Over seven years experience working in arts education within printmaking studios providing instructional and technical expertise. I teach screen printing to classes of beginner, intermediate and advanced level students at degree level from a range of creative disciplines such as Graphic Design, Fine Art, Illustration and Fashion.
I have taught as Visiting Lecturer on BA Illustration, BA Interior Design and MA Multidisciplinary Printmaking courses at the University of The West of England (UWE). Topics have included Telling Stories with Colour, Colour Narratives, Found Fonts, Professional Practice and Kickstarter.
My private screen printing classes cater for people who haven't done art since school looking for a fun activity to do with friends right through to professional artists and designers seeking a day away from the computer working with traditional processes.
I have visited schools and colleges to provide creative workshops in screenprint, artist talks and lectures. Please get in touch for rates.
Four years ago on the bus coming home from work I had a strange thought: what would Van Gogh’s sunflowers look like as a pie chart?
Collecting 28 Van Gogh paintings found online, I extracted the colours using some simple code and created pie charts from each showing the five most prominent colours proportionally. I sent the resulting image into BoingBoing as a colour guessing game. The following day I was inundated with emails from people trying to guess which was which and asking to buy prints.
Through applying the same process to painting by Van Gogh’s friend Gauguin the palettes began to tell a story. As a young man Gauguin was painting in Tahiti and then later in life moved back to his native France, where he continued work until his death in 1909. Looking at this print, the change in palettes can be observed from the ‘tropical’ pinks, purples and oranges to the ‘temperate’ blues and greens.
My work as a print technician brought me in contact with Dr. Paul Laidler of The Centre for Fine Print Research. Having shown an interest in the impressionist pie chart print series he invited me to carry out a residency there with the aim of publishing a new series of limited edition prints.
Vogue magazine covers seemed the ideal barometer of shifting colour trends in popular culture. Within each print in my Vogue series the small bar charts show the five most prominent colours, proportionally, in an individual Vogue cover. Each column is a year starting with September and working down to October at the bottom. The columns run from 1981 on the right working across to 2011 on the left. Note the differences in overall national colour palettes.
The most striking narrative trend is the recent preference for paler colours, which is evident on all three prints and is caused by the adoption of full length cover shots that include more garment and background colour, over face shots. Seasonal trends are more subtle. The Paris edition is mostly published only ten times a year which shows up as duplicated rows in August and January. Gaps occur where covers are unavailable.
Aside from seasonality and longer term changes in colour trends, other, more quantitative data is evidenced. By looking at ‘Paris Vogue Covers 1981 - 2011’ we can see a sudden change in tones which occurs in late 1987. Colombe Pringle became the magazine's editor-in-chief in December 1987. The colours undergo a sudden change again in 1994 when Joan Juliet Buck, an American, was named Pringle's successor.
By this time it was clear the versatility of the idea warranted wider audience participation. With funding from REACT (Research and Enterprise in Arts and Creative Technology), who are based at Watershed Bristol’s awesome Pervasive Media Studio, I was able to gather a team of talented designers and programmers who all shared enthusiasm for the project. Further research with Dr. Laidler, some investment from Seedrs (via Webstart) and a Kickstarter campaign later we had a beta web app.
The current version of Colourstory, which we launched last month at the phenomenally successful Rooms Festival, offers digital and physical products that reflect the colour palettes unique to each person’s life by analysing their images. When colour is treated as a form of data, patterns emerge that are a unique signature of the source images.
As artwork, the process produces aesthetically pleasing results. If the viewer is tempted to delve deeper, the Colourstory offers fresh insight and reinterpretation of its subject matter, be it a wedding, a changing landscape or the first year of a child’s life.
Academic lead on the project Dr Paul Laidler of UWE says: “Over the past few years we have had heard ruminations that ‘print is dead,’ where the omnipresence of the digital age has begun to replace our relationship with the physical and tactile qualities attributed to printed matter. Colourstory is an excellent example of how creative practitioners are bridging the digital and physical divide, and perhaps more importantly how the project is extending our connection with print in the digital age.”
Art and Design
My limited edition digitally printed artworks. Contact for sales enquiries.
Over four years experience working at screen printing studios in Bristol at University of the West of England with master printer Dave Fortune and at Hamilton House.
Working closely with clients from a range of backgrounds such and art and design through to fashion and e-commerce, I have detailed knowledge of this traditional hands on process.
From pre-press file preparation to printing on a wide range of substrates such as fine art papers, textiles, wood, metal, glass and plastic I can provide the advice and hands on skills needed to bring your project to life, giving it the attention to detail it deserves.