I’m not a fan of the consumption-and-expectation culture, nor of the idea that love is best expressed by garish red heart-shaped dustcatchers from a High Street shop. But there are a lot of other ways to express love, and even when I don’t mark a celebration myself it’s a very rewarding thing to help others do it.
So: here’s one of the designs I’m selling this year. It’s lasercut from Gmund bierpaper (recycled using beer labels and brewery waste) and layered onto an absolutely gorgeous Japanese unryu-textured metallic brass paper. There will be a couple of others too, but I wanted to show off the luxury cards first.
I’ll also be offering package deals – card & envelope, up to three matching gift tags, and a sheet of complementary wrapping paper, all at a very competitive price.
Here are three of 2012’s Christmas card designs! They (and a few others) will be on my stall at the Lionheart Market in Leytonstone on Saturday 1st December and Saturday 15th December, along with jewellery, artwork, and Christmas tree decorations.
It’s September, and therefore high time for are-people-talking-about-Christmas-already?-bah-humbug season.
I make & sell Christmas cards, and can happily supply you with some to send to your friends, relatives, coworkers, archenemies, or complete strangers, at the bargain rate of £1 per card, or 20 for £18 plus p&p (from the UK, if you’re not) if I need to mail them. These are digitally printed on high-quality matte stock (Fabriano Ecologica: acid-free, 100% recycled, very white, and made in Italy using hydroelectric power) with pigment inks. The back has my logo on, and the insides are blank for your own message. They’re A6 when folded, so they fit perfectly into standard C6 envelopes.
I’m happy to do versions with custom text on, and I’ll probably be posting at least one more design over the next month or so, and a downloadable PDF for those of you who have your own printer and very little disposable income.
There’s no minimum order, and I’m happy to mix designs in any way you like. If any of you are interested in hand-printed woodblock or linocut cards instead, let me know in the comments and I’ll try and work up a design; they’re likely to work out between two and four times the price of the digital ones.
I’d been vaguely aware of the existence of monotyping before, but until I found an old copy of The Painterly Print in a Notting Hill second-hand bookshop I hadn’t really considered trying it out. It’s a good way to use up the leftover ink I dollop out onto my glass plate after doing a batch of prints from something else (in this case, a set of 20 woodblock printed cards – they’ll be up online when they’re dry enough to scan) and it’s great fun.
The printmaking process I’ve been using so far doesn’t give much latitude for Messing Around with the ink – roll it on thinly and evenly and start smoothing away with the baren, and that’s it. What I did with the leftover ink, after doing 20 A6 cards, was to roll it out evenly across the glass plate, smear it around in wide curves with a piece of kitchen roll, mess it around a lot with a brush (artificial bristle, no. 8 or so) and then scrape a lot of loops and whorls with the stump end of the same brush.
Because there was just so much ink left over, I could press really lightly with the baren, and get a vivid black/white contrast I hadn’t expected. Black ink on glass over even a quite light surface (one of the inner pages of the Waltham Forest News) doesn’t show up much of a contrast between thick and nearly-cleared layers, so the looping white and pale grey lines I got were a pleasant surprise.
I managed to take three cognates from the plate as well as the print itself, though the fourth is mostly cloudy tones rather than noticeable lines.