Giant Print at Inked Print Festival – with Jemma Gunning

 

'The Forest' giant print on Somerset® Book 175gsm

At this year’s INKED Print Festival in the Forest of Dean, UK, members of the Bristol Print Collective came together to create an ambitious large-scale collaborative relief print that celebrated the forest as a rich, living environment. Led by printmaker Jemma Gunning alongside fellow collective members Victoria Willmott, Sonja Burniston, John Coe and Theo Wang, the project invited festival visitors to take part in carving a giant lino block inspired by the textures, wildlife and layered canopy of the surrounding woodland.

The result was a print shaped not only by the artists’ vision, but by the many hands that helped bring it to life over the course of the festival.

In this interview, Jemma shares how the collective planned and carved the large relief, the technical considerations involved in printing at such scale, and how collaboration and community played a central role in the project. The finished work, 'The Forest', was printed on Somerset® Book 175gsm White paper, which helped capture the depth of the carved marks and the atmosphere of the forest landscape.

Can you describe the concept or story behind the relief piece you created for INKED print festival?

For INKED Print Festival in the Forest of Dean, we wanted to create something that genuinely responded to place. The concept behind the relief print was to celebrate the forest as a living, layered environment. 

Collective members Jemma Gunning, Victoria Willmott, Sonja Burniston, John Coe and Theo Wang, designed a composition that wove together trees, foliage, mushrooms, forest floor textures and glimpses of wildlife. We were interested in capturing both the physical density of the forest and its quieter, more atmospheric qualities, the sense of immersion you feel when walking beneath the canopy.

Because the piece was collaborative, shared making was central to the project. The Forest of Dean is shaped by both nature and the people who live and work within it, so inviting festival visitors to carve the lino felt entirely fitting. The finished print includes marks made by many different hands, making it a true collective artwork. In that sense, the process directly reflected the subject, a landscape formed through connection, contribution and time.

What was your process in planning and carving such a large relief? Did you approach it differently from smaller prints?

We began by developing the design collectively, carefully considering how it would function at scale. With a giant lino, you have to think a little differently about composition, bold shapes and strong contrasts become much more important, as fine detail can get lost when viewed from a distance.

We mapped out the image so that it would feel cohesive but also allow multiple people to work on it simultaneously. Areas were designed with varying densities of mark-making so that contributors of all skill levels could participate meaningfully.

Carving at this scale is physically different from working on smaller prints. It requires stamina, rhythm and a certain flexibility in decision-making. You also must trust the process more, stepping back frequently to assess the overall image rather than focusing too closely on one section. It felt less like making a single print and more like building a landscape together. There’s also an element of letting go, as you can’t necessarily control what people do and what people carve! 

'The Forest' giant print on Somerset® Book 175gsm

Were there any specific technical challenges you encountered during the creation of this large-scale relief, and how did you overcome them?

Scale always brings technical challenges. Maintaining consistency across a large surface was key, ensuring the marks felt unified despite being carved by many different hands.

Another challenge was printing such a large block evenly. Achieving good ink coverage without losing the clarity of the carved lines required careful inking. Working with high-quality paper made a significant difference, it needed to be robust enough to handle the scale and pressure of the print while still capturing the subtle textures of the carved marks.

We managed these challenges by staying organised and working collaboratively throughout the process. During printing, we divided responsibilities to keep everything consistent, carefully controlling the inking, checking alignment and applying even pressure. That shared focus and clarity of roles helped us achieve a clean, cohesive result at such a large scale.

How does collaboration or community play into projects like this, especially in a festival environment?

Collaboration is at the heart of Bristol Print Collective, and a festival environment amplifies that spirit. Printmaking can sometimes feel solitary, but projects like this shift the focus to shared experience.

Inviting visitors to carve transformed the lino into a communal artwork. People who had never held a carving tool before became part of the finished piece. That sense of ownership and participation was incredibly powerful.

In a festival setting, there’s an openness and curiosity that encourages experimentation and connection. The artwork becomes more than an image, it becomes a record of an event, a moment in time, and the people who gathered there. For us, that felt completely aligned with the ethos of both the collective and the Forest of Dean itself: layered, generous and deeply rooted in place.

We’re incredibly grateful to St Cuthberts Mill for generously sponsoring the paper for this project. Working at such a large scale demands a paper that is both strong and sensitive, able to withstand the pressure of a giant relief print while still capturing the richness of carved marks and ink texture.

The quality of Somerset® paper truly elevated the final piece, allowing the depth and detail of the forest-inspired design to come through beautifully. Their support made it possible for us to realise the work at this scale, and we’re thrilled with the finished result.

Links

Bristol Print Collective

www.bristolprintcollective.com 

www.instagram.com/bristolprintcollective

bristolprintcollective.tumblr.com

Inked Print Festival

www.nicholagoff.com/inked-festival-of-print 

www.instagram.com/inkedprintfestival 

To find out more about our Somerset® papers range, visit our website. 

Artist Interview: Emma Tildesley on Botanical Art

 

Ambassador Emma Tildesley is a UK-based botanical artist, working primarily in coloured pencil and watercolour.

Surrounded by the rich diversity of plants and wildlife in rural Worcestershire, she draws daily inspiration from the natural world. Her signature style is defined by intricate detail and vibrant colour, capturing the true beauty of nature with gentle care and authenticity.

In addition to her personal practice, Emma is actively involved with the Society of Botanical Artists, recently taking on the role of Co-President. She also shares her passion for art with students around the world through her Patreon channel.

We asked Emma about her experience of botanical art and how Saunders Waterford® supports her work.

Tree Peony by Emma Tildesley
on Saunders Waterford

Botanical art demands both scientific accuracy and artistic sensitivity. How did you first come to botanical art, and what continues to draw you to this discipline today?

Creativity has always been a part of my life, though botanical art came much later in my journey. I previously worked in corporate settings, which left little time to deeply explore different art styles and mediums.

2018 marked a turning point, when I began working with botanical subjects and learning the techniques of watercolour and coloured pencil. It was a much-needed change, and it has since blossomed into completing the SBA Distance Learning Diploma Course and opening doors to many other exciting opportunities.

Capturing the beauty of plants is a delicate process that relies on planning, careful study, and a keen eye for small details. I’m fascinated not only by their aesthetic appeal but also by their scientific behaviours. From blooming roses to fungi, each specimen has its own unique character. My goal is to portray my subjects in such detail that their essence lives on through my art for years to come.

Flower Arrangement by Emma Tildesley
on Saunders Waterford

When starting a new botanical painting, what qualities are you looking for in a paper before you even make the first mark?

Before I make a single mark, I’m looking for a paper that feels dependable and controlled with the brush. I want a surface that can hold water evenly, has enough strength to tolerate multiple layers, and offers a subtle texture that supports fine detail without overshadowing it. For botanical work, the paper needs to be extremely dependable so that I can focus entirely on refining my technique and preserving accuracy.

How does Saunders Waterford® support the level of detail and control required when working with fine watercolour brushes and coloured pencils?

Saunders Waterford® gives me a remarkable level of control. The surface allows very fine brush points to stay crisp, which is essential for veins, edges and delicate tonal shifts. When I use coloured pencil, the paper grips just enough to build colour gradually without feeling scratchy, allowing for precise marks and soft transitions that are essential in botanical illustration.

Clematis by Emma Tildesley
on Saunders Waterford

You often combine watercolour with pencil. How does Saunders Waterford® perform when switching between wet media and dry techniques?

That versatility is one of the reasons I trust it and use the paper in wet and dry mediums. After multiple watercolour washes, the paper still feels receptive to dry media and there is no breakdown of the surface or resistance to pencil. I can move back and forth between wet and dry techniques seamlessly, refining details and adjusting colour without worrying about damaging the paper.

What reassurance does a 100% cotton, archival paper like Saunders Waterford® give you as an artist thinking about the future life of your work?

Helianthus annus By Emma Tildesley
on Saunders Waterford

Using an acid-free, archival paper gives me confidence that the many hours invested in an art piece are protected. I enjoy reflecting on my earlier works and visualising how my approach has changed over time. Saunders Waterford® paper allows me to do this without worry.

Also, botanical paintings are often collected, exhibited and passed on, and it matters to me that the work will remain in excellent quality for years to come. There are many wonderful historical pieces we have the pleasure of viewing today that could have been lost if painted on a medium that deteriorated over time. 

Knowing the paper is made to last allows me to fully invest in my creativity, with the reassurance that the artwork has the best possible foundation for a long life.

Immature Blueberries by Emma Tildesley
on Saunders Waterford

Links

See more of Emma’s botanical work, or sign up for her classes by visiting her links:

emmatildesley.com

www.patreon.com/EmmaTildesley 

www.instagram.com/emmatildesleybotanicalart 

www.facebook.com/emmatildesleyart/

www.youtube.com/c/EmmaTildesley 

www.tiktok.com/@emmatildesleyart 

To learn more about our Saunders Waterford® range, visit our website.

Artist Interview - Alan Woollett, drawing on Saunders Waterford® Hot Pressed

 

Alan Woollett is a leading figure in contemporary hyperrealism, known for his exquisitely detailed coloured pencil drawings that blur the line between drawing and photography. His work demonstrates a deep mastery of observation, tonal control, and patience, resulting in images that feel both precise and quietly powerful. Through his art and teaching, Woollett has become widely respected for his clear, disciplined approach to realistic drawing.

In this interview, we speak with Alan about his drawing process and his long-standing preference for Saunders Waterford® Hot Pressed paper. He shares why surface quality matters so much in hyper realistic work and how this particular paper supports fine detail, smooth layering, and subtle value transitions essential to his practice.

'Snowy Owl' by Alan Woollett
on Saunders Waterford HP

What first drew you to wildlife and bird subjects, and why do they continue to captivate you?

I have been interested in birds and wildlife since childhood and would spend hours poring over picture books of animals.

I think the interest in birds began at that time too and my mother was an avid feeder of the birds in our garden. This gave me real access to a world of amazing creatures just outside the kitchen window. A world that still fascinates me today.

It’s wonderful to be able to share my passion for birds and other wildlife through my art and hopefully make others aware of the beauty of the natural world.

How do patience and observation play a role in your creative practice?

Working in coloured pencils is not a medium for people in a hurry! It can be a precise and slow process to achieve a satisfactory result - for me accurate observation is the key. Many of my subjects I have been lucky enough to observe in their natural habitats; aspects of behaviour, movement and presence are things I strive to convey in my drawings.

I generally start from a selection of my photos and thumbnail sketches which I will juggle around until I hopefully arrive at a pleasing composition.

'Sacred Ibis' by Alan Woollett on Saunders Waterford HP

Could you walk us through your technique for building depth and form in your wildlife drawings?

I generally start with an accurate line drawing on Saunders Waterford paper which I will then build up using light layer of colour in the same style as watercolour artists do.

Background subjects are usually drawn using a Grisaille method building up form using a single colour, usually a warm or cold grey.

Once that’s complete, I will then build up the colour and detail.

'Velvet Stag with hairdressing crew' by Alan Woollett 
on Saunders Waterford

You’ve shared with us that Saunders Waterford® Hot Pressed is excellent for drawing on. What are the qualities of the paper that you enjoy?

I find Saunders Waterford Hot Pressed paper suits my style of drawing with its smooth surface which has the right amount of tooth to allow good coverage and also, durable enough to allow me to add many layers and fine detail as well.

It’s an excellent quality paper that always allows me to work to the best of my abilities whilst delivering the highest quality.

'Dad's Tools' by Alan Woollett on Saunders Waterford HP

Links 

To see more of Alan Woollett's work, visit his links:

alanwoollettart.com  

www.facebook.com/alanwoollettbirdart/

www.instagram.com/alanwoollettart/ 

To learn more about our Saunders Waterford® range, visit our website.

⁠

Why Watercolour Paper Makes a Meaningful Gift

 

At first glance, giving paper might seem simple, but to a watercolour artist, it’s one of the most thoughtful gifts you can give. Fine watercolour paper is the foundation of every painting; a trusted companion that supports creativity, experimentation, and expression. Artists can never have too much of it, and the quality of the sheet beneath the brush can transform the entire painting experience. Beautiful, practical, and enduring, it’s a gift that shows a genuine understanding of an artist’s craft.

Looking for an experienced artist or to inspire a friend?

Paper is a valuable commodity for both experienced artists, or as a necessary inspiration for a friend.
 
• Artists can never have enough: Paper is a fundamental and consumable supply that artists use frequently, making it a consistently useful gift.

• Impacts art quality: The quality of watercolour paper directly affects how colours appear and blend, and without a good surface, the painting process can be frustrating and lead to poor results.

• A consumable they'll use: Unlike paints that can last a long time, paper is a material that gets used up, ensuring the gift will be put to good use.

• Can be a luxury item: High-quality paper, especially 100% cotton paper, can be expensive. Giving it as a gift allows an artist to use a superior material they might not buy for themselves. 
If you don’t know the recipient's favourites, opting for a CP (NOT) surface is a safe bet. This surface is suitable for a wide range of artworks. And a 300gsm (140lb) weight is a practical weight for artists to use.

At St Cuthberts Mill, we only make high quality watercolour papers, so everything in our range will help assist a watercolourist in their artistic journey.

Bockingford® is an excellent choice, offering a great all-round painting performance at a more economical price. Not to be confused with amateur papers, this sheet gives all the high performance of a MOULD MADE paper with archival properties and a great painting performance. This paper contains no animal ingredients, so a great choice for those who avoid animal products.

This small pad is 260x180mm (10x7”) with 12 sheets inside. A nice starter to experiment with using a high quality paper.

Saunders Waterford® is a gold standard for a high-quality 100% cotton watercolour paper.  Its painting performance is second to none, and will guarantee absolute pleasure to those painting with it. A very strong paper, that will withstand very rough treatment. A true professional grade paper made with MOULD MADE technology to an archival standard.

This is a 230x310mm (9x12”) pad with 12 sheets inside. A great introduction to a professional level watercolour paper, where they can experience the sumptuous joy of watching pigments blend beautifully on the sheet.

For something a little different, Millford is a great choice for experimentation. It is usual, as it is designed to stay in its wettest state for longer, allowing artists more time to manipulate pigments in the wash. Again, a paper created with MOULD MADE technology to archival standards. It also contains no animal ingredients, so attractive to those wishing to avoid animal products.
 
This is a 310x230mm (12x9”) block with 20 sheets. It is glued on all 4 edges to aid the paper to dry flat. A great choice for someone who loves experimenting.

Watercolour paper is more than just a thoughtful gift, it’s an invitation to create. Whether it sparks a beginner’s first brushstroke or supports the mastery of an experienced artist, high-quality paper gives confidence, control and joy in every mark made. At St Cuthberts Mill, each sheet is crafted to bring out the best in the artist and their materials. When you give the gift of watercolour paper, you’re not just offering supplies; you’re giving someone the chance to explore and express their creativity.

Artist Interview: William Sim

 

As fans of William Sim’s watercolour paintings of imaginary houses that transform the everyday into the fantastical, we were keen to ask him what inspires his work and about his use of Bockingford® paper.

William, the creator of Merchant of Happiness, lives in Singapore and is a best-selling author of titles such as ‘Colouring the Lion City’ and Botanical Singapore’, which merge his love of illustration, storytelling and the natural world. 

Ion Orchard by William Sim
on Bockingford

Please tell us about your artistic journey and how you developed your distinctive style in watercolour?

I have been working with watercolour as my main medium for over 30 years. Through years of practice, I discovered that building up transparent layers of colour glazing one over another creates a “fresh and clean” effect that has become characteristic of my work. This layered approach perfectly suits the way I like to express myself in watercolour.

Your illustrations often feature whimsical, imaginative scenes. What inspires the subject matter of your work?

Cats, nature, and my love of collecting toys are constant sources of inspiration. I enjoy creating different types of houses to hold the things that are dear to me. The character of the Watermelon Boy is a metaphor for myself, he inhabits these little worlds I build. Many viewers tell me they feel a sense of warmth and cosiness as they explore the details in my paintings.

Moss house by William Sim 
on Bockingford

You’ve been known to use Bockingford® paper for your work. What qualities of Bockingford® make it your preferred choice for watercolour?

Bockingford®  paper is ideal for my “layer on layer” technique. Its whiteness enhances the colours beautifully, making each layer appear crisp and vibrant. It holds washes well and allows me to achieve the clarity and freshness I aim for in my work.

Travel cart by William Sim
on Bockingford

What advice would you give to artists who are just beginning to explore watercolour, particularly in choosing paper?

Choosing the right paper is essential for maintaining consistency and quality. Once you become familiar with how your paper responds to water and pigment, you can work more confidently and avoid unwanted surprises. Good paper supports your technique, it’s the foundation of every successful painting.

LINKS

To see more of William Sim’s work visit:
Website merchantofhappiness.com
Instagram www.instagram.com/merchantofhappiness

To learn more about our Bockingford® range please visit our website.

Images reproduced with permission from William Sim. Work copyrighted and not to be replicated in any form.

Inktober Inspiration: Creating with Watercolour Paper

 

Rhinoceros by Kim Whitby,
ink on Saunders Waterford 

Every October, artists around the globe take on the creative challenge of Inktober - an initiative founded by Jake Parker that encourages daily ink drawing throughout the month.

What began as a personal project has grown into an international celebration of creativity, discipline, and artistic expression, filling Instagram feeds and sketchbooks with an astonishing variety of artwork. 

Making the most of Inktober

One of the joys of Inktober is the official prompt list, released each year as inspiration for daily drawings. From single words to evocative themes, these prompts spark imagination and encourage artists to explore new directions. If you’re taking part this October, we encourage you to:

Ink drawing with watercolour
on Saunders Waterford
by Anne @mapetiteusinebricole

Follow the prompts: They’re a wonderful way to stretch your creativity and break out of your comfort zone.

Set a rhythm: Even if you can’t complete all 31 days, a regular drawing habit, whether daily or weekly, helps build momentum.

Experiment with tools: Try dip pens, fountain pens, or fine liner pens - revealing new textures and expressive qualities.

Share your journey: Part of the magic of Inktober is the community. Post your work on Instagram or other platforms using the #Inktober hashtag.

Combine ink with washes: For those who enjoy a touch of colour, Saunders Waterford® and Bockingford®’s surface makes it ideal for mixing fine ink lines with delicate watercolour washes.

Ink drawing on Saunders
Waterford by Lois Davidson

Inktober is not just about producing art every day; it’s about embracing the joy of mark-making, pushing personal boundaries, and finding new ways to tell stories through ink. We’re proud that Saunders Waterford is a trusted companion for so many on that journey.

At St Cuthberts Mill, we can’t help but feel a special connection to Inktober. Our watercolour papers have always been about more than just surface and texture, they’re about supporting an artist’s vision from the first stroke to the final detail. And when it comes to ink, many artists choose one of our watercolour papers.

Ink drawing on Bockingford
by Marek Badzynski

All of St Cuthberts Mill’s papers have a dimensional stability that enables them to stay flatter when painted, due to their Mould Made papermaking technology. This makes them so much easier to use when applying lots of lovely ink to the surface. 

Our watercolour papers are equally loved by illustrators and ink artists with both Bockingford® and Saunders Waterford® known for their ability to hold fine lines, rich blacks, and expressive washes. The subtle texture of these papers add depth and character to drawings, while its strength and durability means it can withstand hard treatment. 

Marilyn Monroe by Carne Griffith,
ink and tea on Bockingford

INKTOBER LINKS

inktober.com
www.instagram.com/inktober/

ARTIST LINKS

Kim Whitby
www.instagram.com/kimwhitbyart/

Anne @mapetiteusinebricole
https://www.instagram.com/mapetiteusinebricole/

Lois Davidson 
www.instagram.com/loisdavidsonart/

Marek Badzynski
www.instagram.com/marekbad64/

The Giggling Goose, Ambleside
 by Andrew J Weller 
on Bockingford 

Carne Griffiths
https://www.instagram.com/carnegriff/

Andrew J Weller
https://www.instagram.com/andrewjweller/

Visit our website to learn more about Bockingford® and Saunders Waterford®.

Screenprinting: Interview with Make-Ready

 

'Mai (Afterlife)' by Elizabeth Peyton, 2023.
Aimée working on a 15 colour silkscreen
 on Somerset paper for Elizabeth Peyton in
collaboration with The National Portrait
 Gallery, David Zwirner, Avant Arte, and Avant
Arte. One of two original silkscreen print
editions produced to raise funds for the
 refurbishment of the National Portrait Gallery.

The world’s largest silkscreen print studio, Make-Ready, based in London, is dedicated to fine art, working at an unparalleled scale with a focused team of printmakers. Make-Ready collaborates with contemporary artists including Ai Weiwei, Anish Kapoor, Grayson Perry, George Condo, and Elizabeth Peyton, to produce outstanding silkscreen editions on paper. 

Most works are published via Avant Arte or institutions like the Tate and Studio Voltaire, showcasing Make‑Ready’s role within major contemporary art networks.

Silk screen printing,  also known as screen printing, is a printing technique where ink is pushed through a fine mesh screen (originally silk) onto a surface - like paper, fabric, or wood - using a stencil to block out areas where the ink shouldn't go. It allows for bold, vibrant layers of colour and is widely used in fine art, textiles, commercial printing and industrial component manufacturing.

Make-Ready’s Founder + Creative & Technical Director, Thomas Murphy, tells us about their screen printing and why St Cuthberts Mill Somerset printmaking paper is their paper of choice.

'Portrait and Head' by George Condo.
33 colour silkscreen print on Somerset paper
 for George Condo. 1 of a series of 3 complex
silkscreen prints produced for the artist,
released by Avant Arte in support of
Dia Foundation.
Image courtesy of Avant Arte.

Please tell us about Make-Ready’s journey, and your ethos of combining the creativity and history of silkscreen printing with modern innovation?

Make-Ready started in 2016 in my garage in South East London. A year later, in June 2017, I moved into a small unit in Kentish Town, and more recently we’ve scaled up to where we are now – a 25,000 sq ft studio in Tottenham.

Today, we’re the largest silkscreen printmaker dedicated to fine art in the world, working in close creative partnership with artists.

The name Make-Ready refers to the process of making ready a printing press, it felt like a right fit as it was very a matter-of-fact, and the graphic designer in me found the word-form pleasing.

From the very beginning, I wanted to approach fine art screen printing in a fundamentally different way and grow our product from a solid foundation of understanding of the screen printing process.

'Frederick Douglass, 1850' by Elizabeth Peyton 2023.
29 colour silkscreen on Somerset paper for artist,
Elizabeth Peyton. This stunning silkscreen print
captures every detail of the original and interprets
it into an edition of a truly unique print. Released
by The National Portrait Gallery, David Zwirner
 and Avant Arte. 

Your studio specialises in combining silkscreen with digital printing and unique finishes like varnish, metallic dust, or glitter. How do you integrate these techniques - especially silkscreen over digital pigment prints? 

Silkscreen printing is still the best way to apply a surface coating to a substrate. When you think of it in these terms you can be free to utilise the process to coat any surface. It’s crucial to remember that this is an industrial process that we usurp to produce art with.

I would also say the trick is in the artworking and prep, you’ve got to have silkscreen overprints work in harmony with the image otherwise it can feel a bit stuck on.

Naturally, there are lots of trade secrets in terms of how we get certain finishes with things like glitter and sparkles, but the key is just try everything and see what work, that creative vision is hard to replicate.

When working with high-profile artists and galleries, how do you approach the consultation, proofing, registration, and edition-sizing process? How many drafts or test prints are typically involved before the final run?

'Magical Thinking' by Grayson Perry, 2024.
Silkscreen print for Grayson Perry and
Contemporary Art Society on Somerset
 Tub Sized (Rough) Textured MR paper,a
 specially made paper by St Cuthberts Mill. 

Make-Ready has grown very organically over the years and today, the studio is unparalleled in its ability to deliver exceptional prints at scale for artists and museums as we continue on our joint mission with Avant Arte to make art radically more accessible to a new generation of collectors.

We’ve created screen prints for over 200 artists, including George Condo, Ai Weiwei, Elizabeth Peyton, Sir Anish Kapoor, Mickalene Thomas, Peter Halley, Grayson Perry, Michaela Yearwood-Dan, Ed Ruscha and Harland Miller.

We see our role as having strong opinions based on our years of experience and being a trusted partner in translating artists' work into a printed reality. We’re here to support our artists and provide them with our expertise to help them create the best prints of their work. I often like to think of us as the record producers to their music.

We often have artists visiting Make-Ready, and it’s a truly collaborative process discussing the project, our recommendations on how to approach it and what printing method will be the most suitable to bring the artwork to life. 

Elizabeth inspecting and finishing a silkscreen
 for Anish Kapoor on Somerset paper.
 

You use St Cuthberts Mill’s Somerset paper for silkscreen prints. Can you share what advantages you find in this paper for screenprinting?

The dimensional stability of the Tub Sized is a huge benefit to us. Especially when we coat the paper with many layers of ink. The finish and quality of the paper has also become a core part of our product, it’s in the DNA of our prints.

After visiting the mill this year in Wells, it compounded our love for the paper. I always say to people that ‘the paper is a work of art before it becomes a work of art’.

What are the benefits to using Somerset paper when working with large editions?

There is an incredible uniformity to using Somerset. From physically large sheets that are perfectly form and even to the piece of mind we get when working with large numbers of prints, knowing that the paper demonstrates high levels of consistency across the run.

To learn more about Make-Ready visit their links: 

Website: www.make-ready.co
Instagram: https://www.instagram.com/make__ready

For details about our Somerset paper range please visit our website.

Why are we called St Cuthberts Mill?

 

Reverend Gill Sakakini
at St Cuthbert's Church

Reverend Gill Sakakini is a priest and artist who works in a pioneering role in the Diocese of Bath and Wells. She creatively encourages spiritual exploration in the area local to St Cuthberts Mill, and leads art workshops and community events. Earlier this year Gill was an Artist in Residence on Holy Island /Lindisfarne where she brought full circle the shared connections between our local St Cuthbert’s Church, St Cuthbert’s School, and St Cuthberts Mill.

To give some background, St Cuthberts Mill is located just outside Wells in the beautiful county of Somerset. The mill resides in the church parish of St Cuthbert’s Church, a medieval church located on St Cuthbert’s Street, Wells, that was first built in the 13th century. Legend tells an old mill owner was out walking when he heard the church bells ringing from St Cuthbert’s Church and decided to name the mill after the local church.

Gill’s residency saw her travel to the very North East of England visiting Holy Island /Lindisfarne. Holy Island is where the man we know of as Saint Cuthbert spent most of his life as both a hermit and a bishop.

We interviewed Gill about the residency, and the resulting work exhibited at St Cuthbert’s Church, in association with collaborative work with local primary children from St Cuthbert’s School and St Aldhelm’s School.

Holy Island is not local to us in Somerset and your residency started with a long trek. Can you tell us more about the journey getting to the residency? 

Yes, I decided to make a pilgrimage to my destination by walking the St Cuthbert’s Way which began at the Abbey in the Scottish border town of Melrose and wove through others such as Jedburgh and Kirk Yetholm. I walked in the company of good friends and we paused to say prayers and read writings from the Celtic saints along the way. We followed some of the routes Saint Cuthbert would have walked as he spread the good news about Jesus Christ. The final part of the 62 mile pilgrimage path was over the sands at low tide as Holy Island may only be reached when the tide is out. While there is a causeway for vehicles, the pilgrim path follows a series of guiding poles and there is one tall place of escape should someone have misjudged the tide times! We crossed at 5.30am after about an hour and a half and were welcomed by the very eerie and ghostly sound of seals! 

How did you work with the local children in the preparation for the residency?

I worked with the staff of St Cuthbert’s Junior School in Wells, in particular with the RE lead teacher. Together we created a half term’s worth of interdisciplinary curriculum across Art and RE which is now available for other schools nationally. Each week all the children explored aspects of Celtic Christianity through art. The children responded to the famous Lindisfarne Gospels which are one of the most well preserved examples of an illuminated manuscript of this kind —  now in the British Library. Each child used a stencil to create the first letter of their name which they decorated in ink and crayons to 'illumine' something about themselves. In another lesson the children encountered a coracle; the small boat used by the saints to travel. The children made their own designs and printed them, some on tissue paper, evoking the fragility of traveling that depended on the wind. They learned how Saint Cuthbert and others depended also on the wind of the Holy Spirit to guide their journeys.

What were your experiences at Holy Island?

On Holy Island I was based at the St Cuthbert’s Centre (the island’s church). I stayed in a bothy on the premises which is available for hire. St Cuthbert’s Centre was a former Presbyterian Church built in the late 1800s largely, as a place of worship for the fishing families. The roof structure itself resembles a boat upside down and this was significant inspiration for the work I produced. The church became a United Reformed Church subsequently, and was re-ordered to create a light, bright venue both for weekly prayer and art making and exhibitions. On a daily basis, pilgrims, tourists, island inhabitants, and visitors flowed through the doors. I led a collaborative piece of art that all were welcome to participate in. My work was focussed on this community and I made my own art which responded to Holy Island; its people, geography, spirituality, and connections with Saint Cuthbert in Wells. I spent part of each day out and about sketching, joining in the many opportunities for prayer on the island, and I returned to focus my attention on making folded books, which was the theme I chose for deepening my arts practice.

What was it like on Holy Island?

The place has a distinctive character and people come to visit with an expectation that they may sense something holy, numinous, or perhaps perceive they mystery of what is known as a ‘thin'  or 'liminal' place where the veil between this world and the next is most transparent. Certainly, it was wild and windy, yet deeply peaceful, and the horizon pulled my gaze. There were ancient stones and ruins and sacred places where many prayers had been offered, some in trepidation of Viking marauders in the 700s. The indigenous population is around 150 and many who grew up on the island return in later years. I sensed a bit of unease between the residents and the many, many visitors (up to 4,000 a day at the height of summer on an island that is only 3 miles long). Holy Island was beautiful, the sea a deep blue, the wildlife extraordinary and the sacred rhythms were tangible.

Can you tell us about the work you created at Holy Island?

As I mentioned above, the intention was to learn more about book making and the role of a non -traditional book. I was grateful for the opportunity to consolidate some of my prior learning and have unlimited time to try out, re-work, and begin again if necessary. As part of this, I sought to include the art created by the school children and that of people in other drawing groups in Shepton Mallet (a small town close to Wells) and make something new. I arrived with few plans other than these, as I wanted to be open to the environment in which I found myself. I completed a range of books and was pleased with the outcomes.

I enjoyed making new art from existing art, and I was drawn to the upturned boats that had been made into small dwellings, shops or storage spaces from the old fishing boats. This spoke to me of the excitement of re-imagining something for a new purpose, and is often a feature of the art I make. It reminded me of resurrection themes; renewing and remaking from what’s been discarded and left behind.

You’ve specialised in making artist books for the exhibition, how did you get on with the paper you chose for the project?

I really appreciated using the paper from St Cuthberts Mill, both the Somerset and the Bockingford, which were ideal, respectively, for the watercolour inks I used and for printmaking. It was a joy to be able to offer such good quality paper to the children in school, as they gained an appreciation of quality and how the inks settled into the paper and didn’t buckle. The paper seemed to know what I was about to do with it - in a curious way! I enjoyed working with it and feeling the natural folding grain. I was able to let all the visitors know that the communal piece was on very special paper connected in its special way with Saint Cuthbert via St Cuthberts Mill.

Did you unlock the mystery of why there’s a church in Somerset dedicated to a northern saint?

As I set about finding a connection as part of the early preparation for the residency. I needed a story and an answer to this question, as it seemed impossible that Saint Cuthbert had physically travelled this far south in the 600s. After some research a connection emerged and is documented in the Chained Library in Wells Cathedral. When King Alfred (849-899) was hiding in battle in the Somerset marshes near Wells, allegedly disguised as a pilgrim, fearful and hungry, Saint Cuthbert appeared to him in a vision and advised and comforted him. As was common in history, Christians often gathered around a cult of a saint who they thought embodied their aspirational spirituality, so it may have been that the life and faith of Saint Cuthbert inspired them, and therefore the dedication to this saint was given to the Church in Wells.

Can you tell us more about who Saint Cuthbert was?

Yes, Saint Cuthbert’s dates were 634-687AD and he was born in Melrose (where the pilgrimage began). Saint Cuthbert was known as a man of great faith whose life was marked by prayer, often for long hours in the rising tide during the night! One story tells how the otters came to warm him in the morning. He was known for his compassion for all creatures and helped to preserve wildlife, particularly the Eider Duck, which is affectionately known as the Cuddy duck (Cuthbert’s nickname and the title of the residency). The children at St Aldhelm’s School in (the local village of) Doulting created lots of Cuddy Ducks as part of the residency, which have been made into postcards. Cuthbert was responsible for the spread of Christianity in the North of England and many stories document visions, miracles, and encounters with spiritual seekers.  Even after his death many miracles were reported at the site of his shrine in Durham Cathedral. He was made a saint in 698, 11 years after his death, when amazingly his body hadn’t perished in its coffin after all those years.

Your exhibition was called ‘Cuddy Connection’, can you tell us the inspiration of the show’s name?

I mentioned that Saint Cuthbert’s nickname was 'Cuddy' but it was also mine at school too, based on my name - Cudmore. I sensed an affinity with Saint Cuthbert when I discovered this, and it was yet another link between places, faith and people.

Footnote - about the St Cuthberts cross:

The emblem of St Cuthberts Mill is inspired by the cross found in Saint Cuthbert’s tomb in Durham Cathedral. The Anglo- Saxon relic is a ‘pectoral’ (worn on the chest) cross found in the saint’s coffin when opened 1827. It is thought the cross was either buried with him in 687 or placed in his coffin in 698, when Saint Cuthbert’s sainthood was recognised. The original cross is made of gold and set with garnet and small pieces of shell. In additional, the St Cuthberts Mill symbol is also decorated with lions, referencing the stone lion statues on the mill roof that oversee the mill with their watchful gaze. 

Saint Cuthbert's Pectoral Cross
Photo credit: Dean and Chapter of Durham Cathedral

To learn more about artist Revd Gill Sakatini
www.gillsakakini.com/

About St Cuthbert’s Church, Wells
www.nationalchurchestrust.org/church/st-cuthbert-wells

 

For more about Saint Cuthbert and Holy Island / Lindisfarne
www.lindisfarne.org.uk/general/cuthbert1.htm

 

More about St Cuthbert’s Centre, Holy Island / Lindisfarne

https://www.holyisland-stcuthbert.org/

 

Discover about ‘The treasures of Saint Cuthbert’
www.durhamcathedral.co.uk/explore/treasures-collections/saint-cuthbert-relics