I'm starting to think that I probably need to get my 2016 sorted, or at the very least January. I'm looking for the perfect planner so please give me a shout if you've come across something fancy. My current diary was from Merci in Paris and it's feeling quite irreplaceable as I'm not quite feeling the ones they have online at the moment. You've gotta have a wall calendar though and I'm feeling quite happy to have stumbled across this Mini Risographed Calendar by Risotto Studio. I'm a lover of the results Riso printing brings and this little patterned beauty would hang perfectly on my print wall. Perhaps a late visit from Father Christmas? Buy yours here.
& a Happy New Year to you too. What better way is there to capture Christmas than this? A pig decorating the tree or as I like to imagine it this is me taking down the tree (after way too much feasting.)
This is the kind of post I should have written weeks ago so you could all stock up on these delightful cards but I didn't. Sorry, I'm awful at Christmas planning. There is so much more in the range though so don't despair. Jo Ham, the London based designer behind these playful prints is committed to supporting the British design industry and I'm a little in love with her stories of the wonderful lives of a rabbit and a pig.
See more of DJ rabbit and scooting pig here: hammade.com
Over the past few months I have become increasingly interested in the workspaces and studios that artists inhabit. Every time I visit a designer in their working environment I feel like I'm seeing a little into their world. Messy, clean, organised or chaotic; each aspect of a studio reflects the creative process of the artist and of course everyone works differently. I've decided to document little snippets when I visit these creative homes and first up is Walthamstow-based Daniel Heath, who I encourage you all to get to know and enjoy.
Daniel is a designer-maker specialising in wallpaper, textile and surface design. I'd heard his name floating around for a while but I really fell in love with his work after seeing this lovely video which was used as part of the W is for Wallpaper exhibition at the Ruthin Craft Centre. I'm quite the wallpaper fanatic (made my own ya know!) so it was a delight to take a closer look at Daniel's designs and snoop round the studio whilst he worked on his latest bespoke project.
Blackhorse Workshop is Daniel's community studios of choice. It has a really great social vibe with a coffee shop, brewery and monthly markets happening for the artisans of Walthamstow. I've seen some of the breakfast options available and it all looks pretty darn tasty! The downstairs area of the studio is actually a public workshop which can be used if you sign up to a membership so look no further if you are after a woodwork or metalwork shared studio. Upstairs are more permanent studios which are occupied by a variety of crafts people including Daniel and his team of two Laura's, one of whom his is wife which is rather lovely.
Mr Heath started off at Loughborough University before moving on to train in the traditional process of silk-screen printing at the Royal College of Art. Having started off sharing a dingy space with a fellow graduate after the RCA, Blackhorse is now his workplace home and when he's not occasionally teaching at Bucks New University, he's creating beautiful limited edition pieces for a range of clientele working for a number of months on each project.
I was pretty chuffed to catch a glimpse of the Onyx Skyline Wallpaper which launched earlier this year at London Design Festival. The metallic hues on this art deco piece would make any wall look a million dollars and interestingly the piece was inspired by The Hoover Building in Perivale. It's the inspiration behind Daniel's pieces that make his designs playful and fun as well as providing a little narrative. His work is decorative and this is something he's not afraid to shout about. He's simply putting a lot of passion and love into beautiful illustrations and hand-crafted products. Having been faced with the issue of needing to be 'conceptual' throughout my whole university life its pretty bloody brilliant to meet someone successful in the industry with this way of working. Although of course its taken him a lot of hard work and late nights to get there.
Thanks so much to Dan for having me over for a little chat and for allowing me to photograph him whilst being busy at work.
It's time for Part Two from guest writer Patrick O'Mahony on his time at the RCA. If you haven't seen the first instalment then do have a butchers here. Patrick is taking a closer look at the projects he's been working on over his first semester and it clearly shows how diverse his course is. I'm quite jealous. Anyway, over to Patrick. I hope you appreciate his work as much as I do!
"I’m nearly at the end of my first term, and with the modules all slowly coming to an end, it’s strange to look back over the past few weeks and realise how much I’ve achieved. Our chosen elective, 'Friction', has given us a great insight into how to create a film narrative; from the beginning stages of constructing a story, to finalising the storyboards and animatics. Throughout these weeks key experts in the animation industry were brought in as guest lecturers, all presenting their unique insight and advice on their methods and how to make it out in the "real world". The first of these classes saw famed animator Jonathan Hodgson teach a creative writing workshop on the ways of crafting the beginnings of a story. We were asked to write, without stopping, for 5 minutes, thinking about a type of journey we have been on. If we couldn’t think of something to write we had to write “I can’t think of anything” over and over till something popped into our heads. I couldn’t help but think about commuting to work and uni and more specifically my journey to and from college for three years when I lived in Ireland. The train went from a tiny town to a city and on this journey we travelled through a zoo. At first, seeing a flamingo every morning was quite amazing but it soon grew tiresome and I slowly started forming my story from this. I also ended up with this drawing which I think sums it all up quite well. Over the classes I built on this story and have began to develop it as a short film!
Another different experience saw us recording a short story in the sound studio - but only sound effects with no speech. I had to act out throwing up after a horrible meal, pretend to be a cat having a party, and cough to the point where I could barely talk. We then needed to turn these short stories into animatics, changing them to make the sounds reflect something different then what we originally planned the story to convey. Some people completely readapted the sounds while others created more abstract videos. I think if there’s anything I learned, its how surprising it is that so many different objects can be portrayed by a single piece of plastic and a comb. Alongside this, Our ‘Embodying Voice’ workshop covered the basic principles of animation whilst also getting us to focus on the performance of the characters we animate. A good crash course and refresher in all things animated, these classes were led by animator and ex-RCA student Matt Abbiss, who also happens to be my personal tutor for the year. The outcome of this was to produce a short lip-sync film where we were able to select a pre-recorded conversation from a short list and create and animate a character in whatever medium we chose to speak along with the recording. One of my favourite projects during my time at the University Of East London was doing this exact same project so I took it upon myself to try and make a more advanced one, featuring two characters and replacement mouth pieces for the puppets instead of digitally creating them. This meant each character had to have around 5 mouths made for them that could be taken off the face and switched out to create the illusion of speaking. Watch my video below!
With our lecturer classes coming to an end in a few weeks it’s now getting to the stage where we’re beginning to think about our first year films which begin after Christmas - a short 1 to 4 minute film. It’s quite clear now that the “easy” part is now over as from here on out I’m going to be making two films as well as writing my dissertation, which leaves all progress from now up to me. My own deadlines. My own schedule. My one shot at getting a masters!" Stay tuned for even more from Patrick on the RCA and follow him on twitter for regular updates: @RickpatArtpick
After my recent interview with Dan Howden, seeing all his travel inspired prints and hearing of his solo adventures I decided it was time to fall well and truly back in love with my own city and spend the whole weekend exploring. As well as making it to some of the exhibitions I'd had my eye on, I also took the time to visit some spots in my local areas of Leyton and Walthamstow. To top the week off, I had the absolute pleasure of working from The Shard on Friday - what a view of London, be still my beating heart. Here's a few of the snaps I took along the way including getting lost in Ann Veronica Janssens, the best hot chocolate from Deeney's, ribbons at VV Rouleaux and a neon lover's paradise at Gods Own Junkyard. Now get out there and see your city / town / village and appreciate every little bit of it. I'm off on more adventures tomorrow!
This Friday The London Illustration Fair will be taking over the Bargehouse at OXO Tower Wharf for three days in what promises to be the perfect inspiration for any creatives in the city. The Bargehouse is a four-storey warehouse in the heart of the South Bank and will be providing a cultural festive atmosphere for over 70 illustrators, designers, printmakers and publishers to exhibit their work and meet like minded artists. The fair aims to “capture the enjoyment and creativity of an industry flourishing with talent and passion” so if you’re looking for an alternative place to do your Christmas shopping and want to support emerging designers (I definitely am), this is it!
As well as a selection of emerging artist led stalls there will be a handpicked selection of The London Illustration Fair’s favourite publishing houses, creative agencies, illustration collectives, print studios, galleries, crafty businesses and designers. I’ve got my eyes on featured artist Camille Walala and her geometric prints (pick up one of her limited edition totes at the show) as well as accepted artists Marylou Faure and Mariery Young. Wide Eye Editions, Unlimited, Puck Collective, Art on a Postcard and Yuck Print House are also collectives to take a close look at.
One of my personal favourites, Unlimited will be showcasing their latest cheekily titled collection ‘Four Play’ in which 40 illustrators have collaborated with the design studio to create a typographic led piece. The self-initiated project explores the unique response by the chosen participants to a four-letter word given to them at random. “We wanted to engage like-minded creatives who were not only strong image-makers but open to playfulness and collaboration,” states Sara, owner of independent shop and gallery.
Site-specific, immersive installations and one-off murals will also be popping up around the industrial site with the likes of Thierry Noir and Rupert Newman having been asked to participate. Noir, the first artist to paint the Berlin Wall, will be creating an interactive, three-dimensional installation in the courtyard whilst Newman, CultureLabel’s Artist of the Year, will be revamping the exterior walls of the gallery with an eclectic live video mapping show.
For an even more jam-packed experience, London market extraordinaires Crafty Fox will be selling handmade one-off gifts and seasonally appropriate items from a selection of their premium designer-makers. To match the holiday spirit there will be a winter warmer bar and live DJs for you to get a little jolly whilst you peruse the Christmas offerings. I’ll be doing ALL of my christmas shopping with a glass of mulled wine. Be sure not to miss out on the programme of artist-led talks or variety of workshops and do let me know if anything catches your eye if you go! Images courtesy of The London Illustration Fair. Follow them on twitter: @TheLIFLondon
Sometimes illustrations whisk you away to another place and make you daydream of unvisited locations. This week Yorkshire based printmaker Dan Howden had me fantasising of travelling alone and exploring more of my own city - his vibrant linocuts are full of adventure but charmingly 'normal' too. The London seriesfocuses on his favourite but less-known spots in the city and if Wes Anderson did linocuts they would surely look something like this. Other series include inspiration from Kuwait and Cape Cod which have had me reminiscing of my favourite Pop Art period. These prints certainly iconify the standard. Dan is a recent graduate from Liverpool John Moores University and he's probably given me some of the most interesting answers to date so be sure to take it all in and check out his suggested illustrators. I'm SUPER excited to follow his journey and perhaps purchase a cheeky print along the way (the boy is a big fan too!)
Firstly, can you tell me a little bit about yourself and how you've got to where you are today?
I consider myself a fairly private person. I’m over-apologetic, awkward and often eccentric. I’m organised, a good runner, and I use hyperbole too much. I have an extremely small group of friends that I’m open with. This is perhaps one of the reasons why illustration has become such a prominent aspect of my life, as it presents me with the opportunity to create something tangible from my thoughts and get things off my chest to an audience who don’t know who I am. Hard work has been the vehicle that’s got to where I am right now. I’m happiest when I’m put to work and being creative and I strongly believe that boredom doesn’t exist. There’s always something that I can be doing and because of this, I make copious amounts of lists, which tend to litter my desk a lot of the time.
You say you love the process of Lino cutting, how did you get started with this printing technique?
In 2011, after sixth form, I did an art foundation year at York College. I arrived wanting to experiment as, prior to this, I’d only ever painted acrylic footballers. It was here that my tutor, Dan Bugg, introduced me to linocut. He had a fairly hands-off approach that I really appreciated. It took me a while to understand the basic technicalities of printmaking, especially the layering process. I didn’t have much patience but after weeks of bloodshed from catching myself on the blade and still without a firm grasp of the fundamental principles of linocut, I began taking off-cuts home to practice on. It was during this time that I taught myself how to etch and this laid the foundations for the technique I’m still using today, which I’d describe as unorthodox.
Travel seems to play a large part in your work. Where do you take your inspiration for projects from and do you have a way of collating this?
Sad, I know, but I really enjoy traveling by myself. Some of my fondest memories are from doing this. Past experience plays a huge role within my work. Whether it’s being ridiculed at a party for playing Michael Bublè, an incredibly attractive waitress who I used to wait alongside, or simply gliding around Cape Cod on a chunky American bicycle, memories such as these form a rich pool of inspiration that I draw from. As a result, my work is often nostalgic and it is this, combined with my appreciation for western culture that steers my work. I consume an enormous amount of American content on a daily basis, from Beats 1, to NPC radio, SNL to Conan, through to Casey Neistat; all of these avenues mold my sense of humor and perspective. As is often the case with most creatives, ideas usually arrive throughout the day and as a result I’m often scrambling to write them down in the notes app of my iPod. This is where they’re collated in their rawest form before I transfer them into books, of which I’m currently on my 4th. But, that said, I’m not above taking a cheeky screenshot of something I see on Instagram that strikes a chord.
How long does it take to create each piece?
Naturally, the timeframe of each piece I do varies depending on its scale and the detail required. I’m obsessed with detail and therefore the duration is often closer to days rather than hours. But whilst this can take time, the biggest attributor is the number of editions I decide to produce. Due to the amount of colour I include, large editions are almost impossible as I use a reduction technique that gradually destroys the lino. Because of this, I usually manage 5-6 editions as overtime prints fall by the wayside and become practice sheets. It’s a large-scale process and on average each piece takes about 20 hours to produce, and that’s not including the time spent preparing the lino and drawing the crucial framework out beforehand.
Tell me what makes you different? Why should people commission you?
I strongly believe that lino, as a medium, is becoming rather twee. It’s synonymous with folk art, Christmas cards, countryside landscapes, Hares and Birds. This was the landscape when I was introduced in 2011 and it hasn’t changed much, in my eyes, since. When I scroll through Instagram I see a lot of the same, and I believe there aren’t many people approaching the medium like I am, in a contemporary and adventurous way. I’m trying to do something new with linocut and hopefully people like what they see. As I mentioned before, I have a fascination with detail and this often culminates in me using a lot of colours and consequently, a lot of layers. It’s this aspect, along with my subject matter, that makes my work visually different from that of other illustrators. Because of the unorthodox way I learnt to etch, my work isn’t governed by many rules or boundaries. Those that are there, I learnt myself through trial and error during uni. Because of this, I feel my practice has a certain rawness to it.
Although you got a first, is there anything you would do differently if you could start you course again?
Having graduated in July, I find myself asking this question a lot! And the answer is yes, but only to feed my curiosity. I missed out on most social gatherings and events because I was too work-orientated. I could have been more present at times. In particular my first year. I must have been the only person who wasn’t aware that it counts for nothing as I’d been giving it my absolute all. Needless to say, when I discovered its lack of importance in January my effort eased up. This initial level of effort kind of set the president for my time at uni because I went with the intention of getting a first.
Who would you advise that other illustrators and artists check out?
I’d advise that other illustrators and artists definitely check out the work of Israeli animator and illustrator, Assaf Benharroch - his work with Studio Poink is fantastic. Chris Brown was a tutor of mine at LJMU and also teaches at Camberwell. His linocuts are ridiculous. Another Chris who’s fantastic is Chris Lyons. He’s been a big deal for a long time across the pond so I doubt he needs a plug, but he really helped me out with my dissertation and more recently gave me some great advice. His work, and moreover his ideas, are seriously good, and on top of that he’s a wonderful man.
Finally, what is next on your agenda? Anything exciting coming up?
What I do next has been the cause of much debate over the last month in my household. I had my heart set on doing a masters course in print at Camberwell, but they axed their one year course and I don’t want to be penniless when I come out so I’ve decided to commit everything to freelance. I did apply to the RCA on a whim but I’m keeping my hopes very low.I'll be exhibiting at the City Screen in York in early 2016 and there's theYork Open Studio in April of next year for a fortnight which I’m really enthusiastic about. I’m also currently in the midst of doing some work for Intern Magazine which is exciting as f***, as it’s my first taste of proper "official work".
Earlier this year I became pretty excited after discovering the unique online gallery Skull & Heart. I visited their last pop-up at The Print Space and came away with two wonderful prints that now take pride of place in my bedroom. I've had a bit of a girl crush on Skull & Heart founder Skye Kelly-Barrett ever since and was intrigued to find out more about her latest projects and hopes for the future.
Skull & Heart have just launched a kickstarter campaign to fund their latest project - an art book of their previous all female exhibition. Having already seen the talent included (but obviously not having enough dollar to buy everything) the book will be a welcome addition to my collection. There's a serious amount of girl power going on within the project and as a female in the art world it makes absolute sense to pledge to this worthwhile project. With all of the fantastic incentives on offer the only trouble should be choosing one but if you need any further persuading, just meet Skye below!
Can you tell me a little bit more about Skull & Heart?
Skull & Heart is an online & pop-up gallery based in London. We art direct and produce a limited edition screen-print series that is exclusive to S&H, as well as original and print based artwork. What about yourself? What's your background? My background is in the arts - although it’s more theory based than practical. I studied Art and Design history [BA] and Visual Culture with Exhibition and Museum Design [MA]. Although I have spent most of my time in the fashion industry, I did work occasionally with artists, collectives and galleries during that time period to try and find a position that I could make a career out of instead of unpaid internships. I always knew that the art world was where I wanted to be and eventually I decided that if I was going to work in the field that interested me, with the artists that inspired me, I would have to start something myself - which is what I did and Skull & Heart was born.
You have a variety of artists on your roster, all with very unique styles. How do you decide what makes the cut?
The Skull & Heart ethos is to engage the public with artists and artwork that they may not have seen before, so I always make a concerted effort to try and have a good mix of emerging and established artists. I always loved the idea of fans from one style of artwork, or artist coming across the work of someone they might never have seen before and purchasing a piece of their work, or even just feeling inspired by that person and following what they do, that’s pretty awesome.
In terms of picking artists, I suppose the reality is that all of them are artists whose work I love and want to show the world. Dealing with a variety of styles is always tough - We do work most prominently within the Lowbrow / Urban / Pop Surrealist / Illustration & Design world, and so we do have an aesthetic style to some extent, but I think we manage to make it feel broader and accessible to art fans of all styles.
I love seeing work from new artists, and a few of the 'Hear Me Roar' girls were artists whose work I had stumbled upon, or had their work shown to me by chance ages ago - so it’s not really about "making the cut" but more about being the right artists for the right project! However, I will say, having a website is a must and will help me in considering you.
Your last exhibition 'Hear Me Roar' was female focused. What was the reasoning behind that? The idea behind the show came from a conversation with one of my good friends and talented photographer who is featured in the exhibition, Shae DeTar. We were eating food, discussing life as a female in the creative industry, and she sort of said to me, “you know, you should be using what you have as a platform, you know all these great female artists; quit talking about what you want to do, and just do it!”
The past projects and exhibitions I had done with S&H had been really 'male heavy' and it really bummed me out that I had curated the projects that way. I knew there were so many incredible artists out there, women who were killing it everyday in the business, out-pitching their male counterparts and producing beautiful, ballsy artwork. So I thought to myself, “right, if I’m going to do this, it’s going to be big and it’s going to feature the best artists but still stay true to our brand.” So that’s what I did, and 34 artists, 60 pieces later, 'Hear Me Roar' was born.
You've just launched a Kickstarter campaign to create an art book of the exhibition. Why Kickstarter? We had previously used Kickstarter to help us produce our first book which was based on our first ever exhibition and screen print series 'The Colour Series' - During that campaign we found that it's a really great way to connect with like-minded people who may not already follow us or know about the work that we do! Kickstarter has this really amazing community vibe, were it feels like people really want to help out and see businesses do well with their projects. We have been lucky enough to meet some new customers and fans through our previous projects and hope to meet more with this one!
What’s are your hopes for the future and what can we see Skull & Heart doing next? Our biggest hope is to have a permanent space in London - something we are always working on! However, until that is a reality we are currently about to finish the second artist led screen print series “Paradise” which is a black and white series, and we will be celebrating that by having an exhibition early next year (details to be confirmed) - There is talk about a second all-female show, which would be amazing and of course, a third screen print series!
Follow Skye and Skull & Heart on instagram here: @skullandheart @skyevkb and give all your money to the project here!
With the end of November nearing it's probably time for me to have a little think about that little thing called Christmas. I'm starting to get in the festive spirit; the glistening lights of Oxford Street are a welcomedistraction when I'm stuck behind hoards of rather slow tourists (yes, I'm a Londoner.) After having such a great time at my last workshop I've pulled together the best of the rest to get those crafty fingers going as well as helping you with a little preparation. Click on the titles to see more!
This one is a little less seasonal but I think it would make a fabulous gift as a workshop or if you give away your end product. On the day you'll learn how to craft a spoon from reclaimed timber and perhaps you'll be enjoying christmas pudding with your very own wooden creation!
So yeah, I'm kind of cheating here but what could be better than just one workshop when you can do loads?! Make your own geometric decoration for free or book in with Wool & The Gang to arm-knit a snood. There's plenty of other reasonably priced activities as well as stores to grab some prezzies for your pals.
We know I'm a fan of this lovely lady and her mad scalpel skills so join her over a hot chocolate at charming cafe 'All You Read Is Love'. Create something truly crafty and impressive to give to your friends or just to decorate your own pad over the yuletide season.
Monotype is currently hosting an exhibition which presents the Eric Gill Series at the Old Truman Brewery in Shoreditch - a must visit for any typography fanatics. The exhibition features material from Monotype’s archive as well as items from the Ditchling Museum of Art + Craft and the Letterform Archive in San Francisco. There are ink drawings for Gill Sans Titling Caps (the first Gill Sans style), 10-inch production drawings used by Monotype to analyse and refine Gill’s drawings and a 1928 issue of Monotype’s Recorder magazine showing the first example of Gill Sans type. It's a dream for any budding graphic designers looking for some portfolio research or wishing to learn more about typography.
If you're not aware of Gill Sans then you must have your head in a bucket or just not be a type whizz (I forgive you.) The iconic font has been used by the likes of Penguin, the BBC and the Royal Society of Arts. You can also see it gracing newer brands such as Net-a-Porter and Tommy Hilfiger. The exhibition shows Gill's hand-drawn creations and his notes within the process which is delight to ponder over and something to get the mind whirring with ideas.
And it doesn't stop there. Monotype have remastered Gill Sans and Joanna as Gill Sans Nova and Joanna Nova - all to give them a little update and bring them into the digital age. They have also released a new typeface, Joanna Sans Nova, which combines the DNA of both of Gill's fonts to create a humanist sans serif. You can have a play around with all three of the fonts on the mammoth magnetic wall and be sure to hashtag #SetinGill
The exhibition runs until the 10th November with the last day featuring an event hosted by Monotype and Eye magazine. Described as an informal evening of type and conversation, Dan Rhatigan, David Hitner and James Mosley will present three different yet complementary aspects of Gill’s design legacy. Book tickets here.
Old Truman Brewery - 91 Brick Lane. T2. London E1 6QL GB
There's nothing better than some Autumnal sun and last weekend left me feeling more than inspired. Who would have thought Center Parcs could provide such a sweet location for such seasonal colours? As well as riding the rapids and playing a spot of adventure gold I also took the time to be creative on the lake and to write in our cosy cabin. Maybe this will become a thing...
Stacey is both a paper cut artist and a talented illustrator and is truly passionate about offering workshops and teaching people about something she loves so much - the perfect lady to teach you some new skills. She's a member of the TOMS shoes artist team and regularly joins them to create bespoke artwork, which is then hand painted on to TOMS shoes at their Style Your Sole events. She has created several large scale paper cut installations for TOMS stockists in Cornwall and has painted large scale murals at the new TOMS shop in Carnaby Street. If you happen to be in Norway this November you can catch her at the Paper Artist Collective Pop Up Shop in Oslo in November which is in conjunction with Norway Designs. With a string of workshops behind her for the likes of The Affordable Art Fair, Waltham Forest Council, The Women's Institute, Leytonstone Arts Trail and Laura Lea Designs, I was excited to get stuck in to our spookily themed few hours.
The workshop was chilled out and very relaxed - purposefully kept fairly small to ensure a more personal experience. If you haven't tried out paper cutting before, it's very therapeutic and you find yourself obsessed with completing your design. Ted, Sarah & Jessie joined me on our paper cutting venture and it was lovely to meet new people and chat about numerous things, all whilst producing something and having a cuppa. Stacey has drawn the designs already for you to cut from so there's no need to worry if you're not a natural at the drawing thing.
After hearing more about Stacey's latest ventures and future ambitions (watch this space) I came home feeling truly inspired and I'll certainly be taking the housemates back for an evening of crafts. It even works well as an activity with family as Ted and Sarah well and truly proved, so do think about it for a little birthday or christmas surprise! We were also given a little goody bag to take home with some extra gorgeous treats from the Two for Joy range. I'll be taking some friends back to meet Stacey first but on a typical event you can also letterpress with Russell, wood carve with Sophie or paint pottery with Siobhan.
Siobhan is actually the lady behind Make E11 (what a gal.) She has gathered this group of lovely local artists and designers to host craft nights and not only can you book these specific workshops, but you can also drop in on the night and bring you own art projects to work on and soak up the creative atmosphere.
For future details of dates with Stacey and Make E11 take a look here. The next event allows you to create a winter poinsettia plant complete with a little pot so perfect for anyone who can't keep a real plant alive. Stacey is also very kindly offering you guys 10% off the workshops. Just use the discount code "EJPiwantin" - go on now off you go!
Looking for some colour inspiration? Or just a good ol' music fan? If you make time for one thing this weekend take a trip to the A-Side B-Side gallery and marvel at Bryony Marie Fry's vibrant range of paintings and collages. As a musician herself, Bryony has used her own influences to capture the essence of icons such as The Beatles, David Bowie and Patti Smith as well as newer bands such as Temples and Peace.
As a huge fan of the Pop Art era it's fair to say it was love at first sight for me. As well as including some of my favourite ever musicians, I love the drip and splatter paint effects used in the paintings - each piece was completed whilst listening solely to the musician which directly inspired the colour combinations, techniques, and text collage. Bryony is also showing some of her own music artwork. The highlight - a painting painstakingly directly copied from one of her collages. Her detailed work is quite breathtaking and you can see the craft that has gone into it. Anyway take a look at a few snippets below and go and say hello to her. She'll be working from inside the studios all weekend so a great chance to see her in action.
Open 12 - 6pm until Monday 2nd November | A-side B-side Gallery, Hackney Downs Studios, Amhurst Terrace, E8 2BT