Wednesday, 22 May 2019
Tuesday, 14 May 2019
We are giving away x5 Saunders Waterford blocks!
All you have to do to enter is email: email@example.com stating ‘Giveaway’ in the header. Please make sure to include your full name and address. (Entries - over 18’s only please) Winner's will be selected at random.
The 5 lucky winners of this giveaway will each receive one of the following: Saunders Waterford Rough White block (20 sheets), 300gsm(140lb), 260mm x 180mm (10’’X7’’). (RRP £20.64)
Deadline to enter: Wednesday 22nd May 2019, at 11.00am.
The winners will be contacted via email after this date.
This promotion is in no way sponsored, endorsed or administered by, or associated with, Facebook, Twitter or Instagram. You are providing your information to St Cuthberts Mill Ltd and not to Facebook, Twitter or Instagram.
**Please note that this giveaway is not open to employees, and immediate family members of employees of St Cuthberts Mill Ltd.
on May 14, 2019
Tuesday, 23 April 2019
Following the re-launch of our Somerset Velvet Black paper, we wanted to share a few images of the black being made on our mould machine at St Cuthberts Mill, Wells.
“I would like to express my delight that black is back.” Dr Carinna Parraman (Director Centre for Fine Print Research, CFPR, University of the West of England, Bristol.)
Tuesday, 19 March 2019
Big Skies, Land and Sea
4 April - 4 May 2019
|'Pale Moon's Quiet' - Watercolour on Saunders Waterford paper (104 x 104 cm)|
Lucy Marks is a contemporary landscape painter working in oil and watercolour. Her dynamic compositions communicate the changing energy and movement within the landscape. Her unique, instinctive approach captures a feeling of place through her works, creating a sensory and emotive experience which encourages an exploration of memories and subliminal perceptions of the landscape. Lucy’s works are recognisable by their highly textural nature, generated through a combination of painterly mark-making, layering and the application of found materials directly onto the canvas. She uses Watercolour in innovative and bold ways. Lucy holds an MA in Fine Art from Brighton University and has participated in numerous group shows. She has also won two awards through The Artist and Leisure Painter Open Exhibition, Calverton (2017, 2018).
|'Where the Wild Things Run Free' - Watercolour on Saunders Waterford paper (28x28cm)|
Her exhibition: ‘Big Skies, Land and Sea’ will be showing at the Piers Feetham Gallery, Fulham, runs 4th April - 4th May
Tuesday, 12 February 2019
BLACK IS BACK!
Great news, Somerset® Black is back!
After an absence of nearly five years, Somerset® Velvet Black is being relaunched. Made with improved black pigments, Somerset Black has a deep warm shade combined with a soft velvet surface. The internal structure of the sheet exhibits even darker fibres, which gives dramatic results, especially when laser etched. It's made to archival standards from 100% cotton, and is fade resistant to the Blue Wool scale 6+.
**Currently available in loose sheets. Weight 280gsm, Sizes 76x112cm (4 deckle edges) and 76x56cm (3 deckle edges.)
Contact our UK distributors, RK Burt & Co, or, John Purcell Paper for further information.
John Purcell Paper
Tel: 020 7737 5199
Fax: 020 7737 6765
Wednesday, 2 January 2019
Thursday, 20 December 2018
Monday, 24 September 2018
The Print Show
The Print Show is home to independent print, design and marketing. St Cuthberts Mill were delighted to join John Purcell Paper in the Printmaster Class area, at this years show. We took a huge supply of our printmaking paper, Somerset, to showcase at the event. The images below were created by a number of amazing letterpress artists, including Kluge, New North Press, St Bride’s Foundation, The Letterpress Collective and Signature Bindings. The crew from Jealous Gallery also loaned John Purcell some fabulous prints too. Thank you to all involved!
Monday, 10 September 2018
Wednesday, 5 September 2018
6 / 7 / 8 Sept 2018
St Cuthberts Mill will be at Impact 10 with John Purcell Paper in Santander this week!
Muestra Insumos de Arte - Art Supplies´ Show: *Paraninfo Universidad de Cantabria: Día / Day 6 & 7 De / From 9AM to 2PM. *Palacio de Exposiciones: Día / Day 8 De / From 3 to 8PM.
Monday, 20 August 2018
with Adrian Timmins
Following an introduction into the world of Pyrography, courtesy of artist Adrian Timmins, we thought that we'd ask him to give us, and you, an insight into his practises. We'd like to thank Adrian immensely for writing this article for us!
'Pyrography or pyrogravure is the art of decorating wood or other materials with burn marks resulting from the controlled application of a heated object such as a poker. It is also known as pokerwork or wood burning.' https://en.wikipedia.org/wiki/Pyrography
“After sharing some of my artwork with one of the representatives at St Cuthberts Mill, I was asked to write an article concerning pyrography (burned art) and my work on paper.
Pyrography has a reasonable following worldwide, but is extremely popular in the USA. I run a facebook group where advice concerning pyrography machines, techniques, and materials are discussed on a frequent basis. For the most part there is a tendency to use wood for pyrography and this is also how I got started. Burning wood has the benefit of being quite cheap, and forgiving, if you make a mistake, simply grab the sander and remove the offensive area.
|Two different pyrography pens|
The tools used by pyrography artists range from the very low end soldering type tools with no temperature controls, (these are known as solid point pens, and some do have temperature controls) up to specialist machines made by various companies where there are a plethora of different shaped tips available. Much as an artist will have various brushes / pencils or pens, I will add we have some artists who produce incredible work with any of the above tools So start up costs can be as low as £15.00, up to approximately £115.00 for something like a Peter Child's machine (Made in the UK and the most popular machine here in the USA.)
|A Peter Childs pyrography machine|
It was just over a year into my wood pyrography I saw a few paper pyrography works. I was instantly attracted to the beauty of paper burning, and decided there was no time like the present. I headed straight to a local craft store purchased some cheap art paper, got home, and was somewhat dissuaded after burning many holes in it. Frustrated, I sought advice on the papers currently being used by the few artists’ who do paper pyrography. At this point I had very little knowledge of paper in general, and had previously done most of my charcoal work on very cheap papers.
The next piece of work I produced on slightly better paper, looked reasonable and I was pleased with the overall effort. I continued on accepting that a lot of practice would be needed in order to avoid burning through the paper, and getting nice dark shades in certain areas.
|Adrian Timmins - pyrography on Bockingford paper|
I started adding some Sepia and Black inks to certain pieces to achieve the desired effect, not realizing that to a great degree it was the paper I was using that was holding my pyrography shading back. My work was being noticed and commented on by a lot more people, but I still wanted to achieve everything using solely pyrography and not use inks to get those lovely dark tones.
During recent months, I had started wondering whether there could possibly be a paper made specifically for pyrography, or at least a more suitable paper than I was currently using. I browsed and contacted a few paper mills receiving a few raised eyebrows along the way when asking, "How does your paper burn, as I am a pyrography artist", Most of the comments were "What's pyrography?”
I received samples from some of the mills and most of these were simply not suitable. One of the things you instantly look for when doing paper pyrography is the "Burn through" point. This is the depth you can achieve with Brown or Black before you are risking burning a hole through the paper.
Eliminating, or at least severely minimizing this risk, leaves a pyrography artist concentrating more on their work than fearing how long it will be before the work is possibly ruined.
|Adrian Timmins - pyrography on Saunders Waterford CP(NOT) paper|
I eventually came to work on some CP (Cold Press) Saunders (Waterford) 100 % cotton samples, which were stunning for pyrography in every respect. I could finally achieve great contrast without even coming close to burning through the paper. I could also correct mistakes, and much to my delight no buckling to deal with. My first piece on CP Saunders paper was burned and went straight to the frame without problem. Since this time I have used many of the St Cuthbert’s papers, even their printmaking paper, which gave lovely results. Each paper requires a different temperature, and a slightly different approach to be successfully burned.
|Adrian Timmins - pyrography on Somerset paper|
If you have any interest in pyrography, please feel free to contact me, or join my group. Advice within the group is completely free, and myself or another experienced pyrography artist is usually available to help with any questions concerning Pyrography, or supplies. We have artists of all levels worldwide, and we keep a friendly open environment.”
Facebook Group: https://www.facebook.com/groups/237103366941883/
(It is a closed group so please answer the questions is you apply)
Facebook – Ade Timmins: https://www.facebook.com/RedWirePyrography/