As Cass Art has opened its doors for the first time in the vibrant city of Bristol, our eyes are wide open to experience anything and everything on offer. But we’re not alone in our wistful Bristol bubble! We chat to The University of West Englad Illustration student, Martha Burger, who is on Erasmus exchange from Berlin and creates charming, whimsical drawings that tell stories of their own.

Hi Martha! So, tell us, what made you choose UWE for your studies?

A friend of mine did her Erasmus at UWE and liked it a lot. I had the feeling that this university would give me more or rather different opportunities than what I'm used to having at home back in Berlin.

 

What has been your favourite part of studying Illustration at UWE so far?

I enjoyed working in the printing area a lot. It's great that they have such a wide range of facilities and workshops, for example laser cutting or paper mechanics to discover and apply in your work. Another good thing about doing an Erasmus here is that I talk to different tutors than at home, they give a new input which helps my practice develop.

What inspires you most about your city, and Cass Art's newest home, Bristol?

Buildings and People. I think there's nothing better than observing what happens around you.

 

What is your working process like? What keeps your creativity alive?

Absorbing my surroundings, collecting ideas and finally drawing. I always see, learn and discover new things that inspire me to create something.

What are you hoping to achieve in your creative career?

I hope to make a living out of my illustration when I'm finished with university. I don't need to be super famous, but that would be nice, wouldn't it?

 

Can you sum up Bristol in 3 words?

Friendly people, cool, English …and very hilly!

TELL A FRIEND

Know someone in Bristol who would be happy to hear we've opened there? Then please Refer a Friend - we'd love to see them in our shop.

FEELING INSPIRED?

Find out more, including the exact location, of Cass Art Bristol here. 

A giant name in the creative world and maker of equally giant sculptures, Sir Eduardo Paolozzi’s work spans all manner of mediums. One of Britain’s most significant twentieth century artists, in the 1940s his dada and surrealist-inspired collages anticipated Pop Art. His study of machines fed his fascination with science, as well as a fear of the destructive capabilities of technology, especially in light of the Vietnam War. His work explores the joys, fears and wonders of our modern era, and his last sculpure ever made, London to Paris, was commissioned by the Cass Sculpture Foundation in 2000.

A Scottish artist who was awarded a CBE and KBE,  Paolozzi was promoted to the office of Her Majesty's Sculptor in Ordinary for Scotland and knighted by Queen Elizabeth in 1988.

 

But what inspired his final sculpture?

After studying at Edinburgh College of Art, Central Saint Martins and the Slade School of Art (phew!), Paolozzi went on to work in Paris before settling for a studio in Chelsea, London. His family’s roots in Italy ensured that every year from the age of nine and fifteen, Paolozzi travelled from Edinburgh to Milan. Fascinated by this train journey, and the changes in London and Paris, he took inspiration to create London to Paris: a 25ft bronze and timber masterpiece depicting a body of parts aboard a railway wagon.

And now the majestic sculpture is being gloriously restored by the Cass Sculpture Foundation and a dedicated team from Plowden Smith.



Dismantled piece by piece so that the Iroko (African Teak) wooden frame can be cleaned and repaired with authentic materials, London to Paris returns to its authentic form depicting an inspiration of memories of childhood railway journeys, elements of a sequence that are organised into a sculptural collage.

The Cass Sculpture Foundation looks forward to unveiling the newly restored work when it re-opens for the 2015 summer season in April, and plans to sell the piece to a suitable collection in order to raise new funds for the continued support of emerging contemporary sculpture

Feeling inspired?

Find out more about the Cass Sculpture Foundation here.  

Think of surface, texture, paint, process and poppies – and who else could possibly spring to mind but Scarlett Raven?

A critically-acclaimed artist and close friend of Cass Art, Scarlett has held several group shows and four solo shows since she graduated from Central St Martins just six years ago. Most recently she showcased The Eleventh Hour at Castle Gallery, partnered with the British Royal Legion to mark the Remembrance centenary, filling the gallery with painted red poppies.

But it’s a new year and a new time for Scarlett. For now she has left red behind and started to explore the colour blue, with a new set of paintings depicting Bluebells. We wanted to find out about her fascination with the colour and her beloved Winsor & Newton Artists' Oil, and give you an inside scoop into her new work.

 

It’s all about blue for you at the moment, Scarlett - what made you break away from your recent red poppy paintings?

I spent nine beautiful months in the studio filled with poppies, painting and engaging with their symbolism, their colours, their smells and touch. I then unveiled my work in my exhibition The Eleventh Hour at the Castle Gallery. But then my father died, just after that show. I took a break from my studio and started sketching out ideas, pouring my heart out onto paper, ideas that were stored in me for a while that I needed to get out. And they took the form of bluebells.

It felt completely natural, and the bluebells seemed to embody how I’ve been feeling - the good and the bad. They celebrate life like the poppy did. I feel like they embody all waves of emotions, thoughts and feelings. The blue is an outstanding companion. A sea of bluebells is like crashing waves, movement, empowerment, astonishing beauty, overwhelming purity, sensitivity, togetherness, calmness, and has angelic qualities. I am still at the early stages of experiencing bluebells and what they have to offer but I am excited each day to get into the studio and see what I find. I love the way they fall collectively. I love the way blue changes; its shades and the way it’s mirrored in the sky is absolutely incredible. And the impact of flower formation and cloud formation, how they pull and release on one another, creates this amazing energy.




I like my paintings to represent that first experience, where one is speechless, taken aback, shocked, overwhelmed, your breath taken away, thrown into calmness, thrown into chaos. I want my paintings to be an experience, and being an action painter is the best way for me to do this. Nature for me is the best experience and that’s why it’s such a strong theme in all my work. A mass of bluebells takes your breath away. Those first few seconds where you just stop and look, and your body freezes - that is what I want the audience to experience when looking at my paintings.

Blue is so rich with artistic history- the colour of Matisse’s cut outs, of Yves Klien’s colour plains, and more recently Roger Hioms’ blue crystal cave and the blue cockerel in Trafalgar Square. But what does blue mean to you?

I’m discovering or being reminded of what blue means to me but I’m not sure how to put it into words yet. I know it’s something really special. For me it’s something familiar like home, safe, rooted… I am starting to think blue means everything. Each shade of blue triggers something so different, and I’m yet to be disappointed or bored of any type of blue. And I think colour is so personal. It’s never the same for the same person, let alone for different people. We are forever changing, just as the meaning of colour changes.

 

Can you tell us a little about the different shades of blue that you’ve chosen?

One of my favourite paints is Winsor and Newton Artist’s Oil Prussian Blue. It is the most stunning colour blue I have ever seen. I mix it with white spirit or turpentine and it explodes with richness and beauty; I can always rely on it to deliver.  It’s deep and precious and the way it thins out with white spirit and holds its richness and sparkle is incredible. It’s such a proud colour! Also you only need a little for it to do its magic. For me adding liquid to it is when the magic happens. Its runs beautifully; I could just watch it for hours, bleeding blue.

The pinks and purples are spectacular to in the Winsor and Newton Artist Quality range too. Rose Madder Genuine, Colbat Violet, Quinacride Magenta and Permanent Mauve are just so rich and vibrant. I also love Colbalt Turqoise Light. It works beautifully for block colouring, especially for the bluebells in the distance, where the light would hit them.

I had the honour of visiting the Winsor and Newton factory and it blew my mind. It was like the film Charlie and the Chocolate Factory! The love and care that goes into each pigment and its history is phenomenal; you really feel like you’re buying something spectacular.

 

I love the chunkiness of oil paint; it feels like a living being. But I have also introduced acrylic to my paintings. I love that it dries faster between layers, because waiting on oils can be a pain and I always get impatient. I use the big tubs of Acrylic paint - the Galeria or the Daler Rowney. The colours are incredible! Adding water is fun as well getting control of the textures. I love paint that runs against paint that is thick and stand its territory. The two dance well together.

Colour and surfaces are so integral to your practice - but what else influences your process?

The way the materials integrate, meet, respond to each other; the making is really important to me and to the final painting. Process itself influences my process. I am guided by my materials and the way they are applied. The movements I make around the painting is documented by the canvas and is evidence to an event. My final painting is that event. A lot of the magic happens as I’m watching the materials collide. Drying times are very important, and materials behave differently over time as the water evaporates from them - this creates beautiful shifts in the paintings like earthquakes. Then the colours underneath seep through. So movement is really important.

My mood is really important to my work also. If I am going to the studio to paint bluebells, I need to be all encompassed. I need to feel and know my subject matter. Or be excited to learn. I can never force painting; it always has to come from desire, otherwise you can see my indecision, unwillingness, frustration, in the final piece. 

 

What are your plans for 2015?

Painting, painting , painting. I’ve got a new studio by the sea and surrounded by horses and I’m in heaven. I love animals and read into their symbolism a lot, and am very influenced by nature. I want to create a collection of blue themed paintings, maybe just bluebells not sure yet. And definitely work towards my next exhibition at Castle Gallery.

I am also working on another Blippar Virtual reality painting which I am really excited about and I dedicate my time every day to research the First World War. I really want the painting to be educational and true to events as well as a completely personal experience. Schools have been using poppies collection as inspiration for their own work and learning about the First World War. I am so honoured and overwhelmed by this; I have been receiving drawings from students in the post and videos of them singing with their own interpretations of the paintings. Teachers have said that the students who don’t normally respond to art are really gaining from it, which is a dream come true for me.

Children are geniuses! It's holding onto that that is the hard bit. I am learning a great deal from them and their methods and hearts - they would definitely know how to describe the colour blue! When I was little I bought my first easel from Cass Art, when I was eleven. It’s the most magical place, and all the staff are artists and know, respect and love the materials the same way I do.

Feeling inspired?

Browse the Winsor & Newton Artists’ Oil Colour that Scarlett loves here.

You can view a video interview with Scarlett Raven here.

Scarlett is represented by Castle Galleries, and you can visit their website here and her own artist website here.

Bristol is Cass Art’s newest home, and a hub of creative energy, exhibitions and artist collectives. But one of the most intriguing projects at home in the city is the Bristol Creative Spaces Project – a legacy of the Capacity project started by Ruth Essex, which aimed to turn Bristol’s disused spaces into creative places.

Running since April 2014, the Creative Space Project offers affordable, enthralling spaces in which to show work, gaining artists exposure and the experience of running an exhibition or event. But what’s most interesting is that these spaces aren’t your average white-walled galleries. Quite the opposite, in fact.

One of them, The Edwardian Cloakroom, is an old public bathroom, preserved with its original features of a Victorian Edwardian tiled floor, high ceilings and a large mirror in the Ladies' side. The second, The Control Room, is a semi-circular cabin with a window running around its top half so that any exhibited work can be seen from the outside.

We wanted to take a closer look at these quirky artist spaces – to showcase the curiosity and genius of the Bristol art scene, as well as inspire you to go and check out these surreal places for yourselves.

THE EDWARDIAN CLOAKROOM

Located on Woodland Road, opposite the Esso Petrol station, there are two separate spaces that make up the surprisingly charming Edwardian Cloakroom.

The Gentleman’s Cloakroom entrance can be found just off the Park Row pavement through gated arches. The Ladies’ Cloakroom can be accessed through a separate entrance through a door at the end of the garden on the left side of the building on Woodland Road.

 

The Gentleman’s Cloakroom offers an open place space with a large glass, high-ceilinged space as well as two toilet cubicles for the artist to use for any creative need.

The Ladies’ Cloakroom consists of a washroom with three sinks, a mirror, a cloakroom attendants’ quarter and three individual toilet cubicles.

The Edwardian Cloakroom is open to the public and is free of charge, and the artist is usually there to greet visitors and talk about their work.  

Bristol makers and artists have used this space previously for art exhibitions, interactive installations, pop up shops and performances.  A particularly memorable show was held by Claudio Ahlers, where two models of black velvet genitalia measuring 7ft high were left for visitors to interact with and be photographed.

THE CONTROL ROOM

Found in the North Cabin on Redcliffe Bridge in Bristol, The Control Room isn’t actually open to be explored – it is in fact a self-contained space with viewing access, which is a great option to showcase work if the artist can’t be there to man the space every day.

 

Often used for video or installation work, a previous show by the street artist Boswell in collaboration with Klumpox transformed the space into a large light box, filling the set with dark fantasy style art and imagery.

It measures 5 metres wide by 9 metres in length, and there are two plug sockets available for use.

HOW DO I GET INVOLVED?

You can apply to use The Edwardian Cloakroom or The Control Room through the Creative Space application form. The details of your project will then be assessed by the Arts Team.

Due to the popularity of the programme, there is a seasonal calendar that the Arts Team need to work to.

Whilst anyone of any creative ability or background can apply to use the space, it’s important to note that priority will be given to artists local to the South West of England, to promote local artists.

If successful, it is free to use the space with a £50 deposit, and you’ll have the chance to show your work to passers-by, locals, tourists, art-lovers and any confused yet intrigued person who might wander into the space by accident.

 

Feeling inspired?

Our Bristol art shop has just opened on Park Street, a ten minute walk from The Edwardian Cloak Room. We'd love to see you there, so please drop by to browse and ask about any of our art materials!

Apply to use either the Edwardian Cloakroom or the Control Room on the Bristol Creative Spaces website here.  

It was whilst studying Fine Art at the Epsom School of Art & Design that Michael Harding discovered his passion for creating oil paint. Sparked by a curiosity to understand how Rembrandt achieved such a rich consistency in his whites, it could be said that his experiments just kept coming.

Years later, Michael Harding is a renowned innovater in the world of oil paint; he is one of the few manufacturers to make his paints by hand using traditional techniques. The ambition to create materials that are true and vibrant, and producing paint that is durable and favoured by many artists worldwide, has contributed to his resounding success.

Coinciding with the release of Michael Harding’s new addition Amethyst, we warmly welcome Michael himself to our shops this February, where he will be taking us through his new colour and showing us how to make the most of his paints. You'll have a chance to meet him, wherever your local Cass Art is! Michael will be visiting Cass Art Glasgow on Saturday 7th February from 2pm. He'll then be at our Islington Flagship on Sunday 8th February from noon, and then at Cass Art Kingston on the same day from 3.30pm. Later on Saturday 14th February he'll be visiting Cass Art Bristol from 2pm.

We spoke to Michael beforehand for a sneak preview of what will be happening in store.

How did you develop your processes to find the right consistency and aesthetic look? 

I was driven by my own particular quest - to understand what enabled Rembrandt to make his whites have such a beautiful sloppy goopy nature. So, the first colour I made was Titanium White with linseed oil and my finished product looked great, until it dried as a very yellow white. I realised that due to its natural colour, the oil tended to come to the surface producing this yellow colour, a problem which was alleviated by adding zinc white. I was in my early twenties and had a wonderful naivety. Things would go wrong, but I learnt quickly and soon found making paint a wonderful and experiential process. 

It has to be said that your range of paints is now extensive, with more and more new colours – what prompted you to expand on the original colours available?

After many years of being asked for numerous additional colours I decided that the time was right to add new and exciting oil paints to my range. Customer demand primarily drove the desire to create my new colours.  Also, my love for some colours which I privately had my eye on for many years like Rose Madder, a wonderfully romantic deep red familiar for centuries to the old masters, spurred me on to make them. Finally, some of my new colours are historically valuable to artists and are important to my range in providing artists with both the historic colours of the Old Masters and the new colours of our ever changing world.

The craft of paint-making seems like a combination of science, cookery and wizardry – is this at all similar to what developing the new colours has been like?

Sometimes it seems a mystery to me I seem to just put the ingredients together in a way that appeals to me. The result comes out in a way that everyone tells me is wonderful, beautiful. I really enjoy formulating and mixing ingredients to create something of great value to the artist’s eye. Finally the way in which I formulate and make my colours is that I want them to “leap” out to the artist and scream “paint with me!”

It’s been said by many artists who use your materials that there’s no need to include a medium as the paints are so perfect already. Can you tell us about the mediums available in the Cass Art pack and what elements they bring to working with the paint?

I always tell artists if they can already achieve with the paint what is in their minds eye then there is no need to add a medium. That said, a medium should only be added to assist in a handling quality or to obtain a surface which cannot be achieved with paint alone. I feel often artists mistakenly assume that adding a medium is like adding a magic ingredient which will have magical results which is not the case.

Beeswax paste is added to a paint to give it body and increase the impasto brush stroke.

Dammar varnish is applied at least 6 months after a painting is totally dry and gives the painting a moist, glowing appearance enhancing the colours and at the same time providing a protective coat against atmospheric dirt.

Oil Paint Medium (PM1) is added to the paint to increase its flow and translucency. It will naturally thin the colour making it more transparent for the artist who desires more translucency in their paintings.

Do you still paint yourself? 

Yes…Shh.

What are you most proud of through the last few decades of paint-making?

I am a person who always looks ahead. I look at what I want to achieve next more than I look at what I have achieved. I love what I do and I am one of the lucky few that can say that. I just love oil paint!

Feeling inspired?

Michael Harding will be giving in-store demonstrations at Cass Art this February, in our Islington, Kingston, Glasgow and Bristol shops. Click here to find out the exact dates and times. The demonstrations are free so drop by at any time during the session. 

Get 10% off if you spend £100 on Michael Harding oil paint, including his new colour Amethyst, until Sunday 8th February. The offer will also be honoured at the in-store demonstrations.  

Liquitex Paint Markers are professional-quality water-based acrylic markers, an innovative and revolutionary addition to the acrylic market. 

Watch as UK based artist Dan Kitchener explores the properties of the paint markers - using them on a large scale to create a wall mural, and using them in conjunction with Liquitex Spray Paint on canvas.

Our top tips on Liquitex Paint Markers:

- They're available in a wide range of 50 vibrant colours, all designed to offer maximum lightfastness and permanence

- Use the square ends to mark in fine details that can't be achieved with sprays or even a paintbrush 

- Blend the paint makers with your fingers whilst they're still wet to achieve a variety of tonal effects

- Don't worry about the paint clogging up the nibs - the Liquitex Paint Markers are designed to flow directly onto the surface, and their pump valve system will give you an even flow of paint



- Use them on a huge array of surfaces including wood, card, metal, glass and primed canvas

- You can use them both inside and out as they are water-based, perfect for murals, fine details and mixed media

- The Liquitex Paint Markers come in two different sizes, the 2-4mm width and 8-15mm width, so experiment with the range of line widths you can produce

- They're perfect for filling in blocks of solid colour and equally good for sketching out line details 

- As they're colour-matched with our Liquitex products you can use them in conjunction with Liquitex Spray Paints and Acrylic paint to achieve a variety of mixed media effects

Feeling inspired?

Shop for our Liquitex Paint Markers here and the rest of our Liquitex products here. 

2015 is in full swing. It's a brand new year brimming with creative possibility and a time to reflect on 2014’s artistic endeavours.

Over the Christmas break, the STAMBAS (Cass Art’s Student Ambassadors) embarked on a #creativecall to complete a 10m mural using a roll of Fabriano paper and an assortment of Liquitex art materials. The results? Eccentric, colourful and oh so varied!

Stambas Cora Clarke and friend at Arts University Bournemouth with their #creativecall goodies.

The STAMBAS have been individually selected because of their inspiring attitude towards all things creative, and this sure does show in their murals. Gathering together a group of art student pals, our twenty STAMBAS set out to complete the challenge in their college. Take a look…

Stambas Xanthe Horner and friends at Goldsmiths University tackling 10m head on!

The #creativecall totals at a whopping 200m of mural showcasing the intermixability of Liquitex’s acrylic range – spray paints, paint markers, traditional paints – and the colour-matching blending system gives the artist total creative freedom.

Arts University Bournemouth students donning their Cass Art Artist Groupie T-shirts.

Taking the Cartoon Approach: Stambas Jake Vella at UCA Farnham with friends.

 

Naomi, Stambas at Westminster University takes to the streets to fill this town with art!

Kathy, Stambas at Camberwell College of Arts arranges her friends for a fabulous oceanic inspired mural 

Stambas Josa Taylor and friends at Bath Spa University building up those layers of Liquitex.

STAMBAS Chloe blew our socks off with her incredible textural mural…and equally impressive stop motion video.

Well done to all the STAMBAS for their efforts and each indivdual mural, bursting with individuality!

We’re looking forward to seeing what creative challenges 2015 will bring so keep your eyes peeled...

Curious about the Cass Art Student Ambassador Programme? Take a look at our 2014 initiative or visit the Students page on the website.

Send an email to students@cassart.co.uk if you’d like to collaborate or have any questions. 

Feeling inspired?

Shop online now for Liquitex products and surfaces and create your own murals! Sometimes thinking big is the way to go.

It's every creative person's dream to be able to support yourself with something of your own making. It takes self-belief, commitment, hard work and a little bit of blue sky thinking. 

Husband and wife Samantha Stocks and Elliot Jay Stocks decided to pursue that dream and launch their own magazine, Lagom - a publication that explores the creative industries and delves into the lives of artists, designers and other creatives. Their debut issue was released in September 2014 and they are now working hard towards their second issue.

Both Sam and Elliot are based in Bristol, but Lagom - meaning "just the right amount" - is distributed across the globe as well as several key places in the UK - not at all bad for the first ever issue!

We caught up with Sam and Elliot to find out more about their brand new magazine, and to prove that with a little bit of passion, research and creativity, taking a leap of faith can truly pay off. 



Hi guys! Can you tell me a bit about Lagom, in your own words?

[SS] Lagom is a lifestyle magazine aimed at people who are already working in the creative industry, or who are perhaps considering moving into the creative field. We've very much designed it to be inspirational; we celebrate the independent spirit and many of the people we feature have independently set up their own businesses. The creative industry is a very wide and varied one, and we love being able to include a wide variety of people, from typographers to woodworkers, and artists and designers of all disciplines to baristas and chefs. We regularly feature interesting and inspiring workspaces and hotels, work from artists and illustrators, interviews with small business entrepreneurs, recipes, and more. 

[EJS] In a nutshell, the magazine is a celebration of innovation and creativity.

Why did you decide to set up your own magazine? Was it a lightbulb moment or something you'd always wanted to do?

[EJS] Back in 2010 I started the typography magazine 8 Faces as a way of delving into print (I was a web designer at the time) and indulging in my love of type. The magazine became relatively popular and it turned from a side project into an almost-full-time project, and it made me completely fall in love with print. But as the 8 Faces run came to an end in 2014 (the plan was always to stop after eight issues), I wanted to create a magazine that would replace it, but one that had a much wider reach, and one that would very much be a joint creation of myself and Sam.

[SS] I've worked in the publishing industry for a while, and always dreamed of being my own boss and having the freedom of creating and growing something that was mine. I've known a number of people who've gone off and done their own thing, running their own business or creating their own product, and always felt inspired by them. Creating a magazine that includes content we'd love to read ourselves was a very logical step to take! 



What do you guys do for a day job? And how do you fit Lagom in around that?

[EJS] I'm the Creative Director of Adobe Typekit. I juggle both roles, but in terms of actual man hours, Sam is full-time on Lagom, whereas I'm part-time.

[SS] I'm a freelance journalist and copywriter. Fitting Lagom in around my other work has been difficult at times, but it has now gone from a part-time job to being full-time and this suits me fine at the moment! 

Do you have any advice for anyone who might want to set up their own publication? 

[EJS] Find a good printer! We're printed by Taylor Brothers and their level of care and attention to detail is above and beyond some of my previous experiences with printers. It's also important to proof as much as possible — you'll never spot all of the mistakes, or get a thorough idea about the typesetting just by looking on screen.

[SS] It's also important to find contributors you like working with whom you can rely on to work on various aspects of the publication. 



So how did you go about recruiting your team? 

[SS] There are so many talented photographers and illustrators out there that it's hasn't been hard to find and be able to work with some great people who've produced fantastic work for the magazine. Twitter has been a very valuable resource for reaching out to people. 

Was it important to you that the magazine was as visually led as it is feature led?

[SS] It was always our intention to make Lagom something beautiful, something that people would want to keep on their shelves. Our readers appreciate quality and good design, so it needed to be something that would appeal to them, but also something we could be proud of. So yes, the visuals are a crucial part of the magazine. 



What was the hardest thing about starting Lagom? What kind of obstacles did you come across?

[SS] When we first decided to create the magazine, we gave ourselves a tight deadline to turn everything around by, including defining the entire concept of the brand. It was a fun process, but it probably would have been a lot less stressful if we'd had more time! 

[EJS] Yes, somehow everything always takes longer than you think, even if you build in some contingency time! One of the things I regret is that we weren't able to launch a digital edition straight away. In fact we're still working on it. But I think it's important to get things right, and having an end product we're truly proud of is better than pushing out multiple formats that are substandard. 

Is it difficult balancing the website and blog alongside your plans for the printed issues? Do you see them as slightly separate?

[SS] We do see them as separate, but we also see our online identity as a good way to keep connected with our readers and potential new readers, updating them with our news and sharing previews of features we're currently working on. It's also a great way to share the things we stumble across online that we think are cool, like great designs and interesting illustrations. 



How's the next issue looking - and do you have plans for distributing Lagom more widely?

[EJS] It's shaping up very nicely. At the time of writing, we have about half the photos in and a good portion of the articles. We have a pretty good distribution network already: we're stocked all over the world, although we're still waiting to hear back from some countries with a list of the shops we're in! We're expanding our print run with this next issue and looking for more places to be stocked.

If you could each wrap up the experience of launching your own magazine in one word, which word would you choose?

[SS] Satisfying. 

[EJS] Liberating.

FEELING INSPIRED?

Sam and Elliot are both founders of Lagom and are based in Bristol, home to Cass Art's new shop.

Read Lagom's blog post about our new Bristol art shop here.

Check out Lagom's website and find out where you can get your hands on a copy of the creative magazine.  

Liquitex Professional Spray Paint combines artist quality pigments with original water-based technology, making them durable, lightfast and utterly vibrant.  

But seeing is believing, so watch artist Monkidoe as he uses the Liquitex Spray Paint to create a large, dramatic painting in his studio, celebrating the mixed media possibilites that come with these revolutionary sprays.

 

Our top tips on Liquitex Spray Paint:

- Liquitex Spray Paint is odourless and solvent free, which means unlike most spray paints, you can use it indoors. So get spraying in that studio without any risk

- Use it on a variety of surfaces including canvas, wood, masonry, glass and polystyrene. It's any mixed media artist's dream...

- It has a great coverage so it's useful for spraying large areas, applying different layers or even under-painting

- It's also water-based, which again is unusual for spray paint, which means its lightfast and permanent

- Not happy with the mark you made? Don't worry - Liquitex Spray Paint can be cleaned up with water when wet



- Once dry the spray paint offers a tough, permanent finish that keeps your designs in-tact

- As it stays wet for longer you can move the spray around with a brush or your fingers once it's applied, so get hands-on!

- Experiment with the nozzle thickness to achieve different effects - skinny and fat nozzles are available longside the versatile standard ones that come with the can

- It's fully compatible with Liquitex acrylic paint, gels and mediums, so mix and match with other art materials to achieve  

Feeling inspired?

Shop online for Liquitex Spray Paint here, and other Liquitex acrylic products here.  

He's Bristol born and bred, and despite his anonymity, Banksy is a household name. His controversial street art pieces scatter the globe – London, LA & New York – but there are many to see in his hometown in the west of England.

Cass Art has also found a new home in the creative hub that is Bristol, so we thought now was the perfect time to do a Banksy tour. Forget your tube maps and gallery guides - wander around on foot and spot the street artist's pieces around the city!

The Girl with the Pierced Ear Drum

Just a twenty minute stroll to the harbour side from Cass Art on Park Street, this spectacularly punny Banksy can be found on the side of a building in Albion Docks in Hanover Place. Discovered in October 2014, this is the latest Banksy to hit Bristol. Sadly it was vandalised a mere 24 hours after completion but efforts have been made to reconcile the damage and touch up the parody of Johannes Vermeer’s masterpiece.

 

Paint-Pot Angel

Even closer to our new art shop on Park Street, Banksy’s Paint-Pot Angel can be found in standing high in all its glory in the front hall of the Bristol Museum & Art Gallery. As a reaction to the tension between urban art and the traditional artistic establishment, Banksy hosted a heist overnight which resulted in one of the most publicised and popular exhibitions Bristol had ever seen: Banksy vs. Bristol 2009.

Mild, Mild West

Driving out of Bristol with a boot full of art supplies? Take the A38 north through Stokes Croft to spot Banksy’s satirical piece just opposite Jamaica Street junction, near The Canteen. It’s been said that Bristolians feel fondly for this particular piece; it’s one of his earliest pieces with the classic Banksy use of stencils.

Masked Gorilla

Head further out of the centre along Fishponds Road to discover an early Banksy on the side of a local community centre. The peeping gorilla was accidentally painted over back in 2011 but has since been restored, much to our art-enthused joy! It’s believed to be the longest standing Banksy and really shows how his style and social commentary through the medium of art has developed.

Grim Reaper

Head back into the city centre to find Banksy's morbid piece was originally on the side of the Thekla Social boat moored in the harbour. It has since been decided that it will be taken and protected from further wear and tear outdoors and exhibited in the M shed.

Feeling inspired?

Experiment with the street art look with our Liquitex Spray Paint, Montana Chalk Spray and Montana Gold Spray Paint.

Stock up on your art materials online now and take a visit to the new Cass Art on Park Street close by to several Banksy artworks!

After the success of Free Thinking, Cass Art’s series of creative graduate talks at Free Range last summer, we are delighted to be partnering with Free Range again for 2015. Free Range, based at the Old Truman Brewery on Brick Lane, is the place to spot the latest trends and newest talent from graduate artists & designers.

Just to put the event size into perspective, the venue covers an 11 acre site; the same size as the V&A Museum. Free Range’s sheer scale over one location and the fact that it is free entry means that it is a very popular one-stop shop to view, buy and head-hunt for the latest talent. And now’s the time to get involved!

Since its inception in 2001, Free Range has become the number one platform and launch pad for the next crop of creatives to showcase their work to both the public and industry. Attracting visitor numbers to rival the largest art events, the annual Free Range exhibitions present the work of thousands of art & design students in several distinct categories including: fashion, art, graphics, photography and interior design.

Founder Tamsin O’Hanlon says: “It’s not just about showcasing, it’s about getting a job, learning the process, giving them confidence and knowledge and making them feel like they’ve got someone to talk to. You’re not sure, as a student, if an organisation will actually care! That personal approach is one of the reasons why students come here. As Free Range has grown, so has the brewery.”

Competition 

Plus this year it’s offering an additional chance for the artists out there to wield their creative forces. Free Range’s iconic catalogue covers have been catching eyes and showcasing work for 14 years – and now the opportunity is open to students and graduates to have their design on the cover. An awesome opportunity for all!

The deadline is 22nd February, so learn more about the competition and entry specifications here.
 

 Ahead of Free Thinking at Free Range 2015, we take a look at some of our favourite pieces of work from the past 14 years…(we’re getting excited – can’t you tell?)

2003

George Vlachakis (2003)

Studied MA Fine Art at Wimbledon College of Art.

Untitled: Mixed Media 420cm X 190cm

Untitled: Mixed Media 350cm x 170cm
                                                              

2004

Liam Arthur (2004)

Studied BA Photography at Falmouth College of Arts.

Liam has achieved great success in the industry with a beautiful portfolio of images. See his work on his website.

2005

Tom Robertson (2005)

Studied BA Fine Art at Bath Spa University.

Sky Zoo: Household paint, acrylic, bobbly eyes on canvas. 280cm x 170cm.

2006
 

Alistair Burleigh (2006)

Studied Fine Art Contemporary Media at University Wales College Newport.

360 Degree Video Installation. Virtual space and real space truly collide. Two versions of the same geometric arrangement of blocks overlap in 'real' and virtual space.

Alistair is now a researcher at Cardiff University, specialising in concept design for creative technologies.

2008
 

Bel James (2008)

Studied BA Fine Art at Northbrook College

The work incorporates performance, and drawing methods more commonly referred to as Process Art. Particular motivation comes from indirect hand contact with the media/materials that result in drawings. The artworks process is sometimes documented through films and photography, whilst the drawings remain as the key indicators of the performance.

2009
 

Lora Zhivkova (2009)
Studied Photography at Westminster University

Men & Women: "Painted Childhood" mixed media works

Grandmothers & Aunts: "Painted Childhood" mixed media works

2010
 

Kathryn Thomas (2010)

Studied Fine Art at The University of Northampton.

Unseeing 2010: Installation. Pigment on paper and steel.

2012
 

Sarah Chatwin (2012)

Studied BA Photography at Nottingham Trent University.

Transformation.

Take a look at Sarah’s latest work on her website.
 

2014
 

Lily Brown (2014)

Studied BA Illustration at Northbrook College.

Not having any Brown: Acrylic, Magic Plastic
 

Feeling inspired?

Apply for the Free Range Cover Design competition here - and remember applications close on the 22nd February.

Stock up on your art materials online and pencil Free Thinking in your diary for June – we’ll be inviting the most inspiring professional creatives to share their advice with young graduates. 

Check out our programme of Free Thinking talks last summer here and keep your eyes peeled for what we've got lined up for summer 2015! 

Today is National Doodle Day - you better believe it! As much fun as it is on its own, it's also in aid of a great cause - to raise money and draw a line through Epilepsy.

So to celebrate all things doodly, we thought we'd put together a handy feature to show you one of the many ways you might want to go about doodling. But let's face it, there aren't really any rules. You can doodle how you wish. You can draw stars and shapes and fish and faces and lines and splodges and give caterpillars top-hats and animals the power of speech bubbles. The paper sky really is the limit here.

WAYS YOU CAN DOODLE

With words, and words alone. Inspiring, to the point and typographically free, spell your doodles out with the penned word.



With images - realistic, cartoon-like, copied from photographs or captured from life - whatever your doodle taste, today's the day to get the ink flowing.



On books. There are books made especially for dedicated doodle time, and here at Cass Art we sell a rather lovely selection. Want something floral and intricate like Secret Garden by Johanna Basford? Or perhaps her newer, more adventurous Enchanted Forest? It has an exclusive pull-out poster only available in copies sold at Cass Art.



Doodle to instructions. Once again, there are books for this too. Try out Fill In The Blanks by Vahram Muratyan & Elodie Chaillous, or one of Marion Deuchar's many fun-filled activity books. Let's Make Some Great Art and Let's Make Great Fingerprint Art are two good'uns - and if you find yourself up near our new Glasgow shop on Queen Street, then wander into the Art Space, where Marion's exhibition Art For All is just begging you to doodle all over the drawing sheets - and even on the wall! 



YOUR DOODLE TOOLKIT

Try doodling with the Staedtler Pigment Liners. Black, with a crisp line and variety of different nibs, you'll achieve the lines you're after with a single stroke.

Want a bit of colour? The Derwent Grapik Line Painters are bright, beautiful and calling out for your doodles - they're watersoluble too, just in case your doodles need a nice cold drink or they get caught in the rain. Or if you need to give them a river to paddle down. Or a puddle to splash in. (The doodling possibilites are endless.)



And you need something to doodle on, besides your own arm or the furniture (which we definitely don't recommend.) Try the doodle-sized A5 blank Leuchtturm sketchbook - take it on the train, leave it by the phone or pop it on your desk so you can fill it with doodles whenever inspiration strikes.

SHARE YOUR DOODLES

We'd love to see them! Post them to Instagram or Twitter with the hashtags #cassart #NationalDoodleDay and we'll do our best to retweet.

Feeling inspired?

Visit the National Doodle Day website here for more information on how you can get involved with National Doodle Day and help draw a line through Epilepsy.

It's always a great time to try something new. Open your eyes, expand your horizons, test the waters and push those boundaries.

And that's what our new START campaign is all about - starting something creative for the first time.

Are you an experienced artist who wants to try something new? Perhaps give oil painting a go after years of acrylic? Or maybe you want to start drawing on paper again, after you spend so much time on the screen? Or perhaps you're a complete beginner but you're eager to give art a go - pick up that pencil, that paintbrush or pen, and dive straight in. Well, starters, we applaud you, and our entire February is dedicated to you, and you alone.

START is separated into five helpful categories so you can get the tips you need for whatever art journey you're going begin: Start Oil Painting, Start Acrylic Painting, Start Watercolour, Start Drawing and Start Print Making.  



WHAT YOU CAN LOOK FORWARD TO

- Great prices on our START art materials 

- Handy How To features with step by step instructions and introductions to different art-making techniques

- Guest blogs and drawing tips on the blog from artists like Jake Spicer

- 50% off painting and drawing classes from Craftsy 



SOME INSPIRATIONAL QUOTES TO GET YOU STARTED...

"Every accomplishment starts with the decision to try."
- Gail Devers 

"Start where you are. Use what you have. Do what you can."
- Arthur Ashe 

"Art got its start as a thumbprint in the mud."
 - Bob Brendle

"Lose the fear of drawing."
- Marion Deuchars

Feeling inspired?

Browse our START range here and get making today! 

All our staff are artists, so please do ask them in-store if you have any questions about a new medium - they'll be happy to help.  

We all remember that art teacher that inspired us. The one that encouraged your talent, spent their lunch break teaching you how to use oil paint, or introduced you to our all-time favourite artist. Art couldn't exist without teachers.

And somebody who whole-heartedly belives in this is Sir John Sorrell, co-founder of the Sorrell Foundation, which is an arts education charity that inspires creativity in young people. He knew he wanted to pursue the arts when one day, when he was fourteen years old, his art teacher tapped him on the shoulder and asked if he wanted to start Saturday morning art classes.

Ever since, he has championed art education, something that is very close to Cass Art's heart. We have recently launched our own Artist Educator initiative to support art teachers, tutors and therapists across the UK, with an exclusive Viridian Card which entitles them to 10% off Cass Art materials for life, as well as opportunities to test new products and receive offers to support them and their students.

What's more, 5% of every purchase made with a Viridian Card will be donated to an arts education charity, which at the moment is - you guessed it - The Sorrell Foundation. Sir John Sorrell himself launched our new Artist Educator initiative at our Islington Flagship in December, but we wanted to hear more from him about why art education is so vital to society.
 
 

Can you tell us why you decided to set up the Sorrell Foundation? 

My art teacher at school, Mr Ramsay, asked me if I would be interested in Saturday morning art classes when I was about fourteen. I said I was and went along to Hornsey College of Art. I realised when I got there that art and design was what I wanted to do. A little later I became a student at Hornsey and after I left set up my first design business, when I was nineteen. I founded Newell and Sorrell with Frances, my wife, and we ran this business for about 25 years. For a long time we wanted to use our professional experience to help young people find opportunities to explore their own creativity and learn about art and design, so we setup the Sorrell Foundation in 1999. Over the last 15 years, the Foundation has created innovative new programmes and worked with many thousands of young people around the UK.

 

What sort of activities might a young person get up to whilst at the National Art & Design Saturday club?

It's a very exciting mix; everything from architecture, ceramics, drawing, glassblowing, digital animation, millinery, photography, silversmithing, sculpture and woodcut. We have counted 70 different disciplines and it's going up all the time. The Saturday Club has been running since 2009. We started it as a pilot in four colleges and it is now in over 40! The idea is to give young people the opportunity to study art and design every Saturday morning at their local college or university for free. So as well as trying a huge range of media and techniques - far more than they can at school - young people can also find out how and where they could take their studies further. We also arrange Masterclasses with professional artists and designers, so they can find creative role models and, hopefully, some of them will find careers in the creative industries.

Why do you think Artist Educators are so important to society?

Because they both teach and inspire. They are able to demonstrate a range of practical art and design skills - drawing, painting, ceramics, photography and so on - and also the qualities such as observation, experimentation, visual and spatial communication that are fundamental to creativity. Of course it's not just artists and designers that benefit from these skills, they are useful to all types of learning, and all types of work.

You’ve mentioned that your father wanted you to choose the course that would earn you the most money – do you think there is still a widespread belief that arts courses will leave you with little money and no job prospects? And if so, how do you think we can combat those ideas?

It's really important to engage more directly with schools and parents to grow a broader understanding of the range of opportunities available to those who study arts courses. It is very difficult for schools careers advisors to know about every course and every potential job in the creative industries, or even in design - everything from broadcast media to theatre, to games design, to museums, to architecture, fashion, communications, product design, vehicle design...It's a huge field, and the fastest growing sector in the UK. If teachers and parents knew more about these opportunities, and all the routes in through study and training, there would be less anxiety and more encouragement to follow creative courses at school and beyond. 

Finally, what would you like to say to those who teach art?

Art and design educators play a hugely important role in inspiring young people, opening their minds, encouraging them to question and explore. The UK is renowned all over the world for the success of its creative industries - art, games, theatre, music, film, design - but in order for this success to continue, it's crucial to keep producing young people who enter the creative professions. So keep inspiring those young people as they are the UK's next creative generation!

Feeling inspired?

You can apply for your Artist Educator card here.  

Find out more about Cass Art's support for the Sorrell Foundation and its Art & Design Saturday Club here.  

Image Credits:

Club members welding at Coleg Sir Gar (photo: Saturday Club tutors)
Club members at Tate Modern during their London Visit (photo: Magnus Andersson) 
Banbury and Bicester Club members throwing pots (photo: Saturday Club tutors)
London Metropolitan University Saturday Club members at their puppetry Masterclass at the National Theatre (photo: Magnus Andersson)

This month we're celebrating the discovery of something new with our START campaign, whether you're dabbling in something new or revisiting an old skill. And oil painting is one of the most revered, and possibly difficult mediums to try out for the first time - but it really doesn't have to be. 

For those of you who are new to oil painting, we've put together a basic How To guide to help you make those first vital steps - so read away, stock up on your oil paint essentials (all recommended by our art materials specialists) and start the art of oils today.

What you’ll need:

Daler Rowney Georgian Oil Paint Set of 8 

Winsor & Newton Canvas Board

Cass Art Hog Brushes Set of 6

Zest It Oil Paint Dilutant and Brush Cleaner

Winsor & Newton Artists' Medium

Reeves Oasis Metal Painting Knives Set of 6 

Our Top Oil Painting Pointers:

1. Perhaps the most important thing you need to know when starting out with oils, is that you can’t mix oil paint with water because they repel one another. So instead of painting with water you should use a solvent like Turpentine or Zest It.  You should also clean your brushes with solvent - you'll find that water does nothing to budge the paint from your brushes - or your hands, for that matter!

2. Make sure you paint in a well ventilated area because the solvents you need to use will give off fumes – or at least open a window whilst you work.

3. Always follow the “slow over fast rule” when oil painting. This means you must make sure the last layer of paint will dry quicker than the following layer, to prevent the paint from cracking and ruining your work.



4. Try mixing your oil colours with a palette knife instead of a brush; this will stop your brushes from clogging with paint and will also give you a cleaner application of colour.

5. Use hog brushes instead of synthetic brushes when using oil paint. They are durable so can withstand the use of solvents, and they are designed to lift the heaviness of oil paint. 

6. You can use a medium or oil to mix with your oil paint, to adapt the consistency, drying time and finish of your painting. Refined Linseed Oil and Liquin are great for beginners; the first will slow the drying time, whilst the latter will speed it up. A great one for beginners is the Winsor & Newton Artists' Medium, because it's straightforward and multi-purpose; it improves the flow of the oil paint, slows down trying time and improves fine details, as well as drying without leaving a yellow tinge. 



Feeling inspired?

Shop our range of START OIL PAINTING art materials here, and give oil painting a go for the first time. You could be producing masterpieces in no time!

It's Half Term! A whole week of for the kids to relax, wind down or perhaps drive you a little mad. But don't worry - our friends over at LittleBird have put together an excellent itinerary of creative things to keep you and the kids busy this week.

We know the freedom and creative pleasure that art can bring. Here at Cass Art we want everyone to be able to afford to do it – and see it. We have partnered with some of the UK’s leading galleries and organisations to help inspire you this season, wherever you happen to be.

When you shop in-store or online throughout February and March, you'll receive our exclusive Art Offers leaflet which includes discounts for major art galleries and brands from across the UK.

Read on to see what art treats and more we have lined up for you...



National Portrait Gallery - Sargent: Portraits of Artists and Friends

Get 2 for 1 tickets at the Sargent exhibition this season. John Singer Sargent was the greatest portrait painter of his generation and this exhibition is an unmissable opportunity to discover his most daring, personal and distinctive work. He was friends with other leading artists and writers of the time, and portraits of contemporaries like Auguste Rodin and Claude Monet saw him creating more experimental, intimate work when compared with his formal commissions. The offer is valid from 12th February to 25th May 2015. Read more about Sargent: Portraits of Artists and Friends here. 



Glasgow Contemporary Art Fair

Get 2 for 1 tickets when you present our Art Offers leaflet at the inaugural Glasgow Contemporary Art Fair, and see hundreds of galleries and artists from across Scotland and the UK. Explore two floors of original contemporary and affordable art, ranging from £50 to £10,000, and browse to buy or simply have a good look at the talent out there today. Held at the iconic venue of the Old Fruitmarket in the Merchant City, it's an art fair not to be missed in the thriving cultural city of Glasgow. The offer is valid on 25th and 26th April 2015 only, when you present the Art Offers leaflet from Cass Art. Find out more about the Glasgow Contemporary Art Fair here. 

House of Illustration - Paula Rego/Honoré Daumier: Scandal, Gossip and Other Stories 

Get £3.50 off tickets to Paula Rego/Honoré Daumier: Scandal, Gossip and Other Stories at the new gallery at the House of Illustration. Both artists are consummate storytellers who use printmaking to bring their visions, stories and politics to a wider audience. Although more than a century separates these two artists, the works of Rego and Daumier reveal a wide range of common concerns and approaches waiting to be seen. The ticket offer is available until 22nd March 2015.

PRIZE DRAW

What's more, we have partnered with The House of Illustration to bring you an exclusive prize draw worth up to £250, including a pair of exhibition tickets, a private exhibition tour by the House of Illustration's curator, mounted prints, a set of postcards, a copy of Paula Rego's Nursery Rhymes, and a Rembrandt Soft Pastel Professional Portrait Box of 90 Pastels from Cass Art. Enter the Prize Draw here, and read more about the exhibition at the House of Illustration here. 



Arnolfini

Get £10 off individual membership to the Arnolfini in Bristol, one of Europe's leading contemporary art centres. As a member you can enjoy an exciting range of exclusive benefits, including 2 for 1 tickets to events, invitations to VIP private exhibition views, and more. To redeem your offer email boxoffice@arnolfini.org.uk or call 0117 917 2300 and quote the code on the art offers leaflet. The offer is valid until 12th April 2015. Find out more about the Arnolfini and what's on here.



Whitechapel Gallery - Adventures of the Black Square

Get 10% off tickets to Adventures of the Black Square, a show beginning with Kazimir Malevich's radical black square painting through to the present day.  An epic show that will take you an a journey of a hundred years from 1915, you can see work from 100 modern and contemporary artists including Carl Andre, Dan Flavin, Piet Mondrian and Aleksander Rodchenko. The exhibition explores how abstract art has travelled worldwide, permeating our life and times. Read more about the Adventures of the Black Square here.

Craftsy

Get 50% off online Painting and Drawing classes with Craftsy! Craftsy provides education and tools to help your bring creativity into your life. Learn at your own pace from the cosiness of your own home, with easy-to-follow HD video lessons from the world's best instructors. Classes include Drawing the Everyday, Oil Painting: Sand, Sea & Sky, and Picture Book Illustration. These discounted classes are available until 1st May 2015. Check out the Craftsy website here or follow the URL on the art offers leaflet to take you to the uniquely discounted art classes. 



HelloFresh  

Get your first box of Gourmet Recipes and Ingredients Half Price! HelloFresh is the new way to cook gourmet meals at home in an easy, affordable way, delivering chef-created recipes and all the fresh ingredients to your door. Say hello to tasty, creative meals cooked in 30 minutes or less. Your half price box is available until 12th April 2015. Visit HelloFresh here and enter the code on the art offers leaflet to receive your first half price box.

Feeling inspired?

Shop online to receive these discounts in a pocket leaflet or visit any of our shops to receive them with every purchase.

Image credits: 

The Fountain, Villa Torlonia, Frascati, Italy by John Singer Sargent, 1907. Friends of American Art Collection, 1914.57, The Art Institute of Chicago.

Scarecrow © Paula Rego courtesy of Marlborough Fine Art 

Josephine Pryd: These Are Just Things I Say, They Are Not My Opinions. Arnolfini Installation view, 2014. Photo Max McClure.

Dóra Maurer Seven Rotations 1-6, 1979, collection of Zsolt Somlói and Katalin Spengler © Dóra Maurer 

Craftsy 

What are you doing on the weekend of the 28th February? Kicking your heels in Glasgow? Need some fun and inspiration?

Well fear not, oh arty ones, because we are delighted to announce that we are celebrating the opening of our Glasgow shop in real style!

To thank all of our new customers and truly launch the Glasgow shop with a song, dance and a lot of art, we are hosting the CASS ART GLASGOW LAUNCH EVENT on Saturday 28th February and Sunday 1st March.

Come along, drop by, bring your friends, family, art teachers, cousins, artlovers, art-sceptics and anyone who likes a freebie - it'll be their lucky day.

WHAT?

The first 1000 customers through the door (who spend over £10) will get a free bag of art materials, worth over £50!

For the whole weekend, there will be an extra 10% off EVERYTHING in the Glasgow shop. 

Plus there will be FREE TREATS from our friends at Propercorn and Tempo Tea Bar - for those who love free food or get peckish with all that retail therapy.

You'll also get a FREE Viridian tote bag - the new colour in town.

And finally there will be a live DJ and more art offers in-store!

WHEN?

Saturday 28th February from 9am-6pm.

Sunday 1st March from 11am-6pm.

WHERE?

Cass Art Glasgow on 63-67 Queen Street. Get directions here. It's the large white shop with big windows and a lot of smiling staff artists inside.

WHY?

Because we love to treat you artists, families, students, teachers and everyone else who has welcomed Cass Art to Glasgow. Come and enjoy the fun, freebies and art materials! 

Feeling inspired?

Find out more about the Cass Art Glasgow Launch Event here. 

Know someone who'd love to come along? Then Tell a Friend here - the more the merrier. 

*All offers and discount are only available at Cass Art Glasgow on 28th February and 1st March 2015 with a purchase of over £10. 

Charles Rennie Mackintosh was a Scottish architect, designer and artist born in Glasgow. His beloved designs scatter the city, and include the Willow Tea Rooms on Sauchiehall Street, The Lighthouse and of course the Mackintosh building at the Glasgow School of Art.

To celebrate his architectural talent, Cass Art has partnered with RIBA (the Royal Institute of British Architects) to bring you an exclusive competition. You'll be in with the chance to win prizes and also the unique opportunity to exhibit in the Cass Art Glasgow Art Space.

THE COMPETITION

Are you inspired by Mackintosh 2015? We want you to design a building inspired by Rennie Mackintosh for the chance to win £200 of art supplies from Cass Art, as well as some Mackintosh goodies from RIBA.

50 shortlisted artists will then have the unique opportunity to exhibit their designs at the Cass Art Glasgow Art Space in May 2015.



The competition is open to all ages so tell your friends, family and children!

Applications open on Monday 23rd February and close on Monday 5th April. 

HOW TO ENTER

All you have to do is download one of three Mackintosh templates and design your own building using any art materials you wish. You can download the templates here from Monday 23rd February so make sure you come back soon! 

Then you need to photograph your work and upload an image to Twitter, Pinterest or Instagram using the hashtag #InspiredbyMackintosh2015.

Please remember to keep your original work in case you are shortlisted for the exhibition.

It's as simple as that! The judges will be able to view all the work as long as you use the hashtag, and the winners will be contacted after the competition ends.

Feeling inspired?

Check out the first exhibition in the Cass Art Glasgow Art Space by Marion Deuchars here. Your work could be on the walls next! #

Image Credit: Illustration © The Hunterian, University of Glasgow 

Shane Porter's practice explores the realms of ceramics, toying with the ideas of in-between forms and the blending of an object with its environment. Originally from Northern Ireland, he graduated from the University of Ulster with a first class in Fine and Applied Art, and has since exhibited throughout the UK. He has work in the permanent collection of the Arts Council of Northern Ireland as well as private collections throughout the UK and is currently studying his MA in Ceramics & Glass at the Royal College of Art in London. He has recently been awarded the Charlotte Fraser Award for Ceramics at the annual RCA School of Material Work in Progress Show. 

With his final exhibition SHOW RCA 2015 planned for later in the year, we caught up with him about his process and fascination with the perhaps lesser known medium of ceramics.  

 

You’re studying Ceramics and Glass at the RCA – can you talk a little about the medium? Many people would hear those words and instantly think of pottery, but the possibilities must be endless?

I work mainly with ceramic because, quite simply, I am in love with the materiality of clay and the ceramic process. I enjoy making objects as much as I do thinking about them. Clay has the unique ability to replicate other materials and is a kind of chameleon in that way. It is quite difficult to get away from it – we use it, mostly unconsciously, in almost everything we do – from eating, drinking and washing to name but a few – but ceramics is much more than the functional and utilitarian. It is an exciting time to be a maker as the boundaries of craft, design and 'fine art' blur. It is a truly diverse and contemporary art form.

You studied Fine and Applied Art at undergraduate level – what kind of work were you making back then? 

After my Foundation Art course, I knew that I wanted to go to art college and concentrate mainly on ceramics – I wanted it to be my 'core' and to build up a practice that had it at the heart of it. I experimented a lot during my undergraduate studies with printing on ceramic, installation that included both ceramic and video, and also the use of industrial manufacturing techniques and how they could be used to create installation. After a while I got hooked, and I've never looked back.

What kind of methods and processes do you use on a regular basis?

Usually the first thing I will do when I am making a new piece of work is to create a model in plaster. I rarely draw in 2D as I need to see the thing quickly in three-dimensions before I can make any decisions. Depending on the size or shape this may be turned on a plaster-lathe, or cut using a diamond saw from a large block of cast plaster. Alternatively what I have began doing is designing forms on Rhino and then have them milled.

 

The majority of my ceramic work is slip-cast. This is an industrial technique used in industry to create large quantities of the same thing over and over – plates, cups, bowls, baths, toilets, sinks etc. It is a relativity quick process and enables you to make replicas of plaster models quite simply. I use an earthenware clay that has little shrinkage and behaves nicely in the kiln.

Glass has became an evermore important part of the sculpture I create. It is almost the opposite of clay yet works so well with it. It is a relatively new material for me to work with and this combination will form the basis of my show at SHOW RCA 2015.

 

What sorts of themes does you explore in your work?

At present I am exploring the notion of 'in-betweenness' – moments, situations, objects which are transitory and between states, in a strange world which is neither truth or fiction, real or fake, but somewhere in between. This directly relates to my use of glass as I am using it almost as a lens to blur structures which are monumental in their form and hopefully, scale.

What kind of work will you be exhibiting this year at SHOW RCA 2015? Do you know yet or is it all a work in progress?

A combination of ceramic and glass work, larger than I have worked before. I am interested in how the work can blend into its surroundings – so I am going to avoid the use of plinths or shelves – so you almost stumble across it or find work unexpectedly.

 

Why do you make art?

Sometimes I ask myself this as well. I think im just addicted to getting my hands dirty, and that excitement (and terror) of opening the door of a kiln at the end of a firing that can only be understood if experienced. 

Feeling inspired?

Shane works at Cass Art Soho - drop by to ask him any questions about his practice or browse the art materials in the shop.

Visit Shane Porter's website to find out more about his art here.