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Illustration, Printmaking

Colorful Patterns Created with Linocuts by Andrea Lauren

Andrea Lauren

Andrea Lau­ren is a pat­tern mak­er liv­ing in Asheville, North Car­oli­na.  Many of her col­or­ful, designy illus­tra­tions are inspired by nature, but she also throws some toys and tea in there, too.

Andrea uses a vari­ety of hand-ren­dered tech­niques in her pat­tern pro­duc­tion, and they’re meant for dig­i­tal tex­tile print­ing. “I’m par­tic­u­lar­ly drawn to linocuts, pen & ink, and cut paper,” she writes on her web­site. Check out her Spoon­flower shop for more.

If you’re inter­est­ed in print­mak­ing, be sure to read Andrea’s blog, Ink Print Repeat. She shares help­ful tips (includ­ing sup­plies she uses) as well as fun in-progress work.

Andrea Lauren andrea-lauren-1 andrea-lauren-6 andrea-lauren-2 andrea-lauren-3 andrea-lauren-5 andrea-lauren-7 andrea-lauren-9 andrea-lauren-10


Beautify Your Home with Unique Silkscreens from Side Effects Print

Side Effect Print

Lay­ers of Needs by San­dra Milanovic

Side Effects Print is a col­lec­tive that con­sists of young, aspir­ing artists from the Balka­ns region. They pro­duce large-for­mat silk screen prints that’ll no doubt enhance your space. Art­work is sold exclu­sive­ly in their shop, and it’s very diverse in terms of styles. You’ll find char­ac­ter-dri­ven por­traits, bold geo­met­ric shapes, and hand­writ­ten notes.

Every­thing is pro­duced on high-qual­i­ty paper using 2 to 6 col­ors. Each piece has a lim­it­ed run of 100 prints and isn’t repro­duced after­wards.

I’ve includ­ed some of my favorites here! And, espe­cial­ly for Brown Paper Bag read­ers, Side Effects Print is offer­ing a spe­cial dis­count. Use the code SEP15 to get 20% off your order. Offer is valid until May 1, 2015. So, get on it!

Side Effect Print

Lay­ers of Needs by San­dra Milanovic

Untitled 001 by Stefan Unkovic

Unti­tled 001 by Ste­fan Unkovic

Untitled 001 by Stefan Unkovic

Unti­tled 001 by Ste­fan Unkovic

Untitled 15 by Jovan Trkulja

Unti­tled 15 by Jovan Trkul­ja

Where Am I by Milica Pantelic

Where Am I by Mil­i­ca Pan­tel­ic

Where Am I by Milica Pantelic

Where Am I by Mil­i­ca Pan­tel­ic

Field of Rhombus by Danijel Savovic

Field of Rhom­bus by Dani­jel Savovic

Power of Legacy by Lazar Bodroza

Pow­er of Lega­cy by Lazar Bodroza

Power of Legacy by Lazar Bodroza

Pow­er of Lega­cy by Lazar Bodroza

BeginningEnd by Bratislav Milenkovic

Begin­nin­gEnd by Bratislav Milenkovic

BeginningEnd by Bratislav Milenkovic

Begin­nin­gEnd by Bratislav Milenkovic

Land of the Lines by Zeljko Loncar

Land of the Lines by Zeljko Lon­car

Illustration, Printmaking

Simon Cheadle


I’m not sure how I came across Simon Cheadle’s work, but I first pinned it because I liked the design of his lay­out. When I final­ly looked at his web­site, I dis­cov­ered he has cre­at­ed some pret­ty cool projects. Simon describes him­self as a design­er, illus­tra­tor, and print­mak­er whose work is not dic­tat­ed by per­son­al style. He writes, “…my work starts with an idea in accor­dance to the brief, with the medi­um and process that I use reflect­ing this con­cept.”

I per­son­al­ly love this approach, and so it’s no sur­prise that I real­ly enjoy Simon’s projects, sev­er­al of which are inter­ac­tive projects.

The fol­low­ing are some his projects, writ­ten by him on his web­site. (All images via his web­site, too!)

Make Mis­takes:An ongo­ing and inter­ac­tive project that explores the impor­tance of mak­ing mis­takes in the cre­ative process. Draw­ing tools that gen­er­ate mis­takes were designed and used to rein­ter­pret objects and ideas that are con­sid­ered per­fect. By then print­ing and man­u­fac­tur­ing the, these notions of per­fec­tion are pushed back into the realm of cre­ativ­i­ty and the imper­fec­tions of the object are cel­e­brat­ed.





Men­tal Block: ‘Usu­al­ly when I am stuck I either keep at it — think­ing of oth­er pos­si­bilites from oth­er per­spec­tives, flip­ping my ideas on their head, ques­tion­ing and scru­ti­n­is­ing the brief, chal­leng­ing the restric­tions of what is required, apply­ing the prop­er­ties of some­thing suc­cess­ful from anoth­er field to my prob­lem, ask­ing for advice from one of my friends, look­ing at anoth­er prob­lem I am try­ing to solve and see­ing if it applies well to my brief…or go for a beer.’



Note­book Cov­erA ver­sa­tile note­book cov­er that pro­motes per­son­al­i­sa­tion and every­day use based on the fact that a plain note­book can be used by every­one for any­thing. If, how­ev­er, the user decides not to adapt it, then it can be left as a dec­o­ra­tive pat­tern.



Also check out “How to be Great.”


Collage, Printmaking

Leah Durant

Based in Leeds, Leah Durant states that her pri­ma­ry pas­sion is pho­tog­ra­phy, which is meld­ed with print­mak­ing, col­lage, and draw­ing.

In col­laged pieces, Leah’s pho­tog­ra­phy is often non-spe­cif­ic and enlarged to high­light tex­ture. Aes­thet­i­cal­ly, I love the dif­fused nature of her mark-mak­ing and pho­tos, which speaks to the larg­er scope of her work. She writes: 

The inten­tion of my work is to visu­al­ly record the sub­tleties in every­day life that we do not always notice or appre­ci­ate. For exam­ple, the idea of paus­ing and enjoy­ing a moment that is right there in front of our eyes, such as a shad­ow on a wall, a piece of paper in the wind, or a reflec­tion in a win­dow. Through cap­tur­ing details of things that may seem insignif­i­cant in our dai­ly lives, the frag­ment­ed beau­ty of the sub­ject is brought to the fore­front and chaos is pushed back. Ulti­mate­ly, the raw puri­ty and fragili­ty of the image is unrav­elled.

All images via her website/Tumblr.







Artist, Printmaking

Casey Roberts

I’ve only recent­ly begun to learn about cyan­otype, which is pho­to­graph­ic print­ing process that cre­ates a cyan-blue print. Pho­to­sen­si­tive solu­tion is applied to a sur­face (such as paper or fab­ric), and left to dry in a dark place. Based on the inten­si­ty of the ingre­di­ents in a solu­tion, dif­fer­ent tones of blues can be acheived. Casey Robert’s work exper­i­ments with this process, using it as an con­cep­tu­al ele­ment of her work. He writes: 

My work illus­trates a fan­tas­tic land­scape. It rep­re­sents nature’s sub­tle way of deal­ing with the pecu­liar aspects in the rela­tion­ship with mankind. A giant glow-in-the-dark heart, or a pile of pre­cious gems tells us that we are loved, just as blood squirt­ing from an oak tree trunk says, all is not well. I am inspired by my con­ver­sa­tion with the land­scape, I imag­ine long mono­logues when pine forests make me laugh and moun­tains test my patience. 

All images via his web­site.