Mirri Sparkle: Tickets for PPA Awards
Each year, the PPA hold an awards ceremony to applaud the excellence and innovation achieved in the UK’s magazine media industry. The glamorous event, this year hosted by BBC Radio 6 Musics’ Lauren Laverne, provided a benchmark for all consumer and business media brands to be judged. In its 35th year, the night was held at the Grosvenor House Hotel on Park Lane in London’s Mayfair.
Celloglas produced the tickets for this year’s ceremony. To compliment the grandeur of the event, Mirri Sparkle from Mirri – a division of Celloglas, was the chosen stock. Mirri Sparkle is a new product that offers a glitter texture that glistens in the light. Sheets are 35.4"x27.5" and comes as a 6pt and 16pt.
The reverse of the invitation was pre coated for HP Indigo and printed with four colour process. The front of the card was finished by foil blocking lettering, using a purple foil. This process was carried out at Celloglas Reading.
Grace Harrison, Events Manager at the PPA commented, ‘When we received the tickets from Celloglas we were so pleased with the result. Mirri Sparkle was the perfect choice for the tickets as it really emphasises the glitz and glamour of the night. The purple foil gave a premium feel and the colour really popped against the silver sparkle.’
Gary Lichtenstein Editions
Yigal Ozeri - Shely ll
Yigal Ozeri is an artist who, over the past year, has embarked on the production of multiple silkscreen editions- all of which have been inspired by original paintings that he has created. Shely ll is the newest edition, one which introduces a side of the artist we haven't previously seen so clearly: an illumination of ethereal beauty conveyed through a softer, yet complex color palette.
Printed and published by Gary Lichtenstein Editions on Rising Museum Board 2 Ply.
Stonehenge for Colored Pencil with Wendy Layne
Paper Cut Artist, Tahiti Pehrson, Uses Lenox 100
Tahiti Pehrson is a Northern Californian artist that creates large scale installations of geometrical hand cut papers layered into three-dimensional structures using Lenox 100.
How did you get into hand cut paper installations? Where does your inspiration come from?
I started out as a painter on flat surfaces trying to create three dimensional effects, so at a certain point it just made sense to move directly into three dimensions. At the same time I had given up on art school and painting more on the streets. That lead to a practice of stencil making and it sort of evolved from there.
These days Inspiration comes from all over the place. Recently I have been using different materials such as wood and cement to make forms and then re-making those shapes in the paper works.
Is there anything specific about Lenox that draws you in? Does the paper enhance your work?
Yeah, it’s really the only paper I have ever used. The weight works really well for what I do, it holds the detail while keeping a structural rigidity. The 60’ and 72’ rolls enable me to work in the large scale that I need for big spaces.
What other papers have you used for your work?
I really never have. I have run out a few times and had to substitute. I’m a creature of habit
I need my conditions to be uniform and I know what the 100 feels like. Some of my first framed pieces look exactly the same ten, fifteen years later, So I trust it. I could see different weights creating more possibilities, so maybe that’s something to explore.
What kind of characteristics do you look for in paper?
I like a little less texture, just enough to absorb light. I really like the Cotton. People always remark on the way it feels. When you invest so much time in a piece you want it to be made of materials that can trust. Otherwise there is some uncertainty there. As far as color the Lenox 100 is a pretty true white with just a little warmth in a room. That is exactly what I need.
Do you have any upcoming shows?
I’m working on a show for the Joseph Gross Gallery in N.Y. that opens September 10th.
I just finished a large scale install for Facebook’s permanent collection.
Work can also be seen at K.Imperial Gallery in San Francisco and at Salon 91 in Capetown, South Africa.
One last project, I’m working with RVCA right now on a capsule collection of Women's clothing based on the paper cut work. RVCA will translate the original hand-cut pieces into transparent, laser-cut and burn out materials. So that will be out in Spring of 2016. Check it out.
