth o brosiectau.

Mae’r hyblygrwydd a roddwyd iddo drwy redeg ei stiwdio ddylunio ei hun wedi rhoi amser iddo ddatblygu ei ymarfer celf ei hun ochr yn ochr â hi. Mae dysgu technegau a sgiliau newydd bob amser wedi bod yn sbardun, ac mae’r sgiliau newydd eu dysgu hyn yn aml yn bwydo’n ôl i’w waith proffesiynol.

O dan y ffugenw Dead Methods, mae’n gweithio’n helaeth mewn amrywiaeth o fathau o wneud printiau, gan gynnwys argraffu sgrin, argraffwaith a chollage. Yn ogystal â gwneud gwaith celf print newydd yn rheolaidd, mae hefyd wedi curadu arddangosfeydd ac archwilio’r defnydd o dechnolegau newydd, megis torwyr laser ac argraffwyr 3D, i greu gwrthrychau a ffurfiau newydd ar gyfer argraffwaith. Arweiniodd hyn at ei brosiect Odd Foundry, a gwblhaodd fel rhan o’i radd Meistr

mewn Cyfathrebu Gweledol. Mae Odd Foundry yn defnyddio offer analog(blociau print 3D ar gyfer argraffwaith) ac offer digidol (offer lluniadu ar y we) i annog cyfranogwyr iarchwilio a deall sut i greu eu hargraffwaith haniaethol eu hunain.

Mae addysgu bob amser wedi bod yn rhywbeth y mae wedi partneru gyda’i waith dylunio, ac mae bod yn Uwch-ddarlithydd mewn Cyfathrebu Gweledol wedi caniatáu i Mark drosglwyddo ei wybodaeth a’i angerdd ei hun o wneud printiau i genhedlaeth newydd wrth ddatblygu ei sgiliau mewn beirniadaeth ac arweiniad adeiladol. Cyn gweithio ym Mhrifysgol y Celfyddydau Bournemouth, bu’n addysgu gweithdai gwneud printiau yng Nghanolfan Celfyddydau Llyfrau Llundain.

Mae gwneud printiau wedi arwain Mark i chwilio am, ymgysylltu â, a chreu cysylltiadau ag artistiaid eraill o’r un meddylfryd. Yn 2011, teithiodd ar draws UDA, gan weithio fel intern mewn amrywiaeth o safleoedd hanesyddol sy’n ymwneud ag argraffwaith er mwyn dysgu mwy am sut y gellir gwneud teip. Ers 2012, mae wedi bod yn aelod

o’r grŵp Gweithwyr Argraffwaith ac wedi bod yn

gyfranogwr gwadd i’w Huwchgynhadledd

Ryngwladol ym Milan bob blwyddyn, sy’n

ymgynnull artistiaid ac argraffwyr sy’n gweithio i ddiogelu a datblygu’r grefft argraffwaith. Ar hyn o bryd mae’n datblygu ei wneud printiau ymhellach

ochr yn ochr ag addysgu a gwaith ar ei liwt ei hun.

Mark Pavey

Mark Pavey has a passion for understanding and preserving historical knowledge whilst developing his own experimental and contemporary printmaking practice. His varied proficiencies and knowledge of both historical and contemporary techniques relating to letterpress and screen printing, combined with his extensive experience working with students and designers of varying skill levels, provide an engaging and exciting experience for his workshop participants.

As a self-employed graphic designer, Mark has worked with a diverse spectrum of clients on an extensive range of projects. The flexibility afforded to him by running his own design studio has allowed him time to develop his own art practice alongside it. The learning of new techniques and skills has always been a driving force, and these newly learnt skills often feed back into his professional work.

Under the pseudonym Dead Methods, he works extensively in a variety of forms of printmaking including screenprint, letterpress and collage. As well as regularly making new print based art works, he has also curated exhibitions and explored the use of new technologies like laser cutters and 3D printers to create new objects and forms for letterpress printing. This culminated in his Odd Foundry project, which he completed as part of his Masters in Visual Communication.

Odd Foundry makes use of analogue (3D Printed Blocks for Letterpress) and digital tools (Web Based drawing tools) to encourage participants to explore and understand how to create their own abstract letterforms.

Teaching has always been something he has partnered with his design work, and being a Senior Lecturer in Visual Communication has allowed Mark to transfer his own knowledge and passion of printmaking to a new generation whilst developing his skills in constructive critique and guidance. Prior to working at Arts University Bournemouth, he taught printmaking workshops at the London Centre for Book Arts.

Printmaking has led Mark to seek out, engage with and create connections with other like-minded artists. In 2011, he travelled across the USA and interned at various historic sites related to letterpress in order to learn more about how type can be made. Since 2012, he has been a member of the Letterpress Workers group and been an invited participant to their International Summit in Milan each year, which assembles artists and printers working to preserve and develop the craft of letterpress. He is currently further developing his printmaking alongside his teaching and freelance work.

“Much of my own practice revolves around utilising historical techniques in contemporary ways and I’m excited to help inform, inspire and encourage a new wave of printmakers as part of the MiniPrint Wales project.”

Mark Pavey

Judith Stroud

rhan yn y prosiect

MiniPrint Cymru cyntaf erioed.

Mae’n syniad gwych i wneud printiau yng Nghymru ac i Weithdy Argraffu

Abertawe fod yn

gosod y patrwm

ar gyfer mwy o

wneuthurwyr printiau yn y blynyddoedd i ddod.”

Judith Stroud

Mae Judith Stroud yn artist ac yn arlunydd printiau medrus sy’n byw yng Nghymru.

Fe’i ganed yn Lloegr, a threuliodd ei blynyddoedd cynnar yn Affrica cyn dychwelyd i Brydain i gwblhau ei Gradd mewn Celfyddyd

Gain yng Ngholeg Celf Gorllewin Lloegr, Bryste. Wedi teithiau pellach yn Affrica, gan weithio fel athrawes ysgol uwchradd yn Ghana, symudodd

i arfordir Cymru, gan ddilyn gyrfa o ddau

ddegawd fel athrawes gelf mewn ysgolion uwchradd ledled de Cymru. Bellach wedi

ymddeol o addysgu amser llawn, mae Judith yn canolbwyntio ar ei diddordebau artistig ei hun, yn arbennig ei chariad at wneud printiau.

Mae ei hymarfer gwneud printiau dan ddylanwad trwm ffurfiau ac egni’r byd naturiol. A hithau’n byw yng Nghymru, mae ei thirwedd yn ei swyno’n barhaus, ac mae ei fflora a’i ffawna wedi’u cynrychioli drwy gydol ei gwaith. Mae ei gwaith yn cwmpasu amrywiaeth o dechnegau print, ac mae deunyddiau yn siapio ac yn ffurfio’r gweithiau mae’n eu creu. Boed yn geugerfio, colagraff, monoteip neu gerfwedd, mae pob proses yn cynnig dull newydd iddi, gan arwain at lawer o newidiadau a chyferbyniadau yn ei gwaith.

Un o’r deunyddiau a ffefrir gan Judith ar gyfer argraffu cerfwedd yw finyl Japaneaidd, dewis modern amlddefnydd yn lle’r cyfrwng print leino. Mae finyl yn arbennig o addas ar gyfer gwneud

printiau bach, oherwydd gall dderbyn manylion cain iawn gyda manylder mawr, heb unrhyw risg o falu a chracio, sy’n gallu digwydd wrth gerfio leino traddodiadol. Mae finyl Japaneaidd yn ddeunydd sefydlog, hirhoedlog a dibynadwy iawn, sy’n golygu, hyd yn oed pan gaiff ei dorri i fyny a’i ailadeiladu, bod ei ddarnau’n cadw eu cyfanrwydd ar gyfer printiau. Yr arddull hon o roi darnau jig-so at ei gilydd a welir yn y printiau Aloe, Echinopsis a Stapelia, ac mae’n ganlyniad i ddysgu allweddol o’r gweithdai y bydd yn eu darparu fel rhan o MiniPrint Cymru.

Mae Judith yn aelod, cyfarwyddwr a gwirfoddolwr yng Ngweithdy Argraffu Abertawe, yn ogystal

â bod yn aelod o Wneuthurwyr Printiau

Aberystwyth. Mae ei phrintiau gwreiddiol mewn nifer o gasgliadau preifat a chyhoeddus, gyda rhai o’i harddangosfeydd diweddar yn cynnwys Of Foresters, Farmers and Fish International Print Exchange yn arddangosfa Gwneuthurwyr Printiau

Aberystwyth 2021-22 ac Arddangosfa Agored

RCA Conwy 2021. Yn ychwanegol at hyn, mae

Judith wedi cynhyrchu sawl darlun clawr, gan gynnwys Rhyd Y Gro gan Siân Northey

(Gwasg Gomer) a The Station Road Sewing Circle, straeon byrion gan Lou Lewis a gyhoeddwyd yn ddiweddar (Cambria Books).

“Mae’n bleser cymryd

Judith Stroud

Judith Stroud is an accomplished artist and printmaker living in Wales. Born in England, she spent her early years in Africa before returning to Britain to complete her Fine Art Degree at the West of England College of Art, Bristol. After further travels in Africa, working as a secondary school teacher in Ghana, she made her move to the Welsh coast, pursuing a two-decade career as an art teacher in secondary schools across South Wales. Now retired from full-time teaching, Judith concentrates on her own artistic interests, in particular her love of printmaking.

Her printmaking practice is heavily influenced by the forms and energies of the natural world. Living in Wales, its landscape is a lasting fascination for her, and its flora and fauna can be seen represented throughout her work. Her embrace of various print techniques and materials shape and form the pieces she creates. Whether intaglio, collagraph, monotype or relief, each process offers her a new approach, leading to many changes and contrasts in her work.

One of Judith’s preferred materials for relief printing is Japanese vinyl, a versatile modern substitute to the lino print medium. Vinyl is particularly suitable for making small prints, as it can accept very fine detail with great

precision and without any risk of crumbling and cracking, which can happen when carving traditional lino. Japanese vinyl is a very stable, long-lasting and reliable material, meaning that, even when cut up and re-assembled, its pieces retain their integrity for printing editions. It is this style of jig-sawing pieces together that can be seen in the prints “Aloe”, “Echinopsis” and “Stapelia” and is a key learning outcome from the workshops she will provide as part of MiniPrint Wales.

Judith is a member, director and volunteer at Swansea Print Workshop, as well as being a member of Aberystwyth Printmakers. Her original prints are in many private and public collections, with some of her recent exhibitions including Of Foresters, Farmers and Fish International Print Exchange, Aberystwyth Printmakers 2021-22 and RCA Conwy - Open Exhibition 2021. In addition to this, Judith has produced several cover illustrations including Rhyd Y Gro by Sian Northey (Gomer Press) and The Station Road Sewing Circle, recently published short stories by Lou Lewis (Cambria Books).

“It is a pleasure to take part in the first ever MiniPrint Wales project. It is a great idea for printmaking in Wales and for Swansea Print Workshop to be setting the pattern for more printmakers in future years.”

Judith Stroud

Judith Stroud | Aloe | Vinyl Cut Judith Stroud | Echinopsis | Vinyl Cut

Flora McLachlan

“Rwy’n hynod

gyffrous i fod yn rhan o’r prosiect hwn. Rwy’n mwynhau’r her o wneud print mewn diwrnod, ac rwy’n

edrych ymlaen at rannu hud

trawsnewidiol

ysgythru gyda

chynifer o bobl â phosib.”

Flora McLachlan

Astudiodd Flora McLachlan Iaith a Llenyddiaeth

Saesneg yng Ngholeg Brasenose, Rhydychen, cyn cwblhau diploma mewn darlunio, lle gwnaeth ei hysgythriadau cyntaf. Cwblhaodd ei gradd MA mewn Celfyddyd Gain (Gwneud Printiau) yn Ysgol Gelf Aberystwyth yn 2021, ac roedd yn aelod cyswllt etholedig y Gymdeithas Frenhinol Gwneuthurwyr Printiau (RE), cyn dod yn gymrawd yn 2013.

Ar ôl ail-leoli i Sir Benfro yng ngorllewin Cymru, sefydlodd Flora ei stiwdio ei hun, “sy’n gorwedd dan gysgod bryniau’r Preseli ar ymyl rhostir gwyllt.”

Mae’r dirwedd ddelfrydol hon yn rhoi cynfas gyfoethog iddi i gael ysbrydoliaeth ohoni. Noda fod ei gwaith yn “tyfu allan o’r profiad o arsylwi’r dirwedd a’r broses o gyfieithu’r profiad hwn i brint.”

Ei phrif feysydd arbenigedd yw ysgythru, lithograffi cerrig a cholagraff cerfwedd. Mae ganddi ddiddordeb arbennig yn ffurfiau arlunyddol ysgythru, megis ysgythru trosglwyddo monoteip, sy’n cynhyrchu delwedd i gyd mewn un ysgythriad. Gan weithio gyda chodi siwgr, brathu poer a grwnd meddal, ei nod yw gwneud ysgythriadau sydd ag uniongyrchedd a llif paentiad. Mae hi hefyd yn defnyddio grwnd gwyn lled-athraidd, wedi’i wanhau i wneud golchiadau dyrys o dan acwatint traddodiadol ar gopr.

Gan gymryd ysbrydoliaeth o fytholeg, tirwedd

hynafol a themâu barddoniaeth ganoloesol

ramantaidd, mae Flora yn uno llên gwerin â golau meddal a chysgodion tywyll y cyfrwng ysgythru:

“Rwy’n brathu gweadau trwm wedi’u treulio gan amser i’m platiau gan ddefnyddio grwnd meddal, naill ai’n gwneud lluniadau trosglwyddo haenog cysgodol gyda phensiliau meddal, neu’n argraffu gweadau i’r grwnd meddal gyda cholagraff torri, cerfio a sgorio er mwyn rhoi’r teimlad o hen dorlun pren. Yna rwy’n hoffi cymryd yr argraff fflat hon a chrafu a llosgi’r golau yn ôl i mewn, gan gerflunio’r metel. Mae peintio golchiadau cymylog o acwatint brathu poer dros y ddelwedd yn dod â hi yn fyw, yn rhoi tywydd iddi, yn rhyddhau dyfroedd y tir gwastraff.”– Flora McLachlan.

Mae rhai o arddangosiadau diweddar Flora yn

cynnwys The Land as Other; arddangosfa print gydweithrediadol yn Impact 12, Bryste, yn 2022; Royal Academy Summer Exhibition yn 2021; a The Kyffin Williams Drawing Prize Exhibition, Gallery

Oriel Ynys Môn, yn 2021. Cyrhaeddodd restr fer

Boodle Hatfield Printmaking Prize 2023 yn

Woolwich Contemporary Print Fair 2022, enillodd

Tagsmart Print Prize yn Woolwich Contemporary

Print Fair 2020, ac roedd yn gyd-enillydd Student

Prize ac enillydd People’s Choice Prize yn Flourish

Print Award 2020. Ymddangosodd ei gwaith yn Art

Maze Mag, rhifyn 22, Mai 2021.

Flora McLachlan

“I am really excited to be involved in this project. I relish the challenge of making a print in a day and I’m looking forward to sharing the transformational magic of etching with as many people as possible.”

Flora McLachlan

Flora McLachlan studied English Language and Literature at Brasenose College, Oxford, before completing a diploma in illustration where she made her first etchings. She completed her MA in Fine Art (Printmaking) at Aberystwyth School of Art in 2021 and was an elected associate member of the Royal Society of Painter-Printmakers (RE) before becoming a fellow in 2013.

After relocating to Pembrokeshire in West Wales, Flora set up her own studio “that lies under the shadow of the Preseli hills on the edge of a wild moor”. This idyllic landscape provides her with a rich canvas to draw inspiration from. She notes that her work “grows out of the experience of observing the landscape and the process of translating this experience into print.”

Her main areas of expertise are etching, stone lithography and relief collagraph. She is particularly interested in painterly forms of etching, such as monotype transfer etching, which produces an image all in one etch. Working with sugar lift, spit bite and soft ground, she aims to make etchings that have the immediacy and flow of a painting. She also uses a semi-permeable white ground, diluted to make delicate washes under a traditional aquatint on copper.

Taking inspiration from mythology, ancient

landscape and the themes of romantic medieval poetry, Flora merges folklore with the soft light and dark shadows of the etching medium:

“I bite heavy time-worn textures into my plates using soft ground, either making shadowy layered transfer drawings with soft pencils, or impressing textures into the soft ground with cut, carved and scored collagraph plates, to give the feeling of an old woodcut. Then I like to take this flat impression and scrape and burnish the light back in, sculpting the metal. Painting cloudy washes of spit bite aquatint over the image brings it to life, gives it weather, frees the waters of the waste land.”

Flora McLachlan.

Some of Flora’s recent exhibitions include The Land as Other, collaborative print exhibition at Impact 12, Bristol, 2022, Royal Academy Summer Exhibition 2021, and The Kyffin Williams Drawing Prize Exhibition, Gallery Oriel Ynys Môn, 2021.

She has been shortlisted for the 2023 Boodle

Hatfield Printmaking Prize at Woolwich

Contemporary Print Fair 2022, won the Tagsmart Print Prize at Woolwich Contemporary Print Fair in 2020 and was joint winner of Student prize & winner of People’s Choice prize at the 2020 Flourish Print Award. Her work was featured in Art Maze Mag, Issue 22, May 2021.

Vinita Voogd

“Am ddigwyddiad hyfryd ... yn dathlu gwneud printiau! Rwy’n hynod gyffrous i gymryd rhan yn MiniPrint Cymru.”

Vinita Voogd

Wedi’i geni a’i magu yn Delhi Newydd, India, mae Vinita Voogd yn artist a gwneuthurwr printiau medrus, sy’n byw ac yn gweithio yng Nghaliffornia, UDA ar hyn o bryd. Mae wedi cynnal llawer o weithdai, arddangosfeydd, sgyrsiau celf ac arddangosiadau yng Ngweithdy Argraffu Abertawe, ac mae wedi addysgu,astudio ac ymarfer gwneud printiau ers dros 40 mlynedd.

Wedi cwrdd â’i gŵr Americanaidd-Iseldiraidd yn India cyn symud i Galiffornia ym 1981, mae hi wedi parhau i deithio drwy gydol ei gyrfa. Mae hyn yn cynnwys teithiau i Japan, Ffrainc, India, Nepal a Gwlad Thai, lle mae wedi casglu’r papurau unigryw wedi’u gwneud â llaw sy’n ffurfio ac yn ysbrydoli llawer o’i gwaith.“Rwy’n dwyn ysbrydoliaeth o harddwch y Môr Tawel, gwinllannoedd tonnog Ffrainc, darnau o dir ffermydd tiwlip yn yr Iseldiroedd, o ddwyster a lliwiau India, a thirweddau trefol a maestrefol Califfornia... Rwy’n torri, crafu, glynu, mowldio a thrin deunyddiau ar fy mhlatiau heb gyfyngiadau confensiynol.” Vinita Voogd

Bu Vinita yn addysgu yng Ngholeg Saddleback a Choleg Golden West yng Nghaliffornia am 19 blynedd, lle bu’n mentora ar bobl lefel o wneud printiau. Yn ogystal â’i gyrfa hir yn addysgu, cwblhaodd gyfnod preswyl celf yn Fenis, yr Eidal yn 2013, ac un arall ym Mharis, Ffrainc yn 2019.

Mae’n parhau i arddangos ac addysgu gwneud printiau yn yr Ŵyl Gelf yn Laguna Beach, Califfornia, yn ogystal â rhoi darlithoedd, cyflwyniadau ac arddangosiadau ledled Califfornia.

Yn llawer o waith Vinita, mae’n ymarfer techneg gwneud printiau Chine-Collé. Mae’r math hwn o gollage yn ddull syml ond effeithiol o osod darnau o bapur lliw wedi’u torri neu eu rhwygo i’w safle ar y plât inc, cyn argraffu’r papur a’r ddelwedd gyda’i gilydd.

Mae hi’n addysgu’r cyfrwng hwn gan ddefnyddio platiau anhraddodiadol amgen sy’n economaidd i fyfyrwyr, am fod deunyddiau pob dydd yn cael eu defnyddio yn lle platiau cerfwedd traddodiadol.

Mae’r canlyniadau’n chwareus ac effeithiol, ac yn caniatáu cyfuniad unigryw o weadau, lliwiau a phatrymau.

Mae Vinita yn parhau i ymarfer celf yn ei stiwdio gartref yn Mission Viejo ac yn arddangos ei gwaith yn rheolaidd mewn gwahanol orielau, arddangosfeydd unigol a grwpiau ar y cyd. Mae’n aelod presennol o’r bwrdd ac yn Is-lywydd yn Addysg Celf Ymestyn Allan Laguna, yn ysgrifennydd bwrdd Sefydliad

Cymdeithas Gwneud Printiau Los Angeles, ac yn aelod parhaus o’r Ŵyl Gelf. Mae ei gwaith wedi cael ei werthu ledled yr Unol Daleithiau a thramor.

“Mae fy ngwaith celf yn ymdrechu i archwilio pŵer lliw, llinell, patrwm a gwead gan ddefnyddio symudiad ystumiol telynegol, gan gysylltu plentyndod, teulu a theithio fel dylanwadau isganfyddol.” Vinita Voogd

Vinita Voogd

Born and raised in New Delhi, India, Vinita Voogd is an accomplished artist and printmaker currently living and working in California, USA. She has conducted many workshops, exhibits, art talks and demonstrations at Swansea Print Workshop, and printmaking is a medium she has been teaching, studying and practising for over 40 years.

Having met her American/Dutch husband in India before moving to California in 1981, she has continued to travel throughout her career. This includes trips to Japan, France, India, Nepal and Thailand, where she has collected the unique handmade papers that form and inspire much of her work. “I draw inspiration from the beauty of the Pacific, the rolling vineyards of France, the patches of tulip farms in Holland, from the intensity and colours of India, and the urban and suburban landscapes of California… I cut, scratch, adhere, mould and manipulate materials onto my plates without conventional limitations.” – Vinita Voogd.

Vinita taught at Saddleback College and Golden West College in California for 19 years, where she mentored in all levels of printmaking. In addition to her long career of teaching, she completed an art residency in Venice, Italy in 2013 and another in Paris, France in 2019. She continues to exhibit and teach printmaking at the Festival of Art at Laguna Beach California, as well as giving lectures,

presentations and demonstrations all across California.

In much of Vinita’s work, she practises the printmaking technique of Chine-Collé. This form of collaging is a simple yet effective method of placing pieces of cut or torn coloured paper into position on the inked plate before printing the paper and image together. She teaches this medium using alternative non-traditional plates that are economical for students, since everyday materials are used instead of traditional relief plates. The results are playful and effective, allowing for a unique combination of textures, colours and patterns.

Vinita continues to practise art at her home studio in Mission Viejo and regularly exhibits her works in various galleries, solo and group collectives. She is a current board member and Vice President at Laguna Outreach Art Education, board secretary for the Los Angeles Printmaking Society Foundation and a continuing member of the Festival of Art. Her work has been sold throughout the US and abroad.

“My art strives to examine the power of colour, line, pattern and texture using lyrical gestural movement, connecting childhood, family and travel as subliminal influences. ” Vinita Voogd