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    We're doing a lot of re-organising and rethinking of the space we work in at the moment. It was subject to a massive redesign ten years ago but is starting to feel a bit stale (lockdown helped with that!) and this corner in particular has never been quite right. We've worked with Spencer Jenkins before on projects around the studio and the house, and when we realised it was shelving that we needed - for all the reference books, novels, catalogues and such, housed for years in repurposed wooden apple crates - we asked him. He loves wood, works in steel and willow, and creates natural forms and shapes which look simple and easy, but he'll pore over a line for for days on end, perfecting it. We'd been admirers of the work he's done in scorched larch, taking the wood and burning its surface till it reaches a deep, satisfying black. We chose chunky larch sections which were cut and planed to fit the totally asymmetrical and wobbly corners of the room (the studio is L-shaped). Once this was done - not a fast stage, it should be said, Spence is something of a perfectionist - the larch is burnt using a blowtorch and a steady hand. You can see the really gnarly, delicate-looking surface of the larch, which truly looks as if you've turned up to a house fire hours too late. And it smells like that too, if you get your nose right in there - an oddity exciting smell, proper 'charred'. After the charring, comes the vanishing - but sensitively done, so as not to obliterate the textures of the burning with a brutal slathering of shiny. Wet here, the varnish soaks in to 'fix' the burnt surface: Burnt only on the underside and the sides, leaving natural larch exposed on the surface where the books would sit, from here the shelves were brought to the studio where it was over to me. We'd come up with the idea of filling any natural cracks and splits with gold. Inspired by the Japanese art of kintsugi, mending precious time-served items with gold and honouring their long service rather than throwing them away or trying to hide the breaks, I first photographed the shelves placed in situ and drew lines as organically as I could over the edges, many times over, till I hand line that neither told a story nor suggested any deliberate sequence, taking my cue from Spencer himself and the notion of a totally random break or split: harder than I first thought! In fact, it took me two weeks to arrive at a set of 'cracks' I was happy with, and even then, I changed them as I worked. I tested the infill of gold with the samples that Spencer had made for us, in the process of assessing how much to burn into the wood, by Dremelling the splits in and applying both gold leaf and two gold acrylics. The idea was to fill with actual gold, via melting and pouring in, or alternatively using a rod that's melted in (NOT the correct technical term) but after research this proved both financially and technically very difficult to achieve without the input of a jeweller and specialist kit, so we decided on 23ct gold leaf - the quality of leaf above which no oxidisation takes place, and suitable for outdoor use as well as indoor. IN THE MEANTIME...the empty space where the old crate shelves were stacked was looking sad, so it was given a fresh coat of ECOS white paint, and I added a set of coloured pencils to it! I sketched them out on paper with felt tips in what felt like the right colours, squatting and holding them up against the corner, until they were right. Feeling like a big child it was massively freeing to paint something large-scale on the wall - we haven't done that for AGES - and I added some pencils which were sharp, a snapped one, a blunt one and some sharpened with a knife - like a real pencil collection. Once this was done it was time to gild. Gilding requires the surface to be smooth, sealed and dry, before a coat of size - a type of glue which doubles as a varnish, and remains sticky for a few hours - is applied, followed by the leaf itself. Every crack was Dremelled in, slowly and with a non-blinking steady hand, brushed clean with a stiff brush, and then sealed with a PVA solution. When dry, a layer of Stuart Semple's 'Goldest Gold' acrylic was applied, chosen for being the truest, richest gold I've ever come across. The acrylic acts as a sealant, and ensured that should any area not be completely covered by the gold leaf, all you'll see is the convincingly-gold acrylic edge. I highly recommend his very special gold! And then the gold leaf. A time-consuming process (if it wasn't already!) the leaf is applied with a dry brush over size applied anywhere from an our beforehand. As long as it's still sticky, you can start gilding. A little section of VERY flaky gold leaf is picked up on a dry brush, and pushed into the crack, tamped down carefully with the same dry brush - never with fingers. Despite a surprisingly modest spend on the 23ct gold, I ALMOST left the acrylic exposed, such was its goodness and glitter. here's the acrylic on the left, and some of the gilding on the right. There's just more...goldness to the gold leaf! Finally, the completed shelves were fixed in place over the pencils, burnt, gold edges facing into the room, and the books have been making their way onto them this week; stylishly re-organised for the first time in years! We're grateful to Spence for his painstaking work, carried out in a distanced, awkward masks-and-googles-on way in the middle of a lockdown, and for the opportunity for another collaboration. The next project is already underway, and we already know there'll be more after that! You can explore more of Spencer's work on his Instagram account.

  • Fire, Pencils & Gold

    We're doing a lot of re-organising and rethinking of the space we work in at the moment. It was subject to a massive redesign ten years ago but is starting to feel a bit stale (lockdown helped with that!) and this corner in particular has never been quite right. We've worked with Spencer Jenkins before on projects around the studio and the house, and when we realised it was shelving that we needed - for all the reference books, novels, catalogues and such, housed for years in repurposed wooden apple crates - we asked him. He loves wood, works in steel and willow, and creates natural forms and shapes which look simple and easy, but he'll pore over a line for for days on end, perfecting it. We'd been admirers of the work he's done in scorched larch, taking the wood and burning its surface till it reaches a deep, satisfying black. We chose chunky larch sections which were cut and planed to fit the totally asymmetrical and wobbly corners of the room (the studio is L-shaped). Once this was done - not a fast stage, it should be said, Spence is something of a perfectionist - the larch is burnt using a blowtorch and a steady hand. You can see the really gnarly, delicate-looking surface of the larch, which truly looks as if you've turned up to a house fire hours too late. And it smells like that too, if you get your nose right in there - an oddity exciting smell, proper 'charred'. After the charring, comes the vanishing - but sensitively done, so as not to obliterate the textures of the burning with a brutal slathering of shiny. Wet here, the varnish soaks in to 'fix' the burnt surface: Burnt only on the underside and the sides, leaving natural larch exposed on the surface where the books would sit, from here the shelves were brought to the studio where it was over to me. We'd come up with the idea of filling any natural cracks and splits with gold. Inspired by the Japanese art of kintsugi, mending precious time-served items with gold and honouring their long service rather than throwing them away or trying to hide the breaks, I first photographed the shelves placed in situ and drew lines as organically as I could over the edges, many times over, till I hand line that neither told a story nor suggested any deliberate sequence, taking my cue from Spencer himself and the notion of a totally random break or split: harder than I first thought! In fact, it took me two weeks to arrive at a set of 'cracks' I was happy with, and even then, I changed them as I worked. I tested the infill of gold with the samples that Spencer had made for us, in the process of assessing how much to burn into the wood, by Dremelling the splits in and applying both gold leaf and two gold acrylics. The idea was to fill with actual gold, via melting and pouring in, or alternatively using a rod that's melted in (NOT the correct technical term) but after research this proved both financially and technically very difficult to achieve without the input of a jeweller and specialist kit, so we decided on 23ct gold leaf - the quality of leaf above which no oxidisation takes place, and suitable for outdoor use as well as indoor. IN THE MEANTIME...the empty space where the old crate shelves were stacked was looking sad, so it was given a fresh coat of ECOS white paint, and I added a set of coloured pencils to it! I sketched them out on paper with felt tips in what felt like the right colours, squatting and holding them up against the corner, until they were right. Feeling like a big child it was massively freeing to paint something large-scale on the wall - we haven't done that for AGES - and I added some pencils which were sharp, a snapped one, a blunt one and some sharpened with a knife - like a real pencil collection. Once this was done it was time to gild. Gilding requires the surface to be smooth, sealed and dry, before a coat of size - a type of glue which doubles as a varnish, and remains sticky for a few hours - is applied, followed by the leaf itself. Every crack was Dremelled in, slowly and with a non-blinking steady hand, brushed clean with a stiff brush, and then sealed with a PVA solution. When dry, a layer of Stuart Semple's 'Goldest Gold' acrylic was applied, chosen for being the truest, richest gold I've ever come across. The acrylic acts as a sealant, and ensured that should any area not be completely covered by the gold leaf, all you'll see is the convincingly-gold acrylic edge. I highly recommend his very special gold! And then the gold leaf. A time-consuming process (if it wasn't already!) the leaf is applied with a dry brush over size applied anywhere from an our beforehand. As long as it's still sticky, you can start gilding. A little section of VERY flaky gold leaf is picked up on a dry brush, and pushed into the crack, tamped down carefully with the same dry brush - never with fingers. Despite a surprisingly modest spend on the 23ct gold, I ALMOST left the acrylic exposed, such was its goodness and glitter. here's the acrylic on the left, and some of the gilding on the right. There's just more...goldness to the gold leaf! Finally, the completed shelves were fixed in place over the pencils, burnt, gold edges facing into the room, and the books have been making their way onto them this week; stylishly re-organised for the first time in years! We're grateful to Spence for his painstaking work, carried out in a distanced, awkward masks-and-googles-on way in the middle of a lockdown, and for the opportunity for another collaboration. The next project is already underway, and we already know there'll be more after that! You can explore more of Spencer's work on his Instagram account.

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    With Wix Blog, you’re not only sharing your voice with the world, you can also grow an active online community. That’s why the Wix blog comes with a built-in members area - so that readers can easily sign easily up to become members of your blog. What can members do? Members can follow each other, write and reply to comments and receive blog notifications. Each member gets their own personal profile page that they can customize. Tip: You can make any member of your blog a writer so they can write posts for your blog. Adding multiple writers is a great way to grow your content and keep it fresh and diversified. Here’s how to do it: Head to your Member’s Page Search for the member you want to make a writer Click on the member’s profile Click the 3 dot icon ( ⠇) on the Follow button Select Set as Writer

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  • Inkvent Project II | Inkymole

    Inkvent Gallery One The Inkvent Calendar 2021 A collaboration with Diamine Inks The rest of the 25 pieces created and captured for December 2021's project. Originals sold with proceeds to Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Buy Originals & Prints Buy Inkvent Inks

  • Inkvent Project I | Inkymole

    The Inkvent Calendar 2021 A collaboration with Diamine Inks The first ever Inkvent Calendar was created in 2019 by Diamine Inks and myself - it had never been done before, and it sold out within a few weeks. To celebrate the existence of my dream advent calendar that year I created a piece of work every day throughout December, using that day's ink colour. My rules were: - One take only - no practising or repeating - A3 size / Only use the ink provided - No digital faffing ! ​ The originals were all sold in January with proceeds going to The Trussell Trust , and prints made available. In 2021, the Inkvent Calendar was produced again with 25 brand new, unique ink colours. So there are 25 new art pieces being made - with same rules, but this time, they're all being captured in a time-lapse! See them as they were posted daily on my Instagram Why am I doing it? The Inkvent Project provides an opportunity to play with ink within a handful of parameters, but with zero attachment to the outcome. I'm doing more than trying out the ink - I'm flying by the seat of my pants, freestyling, making decisions as I go along. I'm also testing my skills on camera - can I make something legible and aesthetically pleasing with that camera on me, knowing I have to post it whether it works or not? ​ Additionally, I'm allowing myself the freedom to respond to the day's news or events, vibe or mood - so very little if anything is planned ahead. Finally, I get to raise some funds for the UK's national food bank organisation, The Trussell Trust. I'm angry and full of sorrow that people in the 21st century are still unable to feed themselves and their children properly. My contribution will be a drop in the ocean, but I can turn my ink scrawling into meals for fellow humans. Buy Originals & Prints Buy Inkvent Inks Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Out of gallery Next

  • Inkymole | Illustration & Lettering by Sarah J. Coleman

    with a pseudonym that evolved before I’d left school. I create words and pictures - and ink is my weapon of choice! With a handsome roster of clients in advertising, design and music, and working for every major publisher in the UK and US, I’ve had solo exhibitions both sides of the Atlantic while delving into myriad extra-curricular projects. Having cut my teeth working weekends at a pirate radio station, I’m currently a regular contributor to BBC Radio. Sarah is a delight to work with . Her enthusiasm, experience and pure talent make her the consummate professional. She consistently goes above and beyond what we ask of her; I am often surprised by unexpected extra touches in her work. In addition to an incredible final result, you can expect flexibility, good communication, and genuine passion. She really loves what she does...and it shows! ~ Sally Morgridge, Snr. Editor, Holiday House Books ​ 2021's Inkvent Calendar Project Ink pieces created daily throughout December for 2021's Inkvent Calendar - one-take, no rehearsal, time-lapsed, one ink only! 2021's Inkvent Calendar Project Ink pieces created daily throughout December for 2021's Inkvent Calendar - one-take, no rehearsal, time-lapsed, one ink only! To Kill A Mockingbird 50th Anniversary Edition One of my more famous pieces of work! 2021's Inkvent Calendar Project Ink pieces created daily throughout December for 2021's Inkvent Calendar - one-take, no rehearsal, time-lapsed, one ink only! 1/19 Clients include Apple / Adobe / Playboy / Tiffany / Coca-Cola / Macy’s / Starbucks / Toyota / AMVBBDO / TBWA / Crayola / Kelloggs / Wall Street Journal / Washington P ost / New York Times / Cadbury's / London Stock Exchange / Vogue / Saa tchi & Saatchi / Folio Society / The Natural History Museum and all major publishing houses // See a full list It's always delightful to work with Sarah Coleman . We've commissioned her ebullient illustrations on several projects now, and her creativity, professionalism and delivery have exceeded expectations every time. - Jackie Burrell, Bay Area News Group Watch the latest Adobe Live Classes Watch my daily Inkvent Calendar time-lapses My latest creepy book: 'Only If You Dare' Listen to the latest Radio Show Check out new stuff in the shop Still wearing your mask? Get an inky one!

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