Centre for Fine Print Research University of the West of England Centre for Fine Print Research
  CPD wideformat course

PhD Supervision team at the CFPR

A list of the available supervisors at the Centre for Fine Print Research is available here
 

 
Professor Carinna Parraman
Carinna Parraman is the director of the Centre for Fine Print Research. Her research is broadly into colour print, theory and perception.  One of her ongoing programmes of research investigates the archiving of inkjet colour on paper, in particular the impact of different inkjet papers on dyes and pigment inks and how colour changes over time. She has examined practical problems of ‘real time’ evaluation of colour changes and how inkjet prints react to different environmental conditions. Her research has developed through long term usage of digital imaging software and print hardware; experience of photomechanical methods for image making; an increasing understanding and knowledge of the field of digital inkjet printing; and the development of new creative approaches for inkjet printing. Her areas of expertise include colour management, colour appearance, colour printing for artists, 2.5D printing, colour fading and conservation, the relationship of ink on paper (for both fine art uncoated and coated papers), print history, colour theory and perception.

Carinna is a the UWE lead on a 4 year European funded research project, 'Colour Printing 7.0: Next Generation Multi-Channel Printing (CP7.0)' which started in 2012 and addresses a significant need for research, training, and innovation in the European printing industry. This project aims to take the colour printing field to its next generation of technological advancement, by fully exploring the possibilities of using more than the conventional four colorants cyan, magenta, yellow and black, focusing particularly on spectral properties, but will also train a significant new generation of printing scientists who will be able to assume science and technology leadership in this traditional technological sector. Carinna’s fine art practice is based on an investigation of the perceptual impact of assimilation and contrast, which she describes as colour in flux. As Albers suggests "in visual perception a colour is almost never seen as it really is", where colour is relative to its neighbouring colour, some colours will overpower, some enhance, others will excite and vibrate, and as the eye fatigues or becomes accustomed to viewing the artwork, colour may change.  Carinna’s book Colour Coded was published by the Society of Dyers and Colourists in 2011 and she has a chapter in the book Colour Design, Theories and Applications, which traces the evolution of colour printing to new decorative print applications in the 21st century. She also has a chapter ‘Colour mixing in the twenty-first century: the craft of the digital’ in the book Colour in the Making: from Old Wisdom to New Brilliance, published by Black Dog Publishers in 2013.
 
Sarah Bodman
Sarah Bodman is Senior Research fellow at the Centre for Fine Print Research where she undertakes research investigating contemporary artists’ books. She is also programme leader for MA Multi-disciplinary Printmaking. Sarah is the editor of the Artist's Book Yearbook a biennial reference publication on contemporary book arts, published by Impact Press; the Book Arts Newsletter and The Blue Notebook journal for artists’ books. Sarah writes regular columns for journals including Printmaking Today. Her specialisms are in the field of artists’ publishing and printmaking. She has supervised 4 PhD students to completion, and is currently Director of Studies for 4 students at Bower Ashton

Sarah’s own artists’ books include Flowers in Hotel Rooms Volumes I-V, an ongoing series of books inspired by Richard Brautigan’s novel The Abortion; Do Not Enter, unique pulp/screenprinted book, and e-pub for Tim Mosely’s Codex Event 8, Brisbane, Australia, March 2012. In collection of Codex 8, Australia; Dead Search for the exhibition Lessons in History Vol. II – Democracy at grahame galleries + editions, Brisbane, Australia (November 2012), and Some Small, Good Things (a collaborative book for World Book Night, April 2013).  Her books have been featured in publications including: 1000 Artists’ Books: Exploring the Book as Art (Quarry Books, 2012) and Masters Book Arts: major works by leading artists (Lark Books, 2011) and are in over 60 national and international collections including: Tate Britain, the British Library and the V & A Museum, All Saints Library and Winchester School of Art, UK; Joan Flasch Artists' Book Collection, Yale Centre for British Art, MOMA, Brooklyn Museum of Art, Mills College and Rhode Island School of Design, USA; Spazio Libro D’Artista, Catania, Sicily; Artists’ Books Archive, Milan; Bibliotheca Alexandria, Egypt; Moscow Artist’s Book Archive; The Art Gallery of New South Wales, Sydney, and Institute of the Arts, Canberra, Australia.
 
Dr Tavs Jorgensen
Tavs Jorgensen has recently joined CFPR as Senior Research Fellow and brings a extensive experience in ceramic, glass and digital fabrication.

Tavs initially trained as a craft potter in his native Denmark and came initially to the UK to work as a production thrower at Darlington Pottery. He went on to study three-dimensional ceramic design at Cardiff Institute and established his own design consultancy with leading companies such as Wedgwood and Lenox as clients. He spent more than a decade working in the ceramic industry as a professional designer/modeler.

From 2006 to 2016 he worked as a Research Fellow at the Autonomatic Research Cluster, Falmouth University where he contributed to development of the cluster’s pioneering research into the use of new digital fabrication tools in design and craft practice. He completed his PhD in 2015 focusing his study on Reconfigurable Pin Tooling and the impact of digital technology on independent innovation.

He taught for 10 years on the Ceramic and Glass Programme at the Royal College of Art and before joining UWE he lectured on the 3D Design Course at Plymouth University. He also has a very active visiting lecturing career and has delivered lectures at leading international institutions including Massachusetts Institute of Technology (MIT), The School of the Art Institute of Chicago, University College London, Chulalongkorn University, and The Royal Danish Academy of Architecture and Design.

Tavs maintains an active creative practice with work exhibited at leading venues including the Saatchi Gallery (London), Pushkin Museum (Moscow), Museum of Art and Design (New York), Christies (London), and Salone de Mobile (Milan).

Tavs’s current research interests include: digital fabricating, innovation theory, tool making and inter/trans disciplinary design.
 
David Huson
David Huson is a senior research fellow at the Centre for Fine Print Research where he leads an internationally acclaimed research team in the field of 3D rapid prototype printed ceramics. He was awarded the 2011 Saxby Medal by the Royal Photographic Society for achievement in the field of three-dimensional imaging in recognition of his pioneering research. His body of work includes A practical Re-appraisal of Continuous Tone Photo-relief Printing for Ceramics and Alternative Substrate (2000-2003). Funded by the AHRC this project explored the potential of early photo-mechanical printmaking techniques, including the Woodburytype process, for the printing of high quality photographic imagery onto ceramics and alternative substrates.

As a result of the success of this research the CFPR 3D printing lab, led by David and Professor Steve Hoskins, was set up in 2007 with funding from the Higher Education Innovation Fund and Science Research Investment Fund - which allowed the purchase of equipment. This was followed by an AHRC award for The Fabrication of 3 Dimensional Art and Craft Artefacts Through Virtual Digital Construction and Output (2007-09) to carry out research into 3D rendering and 3D printing. This study was undertaken from the perspective of the artist/ craftsperson and sought to adapt its generic, intermediary, industrial role as a tool for creation of temporary prototypes to the production of one off, permanent bespoke or limited edition artefacts. The AHRC grant Solid-Free-From Fabrication in Fired Ceramic as a Design Aid for Concept Modelling in the Ceramic Industry (2011-12) aimed to prove the commercial viability of 3D printed ceramic bodies as a design tool for concept modelling of tableware and whiteware for the ceramic industry. David and Steve were awarded a three year AHRC award in 2012 Can Egyptian Paste Techniques (Faience) Be Used For 3D Printed, Solid Free-form Fabrication of Ceramics? to investigate a contemporary 3D printable Egyptian Faience material. David has given over sixteen peer reviewed conference papers at international conferences including three focal papers at the IS&T Digital Fabrication Conferences 2007, 2008, 2009 and he moderated the NIP28/Digital Fabrication 2012 roundtable on 3D Print. He has an extensive industrial background, working in research and development in the ceramics industry for 20 years as a ceramic engineer, production manager and company director.
 
Dr Paul Laidler
Paul Laidler is a Senior Research Fellow at the Centre for Fine Print Research. During the past few years Paul has been working with a succession of different artists at the CFPR to produce fine art prints using digital print technologies. Paul's specific area of research looks at comparing previous established practices within the field of fine art Printmaking in-light of today’s digital print technologies. He has worked with internationally acclaimed artists, such as Richard Hamilton, Therese Oulton, Lesley Dill, Joe Tilson, Paul Hodgson and Leo Baxendale, at the Centre for Fine Print Research, to produce fine art prints using digital print technologies. This included consultancy work with Richard Hamilton to produce a series of new works for which Hewlett Packard made a special linen ink jet canvas to the Centre's specification. Paul curated the exhibition Just Press Print which toured the UK and his research into the collaborative print studio has led to the creation of the CFPR Editions publishing studio. Paul also produces his own work that is informed by much of his technological activities at the CFPR and has been recognized both nationally and internationally through a series of juried exhibitions and publications. His work is included in collections at The V & A, Tate Britain, School of the Art Institute Chicago and The University of the Creative Arts Farnham. Paul also presents elements of his work and research through his blog, Just Press P
 
Dr Paul O'Dowd
Dr Paul O’Dowd is a is a research fellow at the Centre for Fine Print Research. His research is cross-disciplinary drawing on self-organising biology, evolutionary computer science and theory of mind and craft-based approachs to 3D printing and novel applications of inkjet technologies for 2.5D vector driven printing. Paul’s intention is to establish a new aesthetic that transcends the typical automated workflow (CAD modelling followed by ‘slicing’) to find an elegant and artistic mode of fabrication entirely unique to the 3D Printer. In 2.5D printing, the intention is to exploit multi-layering of inks to gain the idiosyncratic properties of relief apparent in more traditional mediums such as paintings.

Paul is part of the team working on the Re-Distributed Manufacturing (RDM) and the Resilient, Sustainable City network which is funded by the EPSRC and is led by the University of Bristol. This project aims to explore the impact of RDM at the scale of the city and its hinterland, using Bristol as an example in its European Green Capital year, and concentrating on the issues of resilience and sustainability. The researchers will study the issues from a number of disciplinary perspectives, bringing together experts in manufacturing, design, logistics, operations management, infrastructure, resilience, sustainability, engineering systems, geographical sciences, mathematical modelling and beyond. In addition, the network will, through the way in which it carries out embedded focused studies, explore mechanisms by which interdisciplinary teams may come together to address societal grand challenges and develop research agendas for their solution. These will be based on working together using a combination of a Collaboratory - a centre without walls - and a Living Lab - a gathering of public-private partnerships in which businesses, researchers, authorities, and citizens work together for the creation of new services, business ideas, markets and technologies.

 
Dr Peter Walters

Dr Peter Walters is a research fellow at the Centre for Fine Print Research where he undertakes research into novel uses for 3D printing in applications ranging from design and the visual arts to robotics and medical technologies.  Peter is also a visiting researcher at the Bristol Robotics Lab and is part of the multi-university team in an EPSRC funded collaborative project to investigate the design and control of new soft-bodied robots. A revolution is beginning in robotics in which new soft-smart materials more similar to animal tissues are being introduced. One such material is the class of electroactive polymers (EAPs)-flexible plastics that can change shape when an electric current is passed through them and thus can act rather like animal muscles.

Professor Stephen Hoskins
Stephen Hoskins is Hewlett Packard Professor of Fine Print at the Centre for Fine Print Research within the University of the West of England Bristol. Apart from being a practising printmaker, his primary areas of research are; 3D and 2.5D printing and related digital technologies, ink, early 19th Century printmaking, history of fine art print, printing substrates, the applied arts, role of materials and craft skills in the digital design arena.


His latest book 3D Printing for Artists, Designers and Makers is published by Bloomsbury and his other books are: Water based Screenprinting and Inks.  He has also written over 20 peer reviewed papers and articles and has 3 patents: ‘Novel methods of water based screenprinted ceramic transfers’; ‘Printer with substrate registration means’ and 'A Method of 3D Printing Ceramics' which has been licensed to Viridis3D llc. For 35 years, Professor Hoskins has been involved with the creative arts and the print industry, including running a small company for 20 years. He has been peer reviewer for international funders, conferences and journals and is the chair of the IMPACT International conference for Printmaking. He has been awarded over 15 Arts and Humanities Research Council grants and 5 Knowledge Transfer Partnerships with industrial partners (funded by the UK's Technology Strategy Board).