I may not have made any prints for thirty years, but I’m still fascinated by the process of printmaking as much as I appreciate the end results. ( Large preview) Pressing Matters: The Passion And Process Behind Printmaking Pressing Matters has a distinctive, but simple style. It’s an independently published magazine which “hones in on the people, passion and processes behind the art form of printmaking.” Its publishers hope to inspire newcomers to printmaking, but as I thumbed through its pages, I found there is plenty about the design of Pressing Matters which can inspire web designers too. On a recent trip to London, I popped into Magma and picked up a copy of Pressing Matters. I haven’t cut lino for thirty years, but I still appreciate the art of printmaking. In fact, there’s very little difference-except inky hands - between running a test print and refreshing a browser window. Both benefit from regular iteration and testing. Both can quickly transform a blank canvas into finished work, without waiting weeks watching paint dry. Printmaking and writing code have plenty in common. I loved making prints from linocuts, and in much the same way that I’m often entirely absorbed by writing code today, I regularly lost myself carving thousands of tiny marks until the floor was covered in sharp shards of lino. ![]() I found the printmaking process incredibly satisfying. This allowed students free movement between disciplines, so I moved from the painting studio to printmaking and spent the next few years happily making prints. Luckily, the course I’d chosen wasn’t structured, and it didn’t have a formal curriculum. It didn’t take me long to realise that painting just wasn’t the right medium for me. Compared to Ben’s, mine looked like paintings by numbers. I needed to see results quickly, so my paintings were anything but deep or subtle. ![]() Ben’s paintings had incredible depth because he built up hundreds of subtle layers of paint over several months. This was especially true of my friend Ben, a gifted painter who went to his studio late every night to work on several large canvases. This over-confidence didn’t last long though, because when I arrived, I found myself surrounded by conceptual artists, filmmakers, painters, performance artists, printmakers, and sculptors, who all seemed much more talented than I was. This article will change the way you think about designing with grids.Īs I’d always been at the top of my class during high school, I headed to art college full of confidence that one day I’d be an accomplished painter. You’ll learn how combining grids increases design flexibility, the difference between layered and stacked compound grids, and how to use 2+3 columns, 3+4, and 4+6 compound grids. In this second installment of Inspired Design Decisions, Andy Clarke will teach you how to expand your repertoire of layouts by combining more than one grid into a compound grid.
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