“Ante takes the idea of art and scrapes off the dogma, the commercialism and the elitism. Ante explores and celebrates the use of art and print as an expression of free will and a megaphone for those whose collective voices struggle to be heard.
Ante is Shipley’s May Day celebration, taking place at the Kirkgate Centre on the 5-6th May. Saturday starts with a small press, zine and print fair followed by a benefit gig. Sunday is an ante-Art factory – dress for mess and produce your own £25million masterpiece. Ante-exhibition all weekend.”
Lots of great things happening with this event, and did we mention we printed the flyers on the left?
If you’ve already had one of these in the post then you’ll know what it’s all about, if not — here’s a sneak peek at the invites we’ve printed for the opening evening of the Leeds Print Festival on 27th January.
032 Red & Black on 700gsm GF Smith Colorplan.
Picture robbed from @LPF2012, thanks.
Locked up in a galley for proofing and then printed on 600gsm Cranes Lettra Flourescent White.
If you’re in Bradford and up near the University, stop by at Gallery II because not only can you witness the amazing “Memory Theatre” exhibition (which we did some design & printing for, a sneak peak left), but you can also BUY these postcards. Imagine that.
Nice post about the business cards we printed for Dove Street Pottery. Thanks David!
http://thehopefulpotter.wordpress.com/
Photographs of the cards will appear in our works section soon.
We’re pleased to announce we’ll be producing a load of awesome letterpress work for the 2012 Leeds Print Festival. Watch out for updates.
Leeds Print Festival:
Celebrating traditional and contemporary print process through type and image.
26th to 31st January 2012
Leeds Gallery
York Street, Leeds LS9 8AG
The one-week Leeds Print Festival 2012 at Leeds Gallery has a programme of exhibitions, lectures, workshops, open studios and performances covering all print disciplines. This unique collection of events will deliver a dose of inspiration whilst drawing attention to print and its importance in contemporary design culture.
Very strange to be doing a eulogy, but it worked out really well!
Morris ‘Golden’ was designed by the furniture designer, printer, and active socialist William Morris in 1891. At the time he was working towards setting up the Kelmscott Press. For 8 years he had been involved in the writing and printing of socialist newsletters, something he could only afford to do because of his day job designing and selling home furnishings to the wealthy.
Morris knew that he was only able to create art because his business was successful, and struggled to right his conscience against this. Millions were too exhausted by their own day jobs to have anything left to create or gain pleasure from art. “What business have we all with art unless all can share it?”, he wrote. His aim in setting up the Kelmscott Press was to produce beautiful books that could be afforded by the many.
The press had a lengthy setting up period. Morris was exacting about the type of paper he wanted to use, the inks, and the typeface. During this period he spent a year learning to print, make paper, and bind books. A second-hand Albion was installed on the premises, and Morris set about designing a unique typeface.
He collected 15th century ornamented letters (‘incunabula’), to study, and worked from enlarged photographs of typeface from printers working in 15th Century Venice: “…as to the fifteenth century books, I had noticed that they were always beautiful by force of the mere typography,” he wrote.
He was keen that the typeface should be solid and square, and that letters such as the n and u, and p and d, should not be mere inversions of one another – they should have details that make them distinct. He worked on the project for a year, and took to walking around with a matchbook in his pocket containing specimens of the latest letters.
The typeface, which was in 14 point, was intended for printing the Kelmscott Press’ first book, a reprint of Caxton’s Golden Legend. Ultimately, though, it was first used to print Morris’ own story, The Legend of the Glittering Plain. When push came to shove, they didn’t have the right size of paper to print the Golden Legend. Morris had originally meant to only print 20 copies for friends, but public interest in the press had grown so much that he ended up printing 200, and they sold out within a few days.
Things printed using 8 point recasting of Morris Golden at The Print Project:
Inner text on “A Stranger Came” — a 5-page short story chapbook.
Available to buy: here
