As a printmaker and designer, I am drawn to tacility and human interaction with materials. Working with printed matter allows me to understand the narratives that underpin the processes I am so energised by.
‘Offset ‘is a research project on print as a collaborative practice, focused primarily on the inside of the print room. The publication consists of a series of conversations with women who work within a print room, have researched print in a radical sense, or work within a collective themselves. My aim throughout this project was to understand how the space has changed, from the machinery to the social dynamics.
Offset refers to the printing process used by The Detroit Printing Co-op in the 1970s (discussed in my conversation with designer Danielle Aubert), while also obtaining the double meaning of counter-balance. Womens role within the print room and within Graphic Design as a whole is messy, forgotten and everchanging. Women and LGBTQ designers have pushed forward print as a radical act, whether the radicalness of it is informed by your gender identity or your publishing techniques. As a female designer myself, I look to use my voice to better understand my role within design.
The inner contents in Risograph printed, with woodcut chapter dividers and a screen-printed dust jacket. It is an amalgamation of printing processes that rely on dialogue, sharing, learning and knowledge exchange.
My practice is grounded in print. I am interested in exploring the boundaries of materials, therefore process and collaboration is integral. I am drawn to the physicality of traditional print processes, its unpredictability yet also restrictive elements. Above all, I am interested in human interactions with materials and with each other.