Amy Jade Prints

Amy Jade Prints is Amy Thompson.  She’s a first-timer at Design@HEART and we’re really looking forward to welcoming her and her lovely prints.

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I use traditional printing methods to create fine art prints and products. These are often inspired by folklore, mythology and natural history.

After graduating with a degree in Illustration and Animation from Loughborough University I moved back to Yorkshire where I continued to experiment with technique, materials and design.

My process starts with a pencil drawing, which is then transferred onto lino before carving and printing. This hands on process means every piece is unique.

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Sarah Dunton

If you’ve been to Design@HEART for the last couple of years you’ll have met Sarah Dunton.  Her ceramics and prints have prooved very popular.  She’s back again on 9th November, so here she is talking about her work:

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I am a potter, printmaker, painter, illustrator and gardener. I originally trained as a fine artist at Leeds University, and since then I have continually worked as a painter and maker. I gain my inspiration from the natural world – plants and birds – and I also love to make images of people at peace and enjoying their gardens. This inspiration is a thread running through all the media in which I work. I learned to make pots at the Swarthmore Centre and now make these at home in my studio, hand-building my pots, so no two are the same. They tend to be decorated with birds and leaves. I have made many pieces to commission, including illustrations for the health service. pots for wedding presents, and paintings as gifts.

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Inkylinky by Liz Samways

After several years away, Liz Samways is back at Design@HEART this year, and we can’t wait to see her new jewellery and prints.

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I’m a Leeds-based jeweller and printmaker, working primarily in silver and copper which is etched & engraved using techniques commonly found in printmaking. My work is inspired by the landscape, as viewed on a flat plane through the train window and aerial views, and is influenced by English landscape painters, printmakers, & surface-pattern designers, as well as my background in garden design. I love the textures, mark-making and unpredictability of the printmaking techniques I use, which I also translate into my jewellery and metal pictures to make pieces which will never be identical.

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Where appropriate, I like to add colour using traditional materials – patination recipes, vitreous enamels, and sepia ink. Exploring the chemistry of these processes in itself provides inspiration which means life is never dull!

 

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“Probably the thing I enjoy most is playing” Liz Samways talks jewellery and printmaking

Liz Samways’ work will be familiar to those of you who’ve been coming to craft fairs at HEART for a while. A jeweller and print maker, her work reflects her love of landscape and the natural world.   We caught up with her to find out how she got started and her practice.

I’ve always wanted to be a jeweller, ever since visiting Camden Market in my teens and seeing all the jeweller types who had lifestyles which seemed very exotic. While I was doing my ‘real’ jobs it was always there in the background. When my youngest child had gone to nursery I thought I would give it a go professionally.

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Before then I had studies History of Art as my first degree, worked in industrical canteens, factories, Asprey on Bond Street, an Estate Agency, in sales and marketing for Royal Mail, and then retrained in horticulture and garden design and as an ESOL teacher. Quite a list!

To a certain extent I’m self taught, but I did evening classes at Leeds College of Art and Swarthmore with Roger Barnes, during the mid-nineties for jewellery, more recently weekend workshops for printmaking. There’s also been a lot of helpful friends offering technical advice and suggestions along the way.

My first makers’ fair was back in 2011. It was quite a landmark, taking my work out there to the public. Since then, there’s been many more memorable moments: getting my work accepted ito the Craft & Design Gallery in Leeds, where for years I had admired other people’s work, and later being invited to take part in their “Walk In The Park” exhibition. Driving over the hills from Skipton back to Leeds after my first “Art In The Pen” event, having met loads of enthusiastic customers, having fellow makers as good friends, and realising I had finally become the sort of person I’d seen at events when I went as a customer; and my first trade fair which was incredibly daunting, but with a lot of help and advice from other makers I managed it and did well.

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The most important consideration for me, when designing a piece of jewellery, is wearability! Will the piece stay the ‘right way up’ for instance, in the case of bangles or stud earrings, ….how will it wear over time? Will it feel comfortable on the body? Also, Will it look good up close and from a distance? Is it something I haven’t seen before? Can I see my customer (we should all have one in our mind’s eye) wearing it? And of course, very importantly, is it within my technical capabilities?!

I use engraving, etching and rolling to make the textures in the metals I use, then cut and solder to layer together. Although I do work things out in sketchbooks, I find a lot ends up as lists of words! (working out technical details and the order in which to work). I hardly ever sketch out a finished design which I work towards, it’s usually a more random process. Often I just have bits of cut up and textured metal around me and I play around putting shapes together till something looks good – I maintain that this is a legitimate design technique as I learnt it through my garden design training! To finish the piece and add the darkness I like, I use traditional patination techniques, selectively polished for contrast, and sealed with a wax.

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For the enamelling I use a small kiln and build up layers and layers of colour in various combinations, remembering to make notes as, although I use a lot of different colours, they come from a fairly limited and subtle palette so it’s easy to forget what I’ve used! I work in much the same way as I build layers of ink in prints, through overlapping, masking, and sometimes adding in other elements such as metal leaf or wire.

Probably the thing I enjoy most is playing around! The fact that inspiration is everywhere and I have a legitimate business reason for experimenting with shapes and textures, learning new techniques and meeting lots of other creative people.
The thing I’m not so keen on is juggling orders and the logistics of producing several pieces at the same time, though my experience working in various factories in my youth comes in surprisingly handy when planning my working processes.

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I started off because I’m a terrible magpie and I wanted to make things for myself. It was later that it developed into something I thought I could make a successful business out of. I love working in print and jewellery because there are so many ways they influence each other, and I constantly have ideas working both ways. I love the unpredictability of the surfaces involved in both processes.