Studio
The print studio is an intimate space, in a quiet mews yard in Stockwell, south London.
Membership options
Studio
The print studio is an intimate space, in a quiet mews yard in Stockwell, south London.
Membership optionsFacilities | Services | People | Membership
About
We are a creative and sharing community of printmakers. Members are a friendly bunch, usually up for giving help or advice to each other. Some of us focus on a particular technique in their practice, others explore multiple processes. We respect each other’s space and time.
We have two types of annual membership – one for experienced printmakers, which allows unlimited unsupervised access – and one for those printmakers who want a bit of support (and someone to share a cup of tea with!), when a member of staff is also at work in the studio.
We aim to make sure that there are no more than 4-5 people printing at a time, so that you can get on the press you need and get on with your work.
If you don’t need the long-term access that our memberships offer, it is also possible to use the studio on a short-term project basis. Contact us directly to discuss this.
We also offer an editioning service, one-to-one or small group tuition, classes and workshops.
Facilities
Our etching, lithography and relief presses
Etching Press
- Bed size: 122 x 76cm
- Good working size: 76 x 56cm
Albion Relief Press
- Bed size: 70 x 56cm
Lithography Press
- Bed size: 66 x 58cm
- Large number of litho stones and some litho plates available
- Litho consumables, gum, chalk etch etc
Nipping Press
- Book making tools and equipment
- Guillotine
- Nipping Press
- Standing Press
Tools and materials
Included in your membershp
- Nitric acid for zinc plates
- Ferric chloride for copper plates
- Hot plate, rollers, dabbers, tapers, grounds
- Aquatint box, mask, burner
- Old newspapers, used scrym, rags, oil
- Artists should bring their own tools, inks and specialist papers
Available to buy
- Etching plate
- Lino
- Wood
- Acrylic sheet for drypoint, monotype, collograph
- Scrym
- Tissue
- Newsprint
- Proofing paper
- A selection of printing papers – Rives, Somerset, Cartridge paper, B & B
Services
Editioning
Making and editioning plates. Working with artists to make prints. Printing your project or devising a new print project. Email us with details of your project.
One-to-one tuition
One-to-one teaching at £54.00 per hour (minimum 3 hours). Please contact us to discuss your requirements.
Private hire
The studio can be hired for one-off events, exhibitions and classes. We are also interested to hear from artists and printmakers who would like to hire the studio to deliver classes. Email us to find out about studio availability.
Workshops
Bespoke workshops by arrangement for groups of up to 8 people. Please contact us with your dates and requirements.
People
Michelle Avison
Michelle Avison studied painting at Slade School of Art, and printmaking at Wimbledon School of Art. She is owner/ director of HAUSPRINT and Head of Printmaking and Bookbinding at Morley College, London. She has work in private and public collections including Chelsea and Westminster Hospital, Orchard Solicitors, and etc limited, London. Michelle teaches Monotype: Ideas and Techniques
Alex Le Fevre
Alex Le Fevre is an artist using sculpture, photography and mixed media to make large-scale installation work. He studied at the Royal College of Art and worked in Berlin during the 1980s.
Claire Willberg
Claire Willberg graduated as a sculptor at the Royal College of Art in 1989 and subsequently completed an MA in printmaking at Camberwell College of Art. Her current practice combines traditional intaglio and relief printmaking techniques. She takes inspiration from discarded objects found on the streets of London and gives them a new existence. Claire manages our exhibition programme.
Rob White
Rob White is a painter and printmaker with many years experience editioning for well known artists including Stephen Chambers, Tom Hammick and Grayson Perry. He enjoys the collaboration between artist and printmaker, the unpredictability and serendipity of the process. Rob leads our HAUSPRINT Etching Year.
SooMin Leong
SooMin Leong’s practice is inspired by travelling and journeys, both literally and through the printmaking process. The interaction of different layers with colours and textures plays an important role in her work as each piece is a story informed by the experience and impression of travelling.
Chris Christodoulou
Chris is an artist, architect and teacher based in east London. His art practice explores notions of home and memory, connected through the obsessive activity of drawing as visual diary, largely inspired by dreams.
Chris studied Fine Art at Chelsea School of Art, MA Art in Architecture at East London University and a multidisciplinary MA Art at London Metropolitan University. Chris runs our drypoint courses.
Sarah Gürsoy-Heuser
Sarah Gürsoy-Heuser is an artist and educator. Her practice explores ideas of national identity, collective memory, and how land and borders become central sites for tension. She uses landscape as subject matter, fragments of text to suggest ideas of place/time and provoke a sense of foreboding and unease.
Sarah Gillett
Sarah Gillett is an artist and writer investigating the life of things across space and time. She graduated with an MA in printmaking from the Royal College of Art in 2015. Her practice explores histories of belief, ritual and storytelling in order to question our place in the universe today. Sarah manages the stories on our website.
Eleanor May Watson
Eleanor May Watson is a visual artist working primarily in paint and print, creating images of home in which to contemplate memory, longing, desire and belonging. In 2021 she won the Eames Fine Art Award at the Woolwich Contemporary Print Fair.
Artist talk: SooMin Leong
In this video presentation, SooMin discusses her practice, the importance of landscape in her images and how walking can change how we experience the world.
“I think all visual art is a metaphor”
Following a previous career as a forensic psychiatrist, James Anderson’s colourful carborundum and layered woodcuts convey the emotion of inner worlds. We discuss abstraction, inspiration and the hard work of practice with him.
Artist talk: Helen Breach
In this video presentation, Helen talks about the different ways in which she explores the world around her through drawing, painting and printmaking, including looking at dancers in rehearsal, the natural environment and portraiture.
Etching Year | 40 weeks | Mondays | September 2024
This Monday evening class is a unique opportunity to build your etching skills over the course of a year. The HAUSPRINT Etching Year is designed to provide stable building blocks for your printmaking future, whatever your starting point. Over 40 weeks you’ll be guided through a specialist programme delivered over three terms which teaches the principles of etching.
Carborundum | 4 days | August 2024
Explore carborundum plate making and printing techniques over 4 consecutive days. Working on acrylic plates you will learn how to use carborundum grit and painting mediums to achieve painterly, textural marks, resulting in rich, vibrant prints.
Monotype with water washable inks | 3 Saturdays | October 2024
Explore monotype printing over three mornings at HAUSPRINT. This course is designed to give you a really good understanding of using water washable printing inks to make painterly monotypes.
Tide (Vertical) no.13
The Tide (Vertical) series of monotypes were made in the studio, responding to 100 watercolour paintings made in Scotland in the summer of 2021. They record changes to the sea, the tide and the weather. In their making, controlled accident and chance combine with painterly mark making to make new landscapes.
Rosetta Rose
One of two unique etchings with chine collé donated to our Crowdfunder by previous HAUSPRINT member, painter Rose Electra Harris.
Blue Green March 2023
This print is one of a number of recent prints exploring and exploiting the expressive potential of the printmaking technique known as carborundum relief printing. This was developed by the French American artist Henri Goetz (1909 – 1989) in the 1960s who introduced it to a number of other artists notably Joan Miro. Miro wrote to Goetz saying ‘the results are fascinating and very beautiful. The artist can express himself with more richness and freedom…which gives a beautiful substance and a more powerful line’.