Author: sheffieldprintmakers

Website: www.peterpainterprintmaker.com
Email: peterpainterprint@btinternet.com
Tel: 0114 2580110
Mobile: 07749 216291

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I studied fine art sculpture for my degree at Newport college of art in a building down in the docklands called Bolt Street. It was a great learning experience and has informed everything I have done since. I also studied printmaking at A level and have taken a number of summer schools at Falmouth college of art.

Printmaking is now the main focus of my visual out-put but it is with a thought to sculpture at all times. My sources will range widely and wildly from landscape, science and the wonderful history of art. I draw daily where ever I am from nature or ideas based on what I am reading, studying or listening to.

I taught art and design for many years in the Sheffield college and now run regular workshops from my home studio three days a week.

Email: sarahburgess6@gmail.com
Website: www.sarah-burgess.com
Website: www.textilestudygroup.co.uk/members

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Mono print, or mono-type printing, has become a passion with me. I have always loved drawing and the way that a very simple drawn line or mark, made on the reverse of a piece of paper or fabric which has been laid on a thin layer of printing ink, picks up the ink and becomes so much more expressive never fails to excite me.

Mono-print is ideal for original, creative work on paper or fabric where each print is unique.

Working with print on semi-transparent surfaces gives lots of potential for layering marks and images, cutting through layers and over printing, reusing cut away areas on the front or back of the work and perhaps developing shadows within the layers.

My training as an embroiderer frequently prompts me to add stitch to my prints, building further layers of marks and responding to the printed surface.

There is a lot of water in the valley where I live, streams and deeper pools give marvellous opportunities for reflection. The base of the pool may have decaying leaves and stones overlaid with floating weed, ripples across the surface and the reflections of light pouring through branches overhead dancing in the breeze.

Glancing Shadows 2

Glancing Shadows 2
Mono-print on paper and fabric with stitch
31 x 21 cms

Glancing Shadows 4

Glancing Shadows 4
Mono-print on paper and fabric with stitch
31x23 cms

Golden Ligh 2

Golden Light 2
Mono-print collage with stitch
23 x 23 cms

Golden Light 4

Golden Light 4
Monoprint on paper with stitch
67 x 53 cms

Moonrise 1

Moonrise 1
Mono-print on semi-transparent surfaces with stitch
55 x 43cms

Portal 2 detail

Portal 2 detail
Monoprint on paper with stitch
67 x 53 cms

Portal 2 crop

Portal 2
Monoprint on paper with stitch
67 x 53 cms

Moorland series. Evening Light

Moorland – Evening Light
Mono-print
42 x 53cms

In Flood 1 sburgess

In Flood<Mono-print and block printing on cotton, painted,collaged and hand/machine stitched
70cm by 70cm

Email: a.r.stephenson@talktalk.net
Tel: 0114 2295404

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Having painted and drawn all my life, a few years ago I turned to printmaking. After a few experiments it became clear that collagraph was the medium that attracted me most and I have been focused on it ever since. The long period of drawing and painting had led to an accumulation of sketch books and other work which provided a foundation for making collagraph prints.

The natural world provides an endless choice of possible subjects and very much fits in with my interests as a birdwatcher. Old industrial areas and building sites as well as harbours and shipping areas provide a tremendous variety of subjects.

Part of the attraction of collagraph is its flexibility and the range of approaches it offers; this means that it can be adapted for all kinds of subjects and can produce hard-edged images as well much softer and more atmospheric ones. It also lends itself to experimentation with a variety of materials to produce a wide range of different surface textures.

As well as various events showing with Sheffield Printmakers I have had print work shown at the Harley Gallery, the Ferens Art Gallery in Hull, Derby Open Print Show,  Derbyshire Open (Buxton), the Art House (Sheffield) and the Great Sheffield Art Show.

Website: www.lindajudithgreen.com
Email: lindajudithgreen@btinternet.com

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I am an experimental printmaker. I love using different techniques such as collography, chine collé and lino printing occasionally combining all three. I sometimes use phone etching as well.

When Sheffield Printmakers was formed in 2015 the focus of my printmaking was on 1950’s textiles partly due to my love of the colours and styles of textiles in that era. This practice led to me using lace left to me by an aunt in a series of collographs called the ‘lacy prints’.

In 2019 during a holiday in Shieldaig in the Highlands I did a series of linoprints that reflect the sense of quiet but also ruggedness of the surroundings and the slow pace of life there.

Continuing with experimentation I am currently using linoprints to print on to  canvas coated in gesso. I have recently submitted a print for the Leicester Print Workshop Small Print International 6 Exhibition based on the aerogramme. 

It has been an inspiration to take part in the Hot Bed Press 20:20 Print Exchange in 2018 and 2019 with a group of members from Sheffield Printmakers.

Website: www.catherineharnett.co.uk

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Like many of my fellow printmakers I am inspired by landscape. I think we are all inspired by the transience of our experience within an environment. It is why we wish to take our own photograph with a phone, rather than buy a picture postcard.

In my case I take such images and make etchings, which present a fluid, abstract world.It happens like this, certain forms and textures and the interplay of light upon them stir me to make a plate, using collaged tape, engraved marks and the lick of a blowtorch.

If I am lucky the plate then takes on a life of its’ own and I work with it. My first print is usually monochrome to show the form. It is always exciting to pull the first print and it constantly comes as a surprise after spending so much time concentrating on the back to front, textured surface of the plate.

Then I enjoy trying different mixes of colour to enhance or change the mood of the finished piece. None of my prints are exactly alike, I have to experiment too much, but after seeing the effect of a group of colours on one plate I often like to try them out on another and then another. This can lead to harmonious sets of work.

My other love is to read and I make tiny books, each from a single print, with quotes from classic authors.

Email: val_vernon@yahoo.co.uk
Instagram: #printbyval

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I have been making prints using lino for many years since graduating from Manchester, combining some with collage. I keep a drawing book to explore ideas, most of which originate from drawings and paintings.

In my work I have been interested in the chaos in nature for quite some time, usually juxtaposed with stability to emphasise contrast. The uncontrolled force of nature is compelling and is constantly changing in the landscape according to the seasons which is a fascinating backdrop to life.

In this series of pieces, the moon provides a constant whilst the chaos of life surrounding it is changing. The pattern is also present as a stabilising force, but that in itself is randomly produced, although it has origins in a range of influences, such as Native American, Maori and Indian cultures.

I use linseed oil printing ink and usually on Japanese vellum. I have exhibited in several places in Yorkshire, Manchester, Birmingham. My work has been shown at South Bank Printmakers Mini Print Show, in London.

Instagram: #redkitepress

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I graduated in Painting and Printmaking (BA) from Sheffield Hallam in 2004 and continued printmaking through local classes and in my studio practice.

I have used different techniques from Lino, screenprint, collagraph and copper sulphate etching. Redkite press is my studio at Exchange Place Studios where I screenprint and use my antique bookbinding presses to produce lino cuts.

I have spent three years developing a low technique system to screenprinting. I use screenfiller and screenprinting drawing fluid to produce my screenprints, which involves mark making directly onto the screen.

My work is expressionistic and dreamlike and I illustrate my personal visual stories within them.

ETSY shop: UuraNiemiJunkolaArt
Email: uniemijunkola@gmail.com
Tel: 0114-3276277
Mobile: 07414065130

Hi, I am Uura (Niemi-Junkola),  a Sheffield based artist originally from Finland. 

My work is inspired by colors, textures, shapes, light, water, shadows, situations and nature. My style is mainly semi-abstract or abstract, as I prefer mediums which allows flow and have a natural movement, but which can also add structure. My preferred medium for print work is mono-printing, especially using a gel-plate, as adding water and different layers adds to the movement and depth in the piece.

I also work with watercolor, ink, acrylic, charcoal, pencil works. I rarely have a specific plan for a particular painting as I like the unpredictable nature of combining different colours and mediums in the the creative process.

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