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Edited by Quentin Bajac, Lucy Gallun, Roxana Marcoci, and Sarah Hermanson Meister, 2017

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Daniel Pudles /// Illustrations /// Animations

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Daniel Pudles - Woodcut Illustrations, Animations, Awards

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Graphic artist Anthony Burrill combines a knack for simplicity that packs a punch with analogue craft skills and powerful, positive messages.

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Alan Kitching: type design, typography, lettering, letterpress, mural, posters, sport - Artists - Debut Art - Debut Art

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ALAN KITCHING RDI AGI HFRCA Alan Kitching is one of the world’s foremost practitioners of letterpress typographic design and printmaking. Alan Kitching is renowned for his expressive use of wood…

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The group established a 'not for profit' company operating on charitable principles with the aims of supporting artists, promoting printmaking and educating a wider audience in printmaking and related arts.

After occupying various locations in Manchester and Salford, in 2006 Hot Bed Press moved into the Casket Works in Salford. This Victorian warehouse provides spacious industrial surroundings befitting creative printmaking and offers the opportunity for expansion as we introduce more people to this exciting art form.

We have an ambitious programme of development and pride ourselves in leading the way amongst our peers to establish Hot Bed Press as one of the major arts providers in Salford and Greater Manchester. In the past 8 years we have continued to expand in terms of our membership, the space we occupy, the facilities we offer and the courses we run. Membership has continually risen from 35 members in 2006 to over 240 members currently and we have grown from offering 12 courses each year to the current level of 50 per year, almost all of which are oversubscribed.

Hot Bed Press is entirely self-financing and we have become a leading example to other arts organisations and print workshops in how to run a successful resilient arts business and to implement innovative approaches to income generation.

We have strong links with the University of Salford, Manchester Metropolitan University and provide an annual set of workshops/curriculum cover for The University of Huddersfield. We also collaborate with other local arts and culture partners and liaise with national and international organisations, offering bursaries, placements, residencies and research fellowships.

Whilst committed to bringing in new developments in printmaking we embrace the heritage of traditional skills and techniques, incorporating new methods into tried and tested print processes with the intention of bringing in a hybrid approach that gives the best of both worlds.

The studio has incorporated recent innovations into routine practice and continues to improve and innovate on health and safety and environmental issues. Our screenprinting is waterbased, we use vegetable oil for cleaning and new, safer degreasants and mordants

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The group established a 'not for profit' company operating on charitable principles with the aims of supporting artists, promoting printmaking and educating a wider audience in printmaking and related arts. After occupying various locations in Manchester and Salford, in 2006 Hot Bed Press moved into the Casket Works in Salford.

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Leeds Print Workshop is a Co-operative membership-based printmaking studio at Patrick Studios in central Leeds.

We provide facilities for a wide range of traditional printmaking processes and we aim to develop a supportive community of artists and printmakers. As well as providing facilities for our members, we also run a wide range of workshops and courses in different processes for members of the public.

To provide printmaking facilities for people in Leeds and surrounding areas.

To establish and maintain a vibrant, supportive and sustainable printmaking community.

To provide affordable printmaking facilities to workshop members

To create collaborative opportunities to share skills, ideas and expertise

To promote and develop safe printmaking processes with consideration for the environment

As a co-operative, we value democracy, equality, and solidarity. We act with concern for our community and work for its sustainable development through the collaborative nature of printmaking.

The society will also aspire to act co-operatively and abide by the co-operative values and principles as defined by the International Co-operative Alliance.

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Leeds Print Workshop is a Co-operative membership-based printmaking studio at Patrick Studios in central Leeds. We provide facilities for a wide range of traditional printmaking processes and we aim to develop a supportive community of artists and printmakers.

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West Yorkshire Print Workshop | Printmaking courses, exhibitions & events

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Established in 1984, we are the largest open access printmaking facility in Yorkshire. Book a course to learn screen print, etching, letterpress, linocut, collagraph & more.

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Hello! We are Shipley Print Studio, Bradford's first open access

Screen Printing studio, based right in the town centre. Opening at

the end of April, the studio will be a place for making, meeting and loads of different events.

We want to provide a fun and easy place for people to print, from practiced artists and makers to folks who have never printed before in their lives. We have a membership scheme, and run courses and workshops for beginners of all ages.

The studio has 4 vacuum print beds; Two Kippax vacuum beds (one A1 and one A3), One A0+ Vacuum bed (absolutely massive), and another A1 vacuum bed. We also have mini table top print beds and a four-arm Kippax Carousel, both are great for printing t-shirts or tote bags. We are fully equipped with coating, exposure and wash out/screen stripping facilities for all screen printing needs.

We have desk spaces which you can read about here, and we also run workshops specifically for school groups of all ages. If you would like to enquire about school groups, or a private workshop (work groups, birthdays etc) please email us!

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Hello! We are Shipley Print Studio, Bradford's first open access Screen Printing studio, based right in the town centre. Opening at the end of April, the studio will be a place for making, meeting and loads of different events.

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SoloThe Posters of Golden Cabinet / Northern Print, July - September 2019
The Posters of Golden Cabinet / Colours May Vary, May - June 2019
The Posters of Golden Cabinet / York College, March - April 2019

Flourish Award, Scarborough, 2020New Impressions / Hamilton Wood Type Museum, USA 2020
Flourish Award, Huddersfield, 2020
Summer Exhibition, The Old School Gallery, Alnmouth, 2020

Post Digital Letterpress Printing, Portugal, 2020Weltformat Design Festival, Switzerland, 2019
TIPO, Azores, Portugal, 2019
From____To____, People's History Museum, 2019
New Impressions / Hamilton Wood Type Museum, USA, 2019 (Winner of the Aetna Award)
On Thin Ice / Norman Rea Gallery, University of York, 2019
Eat Lead / Atom Gallery, 2018
Phantasm / Colours May Vary, 2018
New Impressions / Hamilton Wood Type Museum, USA, 2017
Apathy / Centrespace Gallery, 2017
Interrobang / Ditchling Museum of Art & Craft, 2016
Ink & Paper 2 / Stour Space, 2016
Leeds Print Festival
Cyclism
No Fly Posters
Ante
Papergirl Leeds
London Centre for Book Arts
St Brides Library
West Yorkshire Print Workshop
The Letterpress Collective
Small Town Ink
The Sparrow (with Dennis Gould)
The Kirkgate Centre
Flyposting 2 & 3

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About - The Print Project - West Yorkshire Letterpress Printing

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SoloThe Posters of Golden Cabinet / Northern Print, July - September 2019 The Posters of Golden Cabinet / Colours May Vary, May - June 2019 The Posters of Golden Cabinet / York College, March - April 2019 Flourish Award, Scarborough, 2020New Impressions / Hamilton Wood Type Museum, USA 2020 Flourish

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The museum boasts a large collection of linocut prints by artist Paul Peter Piech, including a small collection of 'Racism is a Poison' anti-racism series prints. A number of these prints were featured in an exhibition at the Museum in 2018.

This article will explore Piech's work and life in Wales, and its impact on his art.

Piech's daughter, Olwen, provided us with information about Piech's family life:

'M y mother Irene Tomkins and her family were born and bred in Aberdare (Abercwmboi) and my grandfather was a coal miner there. Dad was an American printmaker who devoted 24/7 (including Christmas Day!) to his work and his beloved printing press, as he ate, slept and breathed his art every day.
Piech wasn't necessarily interested in selling his works, as his priority was to get his message across to people, directly and with urgency. He also taped a number of posters on certain issues up in bus shelters and other public places. His main concern was that people 'get out of their apathy and think about the world.' To make his art he would purchase the lino in 4 ft. wide rolls from a local flooring shop and then slash them into manageably sized rectangles with a Stanley knife. He would mark freehand guidelines (no ruler!) for the text with a white pencil, and then mark in rough outlines. He would then cut into the lino with a broad-headed engraving tool, turning the piece as he went. The first proofs were made on his Thompson Gem press, whether it was day or night. The posters were then hung from a nylon washing line in the conservatory to dry. Piech taught at various art colleges as a part-time lecturer - Chelsea, Leicester, Hornsea, London School of Printing, Harrow and Watford. He was never an active or paid-up member of any political party as such. When he was a boy/teenager, I believe his parents encouraged him to join the Young Communists' Party in New York as they were from the Ukraine and found life in America very hard still. He always supported the ideals of the Labour Party, particularly in the 1950s and 1960s and in later years the Green Party. He also supported the ideals of Greenpeace for ecology and Amnesty International for peace and justice.'
Cynon Valley Museum also interviewed Jim Creed, former Coordinator of the Regional Print Centre and Memorial Gallery at Coleg Cambria in Wrexham, North Wales. Jim is very passionate and knowledgeable about the life and work of Piech, and we thank him for his wonderful contributions!
Q1. What do you know about Piech, his life, and how he came to live in Wales?
JC: Piech was born in New York in 1920 to Ukrainian immigrant parents and lived in a tough neighbourhood in Brooklyn. His parents' strong work ethic combined with his huge sense of determination led to him being accepted to train at the Cooper Union for the Advancement of Science and Arts. Piech's studies were suspended in 1942 due to the Second World War when he was enlisted into the US Eighth Army Air Force and posted in England. When on leave he visited Cardiff and met his future wife Irene Tompkins, who he later married in 1947. After the war, he studied printmaking at Chelsea College of Art under Ceri Richards and went on to work as a designer and illustrator in commercial advertising for firms such as Dorland Advertising Agency (UK and USA) and Crawford Advertising Agency in London.

In 1959 Piech set up his own private press called the Taurus Press and started to produce limited-edition artists books, leaflets, and portfolios. In the early 1970s, Piech left advertising and taught at various art schools across the UK (including London College of Printing and Leicester College of Art & Design) whilst creating and exhibiting vast numbers of political and socially motivated printed posters, many of which combined his trademark hard-hitting imagery with heavy cut linocut lettering.

Piech spent the last ten years of his life in Porthcawl, on the South Wales coast, where he and his wife Irene, originally from nearby Aberdare, had moved to retire. He made an influential impact on the Welsh art scene with his trademark heavy linocut lettering and socially motivated poster prints.
Q2. Can you explain Piech's lino cutting technique? How he learned and developed it over time?
JC: Piech embraced life, notions of identity, and social issues throughout his artistic career. He used a range of printmaking techniques including lithography, woodcut, and wood engraving but his main printmaking process was linocut.

Most of his early printed books from the late 1950s/early 1960s were illustrated with woodblock or wood engravings combined with letterpress. Piech started using lino in the 1960s as it was cheaper, more portable, and readily available.

Piech's linocut lettering isn't perfectly aligned, spaced or sized, and varies wildly throughout his work and within individual pieces. His work is created with a sense of rapid energy. Often he wouldn't draft the lettering out first and cut it without guide marks - the fact that it has to be cut back-to-front (because of the printing process) perhaps added to its individual style.

Piech mainly worked at home in his garage turned studio using a Thompson Proofing Press (which is still in use at Aberystwyth University) to produce his large broadsheet posters. He created every print himself and often hung them to dry in the conservatory or on the patio in the garden.
Q3. What motivated the different themes of Piech's work?
JC: Piech's work developed from an array of sources and covered a wide range of issues including power, racism, equality, torture, war, national identity, and politics. He was reflective and questioned the status quo, society, and politics using his artistic practice as a means to communicate his personal views and influences.

Piech's prints quote from a variety of sources including William Blake, Martin Luther King, John F Kennedy, Jesus Christ, Margaret Thatcher, Adolf Hitler, Karl Marx and Mahatma Gandhi. They also cover a wide range of issues including power, racism, equality, torture, war, and national identity. He drew on both history and contemporary news. But Piech's softer side is seen in his later prints which reflect his passion for jazz, literate, and poetry: his work includes references to William Shakespeare and the Welsh poets Hari Webb and RS Thomas.
Q4. There's not much information to be found on the 'Racism is A Poison' series. Do you know if it was a small collection?
Piech was sensitive to and influenced by everything around him: art, society, music, literature, politics, and his own life experiences past and present.

JC: I believe there are six prints in the 'Racism is A Poison' series.

Racism is a Poison - Remember the U.S.A in the 1920s

Racism is a Poison - Remember Auschwitz

Racism is a Poison - Remember Solingen

Racism is a Poison - Remember Bosnia

Racism is a Poison - Remember South Africa

Racism is a Poison - Remember Soweto

Q5. What year would this collection have been created/published?
I have had some amazing opportunities to develop projects and exhibitions featuring Piech's (over the past 15 years) including co-curating a major retrospective of his work at the People's History Museum in Manchester in 2016 that featured over 90 artworks included some of politically charged Piech prints and books from my own collection. This exhibition also featured the 'Racism is a Poison' series on loan from the Regional Print Centre in Wrexham, where I worked at the time.
Q6. Would these have just been sold as artwork or were they also used as street art or protest posters etc?
JC: According to the fabulous book 'The Graphic Work of Paul Peter Piech' by Zoe Whitley, they were probably created and printed around 1995.

JC: In most cases Piech's prints were probably displayed unframed - on the reverse you may find stains/marks where the prints were 'stuck' to the wall - it could be blue-tac, tape and in some cases he used Velcro. His other favourite way of displaying prints was to pin them to the wall. This meant that pieces could be sold directly off the wall and replaced with another during an exhibition, and it also saved the cost and issues of transporting framed work. He could just arrive with a folder/tube of pieces. He wasn't very precious about his prints - it was about the message and getting the work out there.

Some of Piech's prints have edition numbers, while others do not, and several prints were on commercial papers, such as bright green and bright pink. This is down to a couple of reasons. Piech did produce prints in editions (sign/numbered/dates - mostly in editions of 25, 50, and some in 75). These were most likely for an exhibition or showcase where they would be sold. In some cases he was also commissioned by galleries/institutions to create editions - for example, he created a series of editions on JFK, Martin Luther King, Whalt Whitmann, Jazz, poetry etc.

Outside of this, Piech was continuously making and experimenting with his prints and produced hundreds (if not thousands) of one-off pieces. I would say that if it isn't numbered it is most likely a one-off print. He also kept and reused most of his linocut printing plates to create other prints - many were one of a kind for a friend, or colleague, or for a commission.
Q7. Piech made many prints about Welsh linguists as well as coal miners. Would you say that he was inspired by the Welsh culture and experience?
He used very cheap paper to make his prints - most of which he would get for free. His use of commercial paper stems from this - using the bright vivid coloured paper was probably due to the fact it was freely available to him. Likewise, his use of Lino was also partly due to financial reasons - it was a lot cheaper and easier to cut than wood. I have an example of his prints on sugar paper (the type used in schools) and a version of an 'Abolish Torture' print brown parcel paper - whatever came to hand would be used. This links to the ethos behind the work and the notion that the political poster print was about the message and disposable (especially if it was stuck to a wall or lamppost).
Q8. What is your favourite Piech print from your collection?
JC: Piech embraced Welsh life, identity, and social issues, just as he had elsewhere throughout his life. His choice of literary quotations and focus on political and humanitarian issues continued to be part of his artistic palette even in retirement in South Wales. Cen Williams wrote that Piech 'liked the Welsh because they were open people. His heart was also open to receive the traditions and values of his adopted country and to appreciate those things we believe are important to us.'
Thank you very much again to Olwen Stocker and Jim Creed for assisting our research on Paul Peter Piech. Have you heard of Paul Peter Piech? Do you recognise his work? Get in contact with us, or comment below!
JC: As a self-confessed Piech obsessive, I have been collecting his work for about 15 years; it is really difficult to pick a favourite print from my collection (which is now made up of over 300 prints and artists books). However, I really love his prints that have a positive message, so I would say that the linocut print 'Peace is just understanding people - helping them' from 1982 is one of my favourites - the message is instantly visible, thought-provoking, and shows Piech's true belief in peace and kindness.

Sources and further reading:

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The Work of Paul Peter Piech - Cynon Valley Museum Trust

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The Work of Paul Peter Piech - a lesson for all The museum boasts a large collection of linocut prints by artist Paul Peter Piech, including a small collection of 'Racism is a Poison' anti-racism series prints. A number of these prints were featured in an exhibition at the Museum in 2018.

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Chakaia Booker - Robert Blackburn Printmaking Workshop

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Robert Blackburn Printmaking Workshop (RBPMW) is a co-operative printmaking workspace that provides professional-quality printmaking facilities to artists and printmakers of every skill level. We are committed to inspiring and fostering a racially, ethnically, and culturally diverse artistic community dedicated to the making of fine art prints in an environment that embraces technical and aesthetic exploration, innovation and collaboration.

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Lili Arnold | California Printmaker & Illustrator

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Lili Arnold is a California artist & designer specializing in illustration, printmaking, and textile design.

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LaToya M. Hobbs is an artist, wife, and mother of two from Little Rock, AR who is currently living and working in Baltimore, MD. LaToya's work deals with figurative imagery that addresses the ideas of beauty, cultural identity, and womanhood as they relate to women of the African Diaspora.

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Althea McNish (1924 - 2020) was amongst the first, if not the first, designer of African-Caribbean descent to achieve international recognition. Her designs injected much-needed colour and life into the post-war fashion and textiles industry from the 1950s onwards.

Everything I did, I saw it through a tropical eye.

Dazzling contrasting colours, full of movement and expressive lines, Althea McNish's designs for furnishing and fashion fabrics captured attention from the moment she graduated. Her designs featured natural imagery drawn from the abundance of tropical flora and fauna from her native Trinidad, and a 'tropicalised' interpretation of the British landscape. Her designs also took the form of lively abstract patterns, bursting with energy and visual complexity.

In 1951, 27-year-old Althea McNish moved with her mother from Port of Spain in Trinidad to London, where her father was working. McNish's mother was a well-regarded dressmaker and dress designer and her father, a writer and publisher. From a young age they fostered their daughter's passion for drawing and painting. An aspiring artist, McNish was a junior member of the Trinidad Arts Society at a time when the country was a thriving cultural centre edging closer to independence, and she presented her first exhibition in Port of Spain in her teens.

McNish also developed a strong interest in construction and intended to study architecture on arrival in London, where she had secured a scholarship to the prestigious Architectural Association. But it was not to be. By her own admission, the thought of enduring harsh British winters throughout a seven-year degree led her to change direction and instead she enrolled on a print course at the London School of Printing and Graphic Arts, now the London College of Communication.

Here McNish studied screen printing with many leading figures from industry and this important technical foundation gave the flourishing designer the distinct advantage to "talk to printers on their own terms". While exploring the London scene of the early 1950s, McNish discovered the textile work of students at the Central School of Art and Design, where renowned artist and Independent Group member Eduardo Paolozzi taught. After completing her undergraduate studies and taking night classes with Paolozzi at the Central School, McNish went on to complete a postgraduate degree at the Royal College of Art (RCA), then part of the Victoria and Albert Museum.

Recognising her artistic talent and technical virtuosity, Paolozzi encouraged McNish to apply her skills to textiles rather than fine art. McNish was both an artist and designer, honing her aesthetic and talent for printing, textile repeats and colourways to a level that ensured her control over industrial production processes, and enabled her to achieve depth and form with distinct layers of colour.

Whenever printers told me it couldn't be done, I would show them how to do it. Before long the impossible became possible.

In 1957 during her final year at the RCA, McNish took a trip to the Essex home of her tutor, the painter and graphic artist Edward Bawden and his wife Charlotte, a potter. When walking in the countryside near the Bawdens' home, McNish encountered a wheat field for the first time, which for her recalled sugar cane plantations in Trinidad. This trip and the organic forms found in the English countryside made a significant impression on McNish, and in 1959 she used the wheat motif in Golden Harvest - her first design for commercial design company Hull Traders. Produced in four colours, the furnishing fabric of printed heavy cotton satin was Hull Traders' best-selling design when released the following year and stayed in production until the 1970s.

On seeing her graduation show at The Royal College of Art, Arthur Stewart-Liberty - chairman of London's Liberty department store - famously commissioned the young graduate to create new and exclusive designs for both fashion and furnishing fabrics. Consumers in Britain were ready for colour, and Stewart-Liberty recognised McNish's unique talent ahead of the rest. McNish's popular designs for Liberty included the abstract Cascade - a heavily textured cotton poplin fabric from 1959, featuring a black and blue background with small, overlaid circles repeated in bright reds, greens and blues. The pattern fizzes with energy and is reminiscent of observing a living organism under a microscopic eye.

Stewart-Liberty introduced McNish to Zika Ascher, a Czech émigré who, with his wife Lida, founded Ascher Ltd, a textile manufacturer known for its experimental and luxurious woven and printed fabrics. Ascher was also renowned for collaborations with artists, including the sculptor Henry Moore, who designed many printed fabrics for the company in the 1940s, and for connections to the world of Parisian haute couture. Zika Ascher admired the originality and exuberance of McNish's designs and immediately engaged her to work for the company. McNish's designs - typically produced in printed silk, such as Tropic - were chosen by many of Ascher's couture clients, notably Christian Dior. More contracts and commissions followed from the leading firms of the day - Heals, Danasco and Hull Traders, establishing Althea McNish as "Britain's first and most distinguished black textile designer" (Lesley Jackson, cited in Pop Art and Design, 2018). McNish's reputation was such that she designed fabrics for Queen Elizabeth II's wardrobe for the 1966 Royal Tour of Trinidad and the Caribbean.

McNish's versatile and striking designs were also sought for wallpapers and architectural murals. She received commissions from Wallpaper Manufacturers, Sanderson-Rigg and the modern, post-war design agency Design Research Unit, whose clients included British Rail and the Orient Steam Navigation Company. Their ship, the SS Oriana, launched from Cumbria in 1959 and carried restaurant murals by McNish including Rayflowers.

In 1966, McNish designed and dressed a 'Bachelor Girl's Room' for London's influential and popular Ideal Home Show. McNish's setting imagines a studio-like space for a creative woman much like herself. With its dense array of swatches, images and objects of fascination and inspiration, her room is for the independent woman of the sixties, pursuing her own interests and career, unshackled from the confines of traditional familial and social expectations.

She does not seem to have been interested in other people's perceptions of boundaries between fine art and manufactured textiles and simply continued working as a painter and textile designer side by side.

Althea McNish described herself as an artist. She continued to paint alongside her freelance work and never wavered from her commitment to freedom of creative and artistic expression for herself and others. She taught throughout her career and was an active member of the Caribbean Arts Movement (CAM), founded in London in 1966 with the aim of celebrating and promoting the work of artists, writers, filmmakers and musicians from across the Caribbean to the British public. In 1973 McNish featured in and designed the set for Full House, a BBC television programme on the Caribbean arts, which was produced by her friend, a writer and the founder of CAM, John La Rose. Her artwork featured in landmark exhibitions such as Paintings by Trinidad and Tobago Artists at the Commonwealth Institute in London in 1961; and in 1978 her paintings and drawings were shown here at the V&A.

McNish was also an important presence in the wider British design scene; she was a member of the board of the UK's Design Council, and a Vice-President and Fellow of the Chartered Society of Designers. Her contribution to post-war British design and pioneering creative vision changed the character of British Modernism. The inclusion of McNish's influential works in recent exhibitions such as Get Up Stand Up Now (2019) at Somerset House, has brought her practice to the attention of new audiences and attests to her enduring legacy.

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Dazzling, contrasting colours, full of movement and expressive lines, Althea McNish's textile designs changed the character of British Modernism

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Steve Ramsey - Woodworking for Mere Mortals

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Printmaker | Writer | Multidisciplinary | Graphic Design

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Printmaking | Moving Image | Installation | Paper cuts | Illustration

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Etching | Printmaking | Illustration

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Born in Lisbon, Portugal in 1935 Dame Paula Rego (b. 1935), is a highly celebrated painter, illustrator and printmaker, who's visceral and unsettling works are notoriously challenging. Rego has lived in Britain since 1951, studying painting at the Slade School of Fine Art, London, her career as an artist spans half a century. Rego's style has evolved from abstract towards representational, and she has favored pastels over oils for much of her career. Her work often reflects aspects of feminism and also inspired by literature, folk-themes, myths and fairytales from her native Portugal and from Britain as well as cartoons and religious texts; Rego creates narrative works that are imbued with mystery.

Paula Rego is drawn to subjects that are well known, drawing her imagery from sources as varied as Peter Pan and Mary Magdalene. Her first experiments with printmaking were tentative, but as she discovered the various techniques open to her, her work became liberated and extremely powerful. She commented: "I turn to etching, and lithography, with a sense of exuberance and relief. In printmaking you can give your imagination full-range and see the results almost immediately. So one image triggers the idea for the next one and so on." Rego currently lives and works in London and is considered as one of the leading figurative artists of the day.

In 1988, Paula Rego had her first major solo exhibition in Britain at the Serpentine Gallery, London, United Kingdom and was appointed the first National Gallery Associate Artist, London in 1990. Rego's work is part of many important private and public collections including the Arts Council, London, England; Berardo Collection, Lisbon, Portugal; Sintra Museu de Arte Moderna, Sintra, Portugal; Metropolitan Museum of Art, New York, United States, British Museum, London, England; Gulbenkian Foundation, Lisbon, Portugal; Leeds City Art Gallery, Leeds, England; National Gallery, London, England; National Portrait Gallery, London, England; Portuguese Embassy, London, England; Tate Gallery, Liverpool, England; and the Whitworth Art Gallery, Manchester, England. She continues to live and work in London, England. In 2009 Casa das Histórias Paula Rego in Cascais, Portugal opened, a museum designed by Eduardo Souto de Moura and devoted to her and her husband Victor Willing's work. In 2005 she received an Honorary Doctorate of Letters from Oxford University, Oxford, United Kingdom and was made Dame Commander of the Order of the British Empire for her contribution to Art by the Queen of the United Kingdom in 2010. Rego had a major exhibition at Musée de l'Orangerie, Paris, France from October 17, 2018 -January 14, 2019. In 2019, Rego also received the Portuguese Government's Medal of Cultural Merit and it was announced that London's Tate Britain gallery is to stage a major retrospective of her work in 2021, as part of the '#5womenartists' campaign organised by the National Museum of Women in the Arts, in Washington DC.

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Born in Lisbon, Portugal in 1935 Dame Paula Rego (b. 1935), is a highly celebrated painter, illustrator and printmaker, who's visceral and unsettling works are notoriously challenging. Rego has lived in Britain since 1951, studying painting at the Slade School of Fine Art, London, her career as an artist spans half a century.

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Printmaker | Sculptor

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(American/French, 1911-2010)

Louise Bourgeois was a eminent American-French artist of the 20th century, recognized for her abstract sculptures, drawings and prints, and perhaps best know for her arachnid-like Maman sculptures. The artist's brooding works were culled from childhood memories as well as psychological analyses of sexuality, pain, and fear. "The only access we have to our volcanic unconscious and to the profound motives for our actions and reactions is through shocks of our encounters with specific people," she once reflected. Born on December 25, 1911 in Paris, France, Bourgeois first studied mathematics at the Sorbonne before changing paths and enrolling in art school. She studied under Fernand Léger at the École des Beaux-Arts and later with Vaclav Vytlacil at the Art Students League of New York, having emigrated to the United States in 1938. Largely underappreciated during her early career, she garnered critical and public acclaim after her retrospective debuted at The Museum of Modern Art in New York in 1982. The artist died on May 31, 2010 in New York, NY at the age of 98 of a heart attack. Today, Bourgeois's works are held in the collections of the Art Institute of Chicago, the Whitney Museum of American Art in New York, the Tate Gallery in London, and the Kunstmuseum Basel, among others.

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Louise Bourgeois was a eminent American-French artist of the 20th century, recognized for her abstract sculptures, drawings and prints, and perhaps best know for her arachnid-like Maman sculptures. View Louise Bourgeois's 1,657 artworks on artnet. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices.

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Printmaking | Sculpture | Minimalist

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London-based artist Alexandra Ramirez works across editorial illustration, painting, print design, printmaking, motion graphics, and animation. With a penchant for both traditional and digital media, which she often mixes together,...

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Castan - A bespoke typeface created for howies

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The unique headline font of ethical clothing company howies has sustainability at its core, beginning life as a Welsh chestnut tree far removed from the technology of the web.

Sourced in Wales, the home of howies, we found a woodworker and a wind-fallen chestnut tree. Once the wood was carved from the letters we designed, each was burnished and repeatedly wire brushed to enhance the grain. Printed using a mix of ink and turpentine we then scanned, flipped, adjusted and digitised the finished font ready for web use: a fusion of traditional craft skills with up to date technology.

Oh, and why Castan? It’s Welsh for Chestnut.