Meet the Maker: Lea Lloyd

Describe your printmaking process.

My work is abstract, bold, and graphical, focusing on simple geometric shapes, patterns, and vibrant colours. I primarily use screen printing but my practice also includes digital patterns, hard-edge painting and graphic design. I love how a single shape can evolve into something much more complex by layering with colours to create intricate patterns. My process is very intuitive, I don’t overthink it, I tend to commit and go. I might test a few placement options but then I trust what feels right and move forward. Given that my day job is bound by brand guidelines and corporate purple I never use this colour in my print or art work. I tend to go a bit wild with colours outside of work hours. After spending too long working with one shape I shift to another to explore its limits and possibilities. Of course, this approach can lead to mistakes or even ruined prints, but that’s all part of the process. For me unexpected moments are often just as important as the planned ones.

How and where did you learn to print

I first learned to print during my Art Foundation course while deciding whether to specialise in Textile or Graphic Design. Looking back, it’s amusing how I’ve ended up doing both, working as a graphic designer in my day job while also printing and creating art on the side. Some of my happiest days were at university, where we spent entire days printing and mixing dyes, working alongside friends. It was there that I truly learned the foundations of screen printing. I’m still in touch with my teacher Andrew Ruffhead who continues to send me inspiration.

Why printmaking?

I love printmaking because it’s a physical, hands-on process. From mixing inks and exposing screens to setting everything up for printing, I enjoy every stage. There are always possibilities and I’m constantly learning. What I especially appreciate is the balance between control and unpredictability in the final results. Sometimes, something unexpected happens that surprises me, this element of discovery is a huge part of the appeal. The colours achieved through screen printing are incredibly vibrant, especially the neons - you just can't achieve these colours digitally or through commercial printing.
Since I spend my working day in front of computer screens, and given how digital our lives have become, I value the opportunity to step away from screens, use my hands, get inky, and focus on printing. Screen printing feels perfectly suited to my style.

Where do you work?

I don’t have a studio at home, but I do all of my print admin, packing, and organising from my dining room table. My screen printing takes place at the wonderful Spike Island, a shared print studio where I’m an evening member. I do have plans for a garden art shed, which will be a big undertaking but incredibly exciting, especially as my artwork is slowly starting to take over all the nooks and corners of our house.

Describe a typical day in your studio.

There’s really no typical day for me. I work over four days, then squeeze in my design work, artwork, and print prep around it. With deadlines for shows or markets, I often find that as an artist you need to be skilled in website building, social media and sales on top of creating art. Wednesday is my sacred printing evening; nothing gets in the way of that. I make sure everything is set to go and I can be incredibly productive in those few hours (with help with a hairdryer to speed things up).

How long have you been printmaking?

I’ve been printmaking, in one form or another, since university, so nearly 30 years now. After graduating, I had exciting plans: interviews with textile companies in London and dreams of moving to New York, where all the textile jobs seemed to be. But shortly after I graduated, my dad died very unexpectedly while on holiday, and everything changed. For a few years, I stopped being creative altogether. I did move back to London for a while, but it just wasn’t the same. I found myself in completely the wrong career and feeling quite lost. In 2002, I moved to Bristol and started again in a new city. By then, it had been a few years since graduating and I wasn’t creative. I visited a craft market and met a lovely lady selling screen prints, who told me about Spike Island. I joined, started small by printing greeting card designs and began showing them to shops. That led to being taken on by an agent and being nominated for the prestigious Henries Awards for greeting cards this really kick-started my creative mojo again. Over the next few years, my work evolved through greeting cards, prints, and wedding stationery. Later, after having my daughter, it expanded into screen-printed babywear and children's wear.
I’ve tried different studios over the years, but nothing ever quite compared to Spike Island and their community, so I rejoined about three years ago. Since then, I’ve returned to patterns ...my first love. In many ways, it feels like I’ve come full circle, back to where I was always meant to be: patterns.

What inspires you?

- IG print pals - I have met some lovely, supportive people on here
- Spike Island
- Art shows
- Bauhaus
- Nature and dog walks
- Joseph Albers
- My Dad of course, he was a self-employed architect (pre-computers) so he did technical drawings all day, working from home.

What is your favourite printmaking product?

- Tapes. Brown tape, frog tape and Tessa tape.
- Speedball Acrylic Screen Printing ink in Fluorescent Pink. Such a great pink!
- Somerset Satin paper.

What have you made that you are most proud of?

Woolwich International Print Fair 2025 was a whirlwind and my very first Woolwich. It showed me how a playful idea paired with a bit of experimentation, can gradually evolve into a finished piece of work which was selected for curation and ultimately
sold.

Where can we see your work? Where do you sell?

Instagram, print fairs, the odd market or arts trail, Etsy and my website.

What will we be seeing from you next?

I have a busy May and June coming up:
- Spike Open Weekend (Private view 1 May/Open 1-3 May)
- Upfest (live painting on Saturday 16 May)
- Frome Market (Sunday 3 May)
- Fold Print Festival, Bruton (13 - 14 June)
- Garden art shed build happening this month
- Larger work I am determined to upscale to A2 and A1 and canvas/wood works.

Do you have any advice for other printmakers and creatives?

Ultimately go with what gives you joy because that’s what will make you want to keep exploring. Being an artist is often about feeling there is always more to discover, more to try.

Follow the feeling. If something doesn’t feel right, start again. I often try new colour combinations and can tell quite quickly when something feels wrong, if it does I stop, reset.

Show up, even if it’s only in a small way, even a tiny amount of print time each week can build into new work over time. It’s all about momentum and simply showing up. I have a super busy life but you can always make time for what is important to you.

Play, experiment, and explore That’s often where the best ideas begin. Giving yourself permission to try things without pressure can lead to unexpected and exciting directions.

Start small, sometimes the best thing you can do is strip it all back. Spark ideas in simple ways: a five-minute doodle a day, a quick collage with stickers, a mini course in something you want to try.

Keep going. I feel like it has taken me decades to get fully back on track after grief knocked me. For a long time, I felt like I was always trying to catch up. Now, I feel incredibly lucky to have creativity both in my day job and in my art
work outside of it.