Mary Shelley, Switzerland, 1816.

Ernest Shackleton, Antartica, 1915.

Amelia Earhart, Ireland, 1932.

Neil Armstrong, the Moon, 1969. 

Here are the final artworks of the set of four illustrated prints we produced to promote Slow Brew Club. It's difficult not to stare at them over a Slow Brew. We wanted to create a set of prints to share with customers around the concept of 'Even the best minds need to pause', and for it to be fun.

www.knappstudio.co.uk // Knapp Studio on Instagram

I’m a designer and letterpress printer, specialising in stationery design. In June last year I set up a small print studio under the name ‘Knapp’, with the hope of developing a brand that would focus on the beauty of traditional paper craft and simplicity in design, using nature as it’s fundamental source of inspiration. Traditionally trained in drawing, I graduated with an Illustration degree, yet still with very little direction and idea as to what I wanted to do. I had always levitated more towards design in general, and although drawing was something I loved and came very naturally to me, I craved the act of making and using my hands. After toying with with various other interests and career paths, including photography and art therapy, somehow I became more aware of letterpress as a process, which led me to an internship at Hand and Eye Letterpress Printers in London. And, I fell in love. From here I found myself a small table top press, and after a year or so of exploring the process, I suppose it was a natural progression from working with my 8x5 Adana, to my Arab Crown Folio Platen press. I knew that in order to be able to produce the kind of work I wanted to and pursue this as a business, I would need a machine capable of providing a far more consistent and professional finish. Lucky for me, I had my Dad on board, who’s engineering expertise meant the idea soon formed of sourcing and restoring and old printing press. Five months later, the restoration was complete and so began Knapp.

The name ‘Knapp’ itself was inspired by our local nature reserve, ‘The Knapp and Papermill’, very close to where I grew up. Not only is it home to some of the most breathtaking views of the area, but it’s historic link to a working Paper Mill has always fascinated me. I liked the idea that here there was an opportunity to keep this story of local craft alive in some way, however small. It also felt fitting, given the natural themes and environmental values that run through my work.

The lovely thing about doing what I do is that not one day is the same. I’ll often try and start the morning by playing the piano for half an hour, or getting out for some fresh air to warm me up for the day. The rest of my time is then spent between catching up with emails and social media, drawing up quotations, preparing artwork for the platemaking process, ordering materials, packing jobs, sampling and of course, printing! Being able to oversee and be part of each and every stage of the design process, from the very seed of an idea to wrapping the finished product, I believe to be quite a special thing in this over saturated world of mass produced material. Working in this way is for me very reassuring, as I’m able to ensure the attention to quality and detail is maintained throughout.

For any print run, there are a number of tools I will almost always use and have at the ready; a print rule, ink, paper, plates, tape, scissors, a Pantone colour chart, a guillotine, press wash and rags, a brayer, a pallet knife, and some good light! I try to use materials that get me excited, combining different textures and natural fibres wherever I can. I keep a small range of my favourite papers in stock, all with their own unique tactile qualities and subtle differences, although I’m always on the lookout for new and interesting materials to work with. The great thing about owning a platen press is that I’m not restricted to printing on paper. I’ve always loved the notion of contrasting elements, combining different materials, styles and processes and seeing what happens. Printing with fabrics and leather has brought some interesting results!

Although most current letterpress printers celebrate the use of photopolymer plates in modern day printing, many still remain true to the traditional form of typesetting. My initial attraction to letterpress began with wood type. I could spend a lifetime wading through the endless cases of fonts and characters, found in many traditional print shops today. But with the recent revival of letterpress, wood type has become far less accessible and a lot more costly. Despite my introduction to the beautifully intricate world of typesetting, I didn’t want to limit myself to this process and aesthetic alone, the idea of combining modern day technology with traditional processes was what excited me the most. Contemporary letterpress has seen the introduction of photopolymer plates, which has opened up the craft to all kinds of design and imagery without the limitations of typesetting, which I think is pretty wonderful.

I’ve always been drawn to more of a natural pallet, and so I consciously began by working mainly in black and white, adding contrast and colour through finishings and different paper stocks. I believe context is everything, and how we put things together can completely change how we see them. Using neutral colours I find gives more room for the details and subtle and tactile textures, which I love. The majority of my work however is mostly dictated by my clients. It’s nice to have this balance, as it keeps things fresh and interesting.

For me, surrounding myself with as many artistic, cultural and musical influences I can lay my hands on, is the only way to keep a fresh perspective and creative mindset when working. I try not to compare myself too much to what other artists and printers are doing. There seems to be a growing community of small independent letterpress printeries, yet what’s so great about this is that each come with their own different creative direction. I think it’s important to realise what comes naturally to you, embrace it and run with it. Of course, there will always be a few heroes and heroins along the way… a few of my own being the wonderful William Morris, Wim Wenders, Yohji Yamamoto, Lynne Ramsay, Corita Kent, Ryuichi Sakamoto, Ernest Shackleton, David Hockney, Grayson Perry, Bjork, Charles and Ray Eames, David Hieatt, to name but a few! Otherwise, I’ll mostly find inspiration in the trees, the ocean, people, faces, flowers, spaces, texture, tone, light, negative space, and all things Japanese.

What I love most about my job, is having the opportunity to connect with all different kinds of people and their individual creative ventures. Print and stationery lends itself to so many situations, from weddings to branding and packaging, to gifts and letter writing. I love that through working closely with small creative businesses and freelancers, I’m continuously learning and finding knowledge in others’ working lifestyles. For this I feel very privileged.

Last month I was lucky enough to take part in the #makeathingaday Instagram giveaway project as a featured maker. Started by Designer and Carpenter George Winks of Temper Studio, this is an new project set up to showcase independent makers and craftspeople by giving a more detailed insight into the way they work. As a young start up myself, this helped enormously in gaining exposure and more interest in what I do. A fun and challenging week, and an incredibly humbling experience. For now I have a couple of collaborative projects in the pipeline to look forward to, but mainly just enjoying things as they come!

As one of four, I’ve always been very influenced by my family and siblings. My Nan was a painter and Calligrapher, and was a huge influence on us as kids, we would spend hours at the table with Chinese paintbrushes, nibs and putty rubbers, as she taught us to paint and draw. My brother and sister are both illustrators, and have always been a great inspiration — www.heathergatley.co.uk, www.owengatley.co.uk. I’m also very lucky to have an incredibly diverse and talented bunch of creative friends, whose work in fashion design, illustration, animation, architecture, photography, and food continues to amaze me.

If I was to recommend any artists to look out for, I would have to mention Fashion accessories designer Oliver Ruuger and Illustrator Stuart Patience, for their truly jaw dropping collaborative work. Their individual work alone is that of sheer craftsmanship, delicacy and attention to detail, which only multiplies when brought together to create some of the most exquisite works of art. To see illustrations from “House of Epicurus” by Mikhel Kaevats engraved onto hand crafted leather briefcases and printed onto silk scarves, take a look here.

The other I would have to mention is the very wonderful and talented Aurelia Lange. It is a rare thing these days to find illustrators and designers with such a unique, natural and effortless style. Aurelia is one of these. Her fluid lines and playful mark making bring character and gesture to her drawings like no-one else. For some gorgeous shapes and a breath of fresh air, look no further.

Gift guide #5 ~ 7TH RISE If it's outdoor experiences you're after, make sure you check out what's happening at 7th Rise. They offer weekenders and special events tucked away in Cornwall, from foraging and cooking to canadian canoeing and bushcraft. They also cater for individuals or small groups after a more bespoke experience from one day to overnight, or longer stays. 7th Rise "aim to help people connect to natural habitats and find their wild side!"

7th Rise website