Pureprint Group Invest in Screen Printing at Imprint

12th September 2017

We continue to invest in our large format point-of-sale division Imprint based in Newcastle Upon Tyne.

The installation of a Sias 2 colour large format multi formula screen print machine with a maximum print area of 1500 x 2350mm compliments an existing screen print operation and digital suite of large format Inca flatbeds, including a S50, R40 and Acuity with the additional purchase of a 3.2mtr Hybrid Vutek HS125 and extensive finishing equipment completed during 2016.

The screen print machine now completes a move to upgrade existing screen machinery to a larger format to complete compatibility across all machinery to further enhance its product offering to provide special ink colours, metallic, fluorescents, rub removals, glow in the dark inks, glitters and varnishes.

Dave Bullivant, Imprint Managing Director commented “Screen printing is an integral part of creative visual communication, despite the fact that many foresaw its demise or its more limited use with the arrival of digital printing. When it came down to it, however, screen printing proved to be an irreplaceable printing method, which continues to develop, producing better and cheaper products, using ever-more environmentally friendly methods and with a broader scope of materials that cannot currently be printed with the digital process.

There are many advantages to using screen printing however, the main advantage is the unique visual result it creates. The inks used are very durable, the colours are extremely vivid, particularly for outdoor uses, making this a unique reproduction technique and when combining this with digital technology and the creative opportunities the only limits are imagination."

Imprint continues to grow since the acquisition by Pureprint Group in 2014 being driven by its unique online promotional management tool Additions, developed in house specifically for retailers to control and improve the efficiency of point of sale which is soon to see the release of the module Store Smart in Q4 2017.

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Eye 94 comes out with 8000 unique covers

4th September 2017

Eye magazine is known for its striking covers, but the cover design for this issue is unprecedented. Each of the edition’s 8000-strong print run is bound with a unique, individually numbered cover, designed by Paul McNeil and Hamish Muir, and based on their typefaces TwoPoint and TwoPlus.

For this issue 94, the 26th edition printed here at Pureprint, each unique cover was generated using software called HP SmartStream Mosaic and printed on one of our HP Indigo 10000 digital presses. The remainder of the magazine was printed litho. The Mosaic software supplies a different image file for each pass of the press, each derived in this case from a number of ‘seed’ files supplied by MuirMcNeil that repeat the letters of the word ‘eye’. Mosaic makes it possible to resize, rotate and change the colour of the artwork, cropping it to make each cover unique.

John L Walters, Eye editor commented “All Eye’s covers are based on the content of the issue, and they have to communicate purely visually – other than the Eye logo and the issue number there are no cover lines. And Eye’s art director Simon Esterson has long been interested in the possibilities of variable data printing. So my feature about MuirMcNeil’s typefaces, made using ‘parametric design systems’, seemed entirely appropriate for the cover design and print possibilities opened up through using Mosaic software for the HP Indigo 10000.

Printing took place at Pureprint, where we have printed every issue of Eye since becoming independent in 2008. Because (as I wrote in Eye 94), ‘McNeil and Muir … revel in the beauty of type derived from maths’, this seemed a golden opportunity for our readers to share in the pleasure of their processes, by receiving one of 8000 unique numbered copies of Eye 94.”

Adrian Harrison’s short video of the cover being printed and bound here at Pureprint can be seen on Vimeo

See the latest ‘Eye Before You Buy’ a brief flick through the entire issue

Contact us to find out how you can use the software for your next project

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Pure Mosaic – the art of personalisation

21st August 2017

Our award winning marketing publication Pureprint Works has an exciting cover design this year – each one unique and created using Mosaic software.

We have created 5,000 unique covers from just 2 seed artworks using software which allows you to generate hundreds, thousands and even millions of unique graphics for a memorable experience. From a base pattern, by using scaling, transposition, rotation and colour shuffle you can now use the art of personalisation to deliver the most original communications.

The software is an HP SmartStream Mosaic application using vector PDF files as input which then generates a large number of variations by randomly transforming the file. Great for packaging (as used by Coca Cola with their 2 million unique bottles), unique covers for magazines (as Eye Magazine Issue 94 have just done) and of course direct mail. These are only some of the applications of this exciting software, the opportunities are limitless for you to communicate with a unique design for your customers.

Contact us to find out more about Mosaic and our digital print capabilities and to order your copy of Pureprint Works 5.

Watch this video to see how Eye Magazine Issue 94 created their unique covers

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Pureprint Achieve Cyber Essentials Plus Accreditation

10th August 2017

We have recently been awarded the certificate of assurance for Cyber Essentials Plus. This accreditation requires organisations to have a number of technical and procedural controls in place to improve their information security in order to mitigate common internet-borne cyber-attacks. Cyber Essentials Plus is a series of tests that provide a further level of assurance that these technical controls have been successfully implemented within an organisation.

This level of security along with the Group already holding ISO 27001 and DMA DataSeal accreditations means that we can offer our client base the reassurance that the most stringent procedures are being put in place for their data and information. This is of particular significance to governmental and financial organisations where the sensitivity of their information means security and confidentially accreditations such as these are a requirement of their suppliers.

Graeme Wilkie, Group IT Director, Pureprint Group commented:

“Adding Cyber Essentials Plus to our suite of security credentials gives our clients assurance that we take handling their data seriously and do everything we can to ensure that we are a safe pair of hands when dealing with confidential information. “

He continued “With the continuing growth of our in house developed software products, our portfolio of services has grown to make the interaction of data and print an important part of our customer offering. Achieving Cyber Essentials Plus has added a new level to this and with some of the best print processes in the industry aligned with sophisticated data handling we give our clients the assurance that we will effectively manage their cross media marketing projects successfully and securely.”

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Pureprint Open Pure Creative Packaging Office

3rd August 2017

We are delighted to announce that Pureprint’s creative packaging department is expanding with the addition of new office and client space in Hemel Hempstead.

This new facility will increase Pureprint’s expert focus on packaging, providing excellent customer-friendly facilities including an inspiration and library area to showcase a huge variety of materials and samples. The new site will also house CAD table and machinery, cardboard engineering design, and a customer service team.

Alan Ball, Sales Director at Pureprint Group, and heading up the move and expansion, commented: "Luxury and creative packaging is becoming a crucial part of our Group business, and many of our clients require our packaging skills on a wide range of projects, from presentation boxes for books, to intricate packaging for direct mail, and even point of purchase offerings. This exciting new Hemel Hempstead base will allow us to offer a completely holistic creative service to our clients, from inspiration to design and production, all under one roof.”

Pureprint Group CEO Mark Handford added: "Personal service and face to face meetings have always been a key feature of Pureprint’s relationship with the customer, and our growing regional bases really do help us support that across the UK. With the addition of this new site in Hemel Hempstead we can now offer that level of support to the rapidly expanding packaging side of our business too."

See our packaging case studies

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Pureprint Win Direct Mail Award

21st June 2017

We are thrilled to announce we have won the Direct Mail Award at the Print, Design and Marketing Awards 2017. The winning project was the Royal Mail MarketReach Life Stages mailing.

This direct mail communication was sent to a carefully selected database of 100 of the UK’s most influential marketeers. Pureprint’s hybrid print and direct mail solution enabled the creation and delivery of this truly unique communication, featuring litho print and HP Indigo digital techniques, highly personalised pages with variable hand-matched sections, and an embedded video.

After successful mailing from Pureprint’s own fulfilment centre, the customer confirmed superb responses from the big brand movers and shakers, thanks to the highest levels of hand finishing and attention to every detail.

The judges’ comments were “An excellent understanding of the brief, this was a complex piece of direct marketing with multiple components that created huge success for the brand and far exceeded its objectives.”

Find out more about the awards we have won - http://www.pureprint.com/awards/

Find out about our digital printing services - http://www.pureprint.com/services/digital/

Find out more about the marketing services we offer - http://www.pureprint.com/services/marketing/

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Creative Printing Studio in Bermondsey

20th February 2017

Print, paper and process make inspiring communications.

So we have set up a creative printing studio in our Bermondsey Street offices to provide London’s marketing and design community with additional resources to help them create and produce inspiring campaigns and publications that make a difference.

This growing resource is open to any marketing and design professionals to help them to develop a project or just to expand their knowledge.  There are samples of over 12,000 papers and binding materials from around the world, samples of a wide range of finishing and binding processes and colour proof viewing facilities for accurate proof checking, swatch matching and colour mark ups.

The team based in this office are experienced in working with designers and brand owners to create truly engaging and creative print projects and there is always someone on hand to discuss and cost ideas and options.

There are also regular round the table gatherings held at the studio. The events are called Pureprint Talks and leading figures in the world of creative print come along to discuss projects and techniques that have produced some of the most stand out printed communications.

The studio is based in Bermondsey Street just 5 minutes walk from London Bridge station in a stylish warehouse building. As well as the materials library and colour viewing facilities there are a wide range of finished products to view from books to boxes, from brochures to retail displays, from personalised products to creative packaging.

The colour viewing room is well used and enables customers to confidently view proofs in the correct colour controlled conditions which is imperative on colour critical work.

Many creatives have already visited this creative print resource and Ana Rachel Estrougo, Designer at Pentagram, a multi-disciplinary design firm with offices worldwide commented “I came to see Alan at Pureprint’s Bermondsey space about a book project. The format we wanted to have was clear, but I was keen on getting some inspiration for finishes and materials. The Pureprint library has a wide selection of very high end materials, techniques and stock which helped me to create the look and feel I was hoping for. The Pureprint team also produced very professional mock ups which helped the client to sign off the project. Overall an excellent experience.”

Alan Ball, Sales Director at Pureprint commented “The creative printing studio is proving really popular. The location is great and we are delighted that the library, viewing room and meeting rooms are being well used. Our specialists in packaging, direct mail and personalised products also come in regularly to run workshops for customers. Young creatives who are discovering the full potential of printed communications are particularly welcome.”

Contact us if you want to book a visit

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Pureprint’s favourite moments from 2016

31st January 2017

Last year was a hugely successful year for Pureprint. Over the 12 month period we continued our working relationships with many brands and agencies, and welcomed new ones too. On top of completing a diverse variety of projects, many with challenging and complex briefs, we also won big at the Print Week Awards! Enormous thanks to everyone we had the pleasure of working with. To celebrate the fantastic year we’ve put together a small selection of our favourite moments from it.

Dior by Avedon

This was a Print Week Awards 2016 Book Printer of the Year winner. It’s a beautiful book with stunning photography which required a lot of skilled colour work from our PureColourHD pre-press team, litho printing and many different intricate finishes including French folding, a lovely cover, foiling and multiple materials, including Japanese papers.

Benefit Cosmetics Brow Box

This luxury packaging PR piece was created to present the brow collection. Using our cardboard engineering expertise we worked closely with the client’s agency to come up with a clever and dramatic solution to present these products, which included a trunk design, Mirri board mirror and internal fitment structure to bring the products to life!

WWF I Protect Tigers Book

An inspiring personalised children’s picture book that forms a major part of the Tiger Protector membership pack. Digitally printed on our HP Indigo presses, it incorporates the child’s name and other variable options to create a personalised story. Bespoke software solutions, print, binding, fulfilment and mailing are all handled in-house at our state of the art digital facility.

Senator Brochures

We won Print Week Awards 2016 Brochure Printer of the Year thanks in part to this project. The lovely tactile set of brochures incorporates litho and HP Indigo digital print with white ink and striking materials and finishes to bring life to the final products.

Chairs are for People

Combining the old with the new this brochure is digitally printed with Indichrome orange on an HP Indigo 10000 digital press, thread sewn with a stunning Winters orange Brillianta cloth case bound cover. The finishing touches included a personalised fluro-orange letterpress printed deckle-edged jacket created using handmade paper.

Momot Paper Toys

Momot is an acronym for “Nemo Nemo Robot”. In Korean, “nemo” means “rectangular”. The paper toy culture is coming to the UK after massive success in Korea. We printed these fabulous products on our HP Indigo digital presses for the Brand Licensing Conference in 2016 and it’s set to be massive for 2017. One to watch out for!

White Stuff Windows and Doors

Our Print Week Awards 2016 Point of Purchase of the Year Winner is a replica of reclaimed doors and windows our large format print experts Imprint in Newcastle created for a window campaign for White Stuff. The client was really impressed with how realistic the replicas were and it, included the fitting of hinges and door handles to finish off the final product. The materials used are 100% recyclable making this a better environmental choice.

Pureprint Opened a Creative Printing Studio

In February we opened our London office on Bermondsey Street and launched our paper and finishes library. This growing resource is open to any marketing and design professionals to help them to develop a project, to expand their knowledge or to just provide inspiration. There are samples of over 12000 papers and binding materials from around the world as well as colour viewing facilities and a wide range of finished products to view from books to boxes, from personalised products to creative packaging.

Punk in Print

Publishing giant Phaidon turned to us for a new book celebrating the visual culture of punk. Oh So Pretty: Punk in Print 1976-80 presents more than 500 artefacts from punk culture and we worked closely with Phaidon to create a book that will be treasured for years to come. We printed the 512 page publication’s cover on Elliott Baxter Invercote G 350gsm with the pages printed on Denmaur’s Stora Creamy High Bulk 53gsm.

Phaidon and the new Design Museum

Continuing our work with Phaidon, we printed three beautiful books for the new Design Museum. We were thrilled to be involved in the incredible new space and it really topped off our year to see them there.

Find out more about our digital print services

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BIG opportunities with HP Indigo innovations expand creativity

13th December 2016

With the installation of the newest HP Indigo press in the summer and outstanding in house finishing facilities our digital printing facility is leading the way in the digital print offering with the best innovative technology and solutions available.  Our facility has three HP Indigo 7800s, an HP Indigo 10000 and the new HP Indigo 12000 digital press which is the widest commercial application range in the series at 75 cm format.

Large and standard format sizes 

Our two large format presses (B2 size of 500mm x 707mm) the HP Indigo 10000 and the 12000 open up countless opportunities for marketing literature, packaging, DM and particularly point-of-sale.

Largest range of media available

The new press features One Shot technology enabling us to print on a larger variety of substrates, including photo canvas, plastic cards, synthetics and metallic based materials covering a range of weights from 70 gsm to 400 gsm and 75 to 450 microns in thickness – including coated, uncoated, coloured and dark papers, and paperboard for folding cartons.

Creative, photo and offset colour

Available with a broad range of ink and print settings including white ink, fluorescent pink, LcLmCMYK, indichrome, spot colours and standardised colour. Special effects can also be used in combination with this wide range of colour printing capabilities.

Integration and empowering ecommerce

Through close integration to Pureprint’s software platforms developed by our in house technology team we enable true print on demand and fulfilment of a wide range of personalised products.

Special effect options

On our HP Indigo 7800 press special effects printing is available with raised print, watermarks and embossing which can be overlaid to enhance and create tactile and lasting results, for your marketing literature, packaging materials, direct mail communications and more.

To find out more about what you can achieve with our innovative digital printing and to receive a set of samples contact us at contact@pureprint.com or call 01825 768 811.

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Oh So Pretty: Punk in Print

8th November 2016

Publishing giant Phaidon turns to us for new book celebrating the visual culture of punk.

Publishing powerhouse Phaidon is celebrating one of Britain’s most definitive subcultures with the launch of a new book Oh So Pretty: Punk in Print 1976-80. Presenting 500 artefacts - such as zines, gig posters, flyers and badges - from the iconic and obscure personalities that defined a generation of political activism and social change, the new book will inspire nostalgia in anyone who witnessed the movement in progress.

Capturing the DIY spirit of an era that saw people turn their mutually agreed frustrations and beliefs into an instantly recognisable aesthetic that quickly became known as punk, the book immortalises objects recognised for narrating the story a subculture that changed fashion, art and music landscapes forever, but were often deemed disposable and of little value.

This compelling ode to anarchy is a visual masterpiece, and its production value a far cry from the battered objects showcased between its covers. Working closely with Phaidon to create a book that will be treasured for years to come, we have printed the 512 page publication’s cover on 350GSM Elliott Baxter Invercote G with the pages printed on Denmaur’s 53GSM Stora Creamy High Bulk 2.4 vol.

Pick up a copy of Oh So Pretty: Punk in Print 1976-1980

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A Hatrick of PrintWeek Awards

18th October 2016

Last night at the 2016 PrintWeek Awards we scooped 3 awards along with 5 highly commended.

The three included Brochure Printer of the Year with the judges commenting “Every sample “ticked all the boxes”, Book Printer of the Year -the 5th year running with judges saying “a strong set of entries, with the Dior book in particular stunning” and Imprint our large format printing facility in Newcastle winning the Point of Purchase Printer of the Year with judges saying “Loved the adventurous way they executed the process – peerless”.

We were highly commended for all other shortlisted categories covering luxury packaging, report and accounts, fine art, bespoke digital and magazine showing the breadth of our work which has all been acknowledged as some of the best in the industry.

Without our inspiring customers and the work we do with them this wouldn't be possible of course. Thanks to all the team at Pureprint and Imprint and our great customers who give us the opportunity to push the boundaries.

Find out more about the PrintWeek Awards

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Pureprint to open New York office

17th October 2016

We have announced that as part of our on-going strategy to open local offices to service the needs of our client base we will open our first office in the USA.

The office will be in New York and will service existing and new clients throughout the USA.

‘The new office is something we have been looking to open for a number of years and it became a definite part of our strategy when the BGF made their investment in Pureprint’, said Pureprint Group CEO Mark Handford.

‘Richard Osborne, Pureprint Managing Director will build and manage the New York based team from the UK’ he added. ‘The USA is a market I have personally worked in for many years as have a number of the team at Pureprint, so it is an obvious choice for our first oversees office to be in New York.

We expect around 10% of this years’ Pureprint sales to come from outside the UK and for this to increase in 2017.’

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Inside The Fine Collection with G . F Smith’s Jo Pitts

3rd October 2016

G . F Smith, the UK’s leading specialist supplier of specialist papers, can always be relied on for bringing a creative approach to the making of designer tools. Last year, there was their leviathan paper selector, The Collection, which won a place in pretty much every design studio in the UK; this year, the company released The Fine Collection, a 128-page selection of its finest uncoated papers for digital and litho printing. Sequenced by colour, it includes 66 crowd-sourced photographs (selected from more than 10,000 entries) in order to demonstrate each paper’s print performance in practice. It’s a beautiful and extremely useful object (and we’re not just saying that because we printed it).

We caught up with G . F Smith’s Marketing Production Manager Jo Pitts to find out more about the process of selecting the images, and to chat about the pleasures of paper… 

What are you hoping The Fine Collection will achieve for G . F Smith?

I hope it will show designers who love our papers how all of these fine uncoated white sheets actually look and behave when they’ve been printed with four-colour ­– whether that might be with a digital or litho process. The Collection is an incredible tool but The Fine Collection actually demonstrates how our white papers perform – which I hope will influence decision making and become indispensable in selecting the right paper for a print project.

How did you go about selecting the images for inclusion in The Fine Collection?

We knew we wanted to design it with a beautiful sequenced colour story that went from light to dark, so this made the huge amount of entries slightly easier to edit down as we were working with eight sections, essentially. It was also important to select images that would demonstrate a broad variety of strong vibrant colours and blacks, through to light pastels with very delicate details.

Ben Parker also selected the majority of the images based on what he thought would work well visually and felt right for this G . F Smith promotion. Some of the entrants were amateurs and some were very established photographers and Ben picked the imagery without knowing who had submitted them, which was really interesting. Pureprint’s Lloyd Bromhead and Mark Croucher also lent their enormous expertise when we began the extensive proofing process and their technical advice really helped us to reach a final edit when it came to pairing the perfect image with each paper. I learned so much more about print through the making of this book, which took about one and a half years from beginning to end.

Do you have a favourite image in The Fine Collection?

It would have to be ‘Jellyfish’ by Richard Foster as I actually met the jellyfish in his studio on a shoot a few years ago! I first saw them on a large A2 sized print on his studio wall and when I was invited upstairs to see them in their tank I was so surprised to see how incredibly tiny they really were! Richard is a really talented photographer and it was a real pleasure spending time with him on shoots ­– I learned a lot from him and his team. I was so delighted when he said we could use one of his images in the Fine Collection and, bizarrely, the jellyfish brought back some lovely memories!

The Fine Collection combines both litho and digital print, are you excited by the possibilities that digital printing can offer?

Yes ­– some people think digital is still sub-standard compared to litho, but that’s no longer true. I think many would be hard pushed to tell the difference these days, which I hope we’ve shown in The Fine Collection. Also, being able to use print techniques such as white ink or hot pink on top of coloured stocks is really exciting and can make things far more experimental, with a much smaller price tag.

Could you pick a favourite G . F Smith paper? 

I’d have to break this down into three answers if I may! My favourite fine uncoated sheet is Zen – not just because the name is so inspiring but also because the surface treatment on the paper is like no other I’ve ever seen or used; it’s a hybrid in many ways and I love the effect of four-colour printed onto it. My next would be Colorplan, simply because it’s the best range of coloured paper in the world and is made by G . F Smith in the Lake District, which is an amazing British manufacturing story. It is luxury paper at its best, loved by designers all over the globe and used by the best brands in the world. It is truly iconic and (unbelievably) 80 years old and still going from strength to strength. My third would be Gmund Action because it’s so unique and it really captures my imagination. The Gmund mill keep how they make it a secret, and with colours named ‘Pastel Heart Attack’ and ‘Vibrant Arsenic’ how could you not love it? The Gmund team are also really special people – we held three parties with them across the country earlier this year and we had the best Bavarian knees-up ever!

How important is it to you that all your papers have a low environmental impact?

It’s massively important. Everything we throw away in life (not just paper) doesn’t ever leave the planet – so it’s our responsibility to behave with a conscience and take care of the earth. There is hugely important meaning behind the FSC accreditations all of our papers have. Most of the papers we make at G . F Smith are made with pulp from sustainable forests in Sweden. It’s a precious and long process that begins with planting a tiny sapling to finally ending its journey with a designer making something very beautiful with paper that has real meaning, and in many cases is kept and cherished by the recipient. I simply couldn’t work for a company that didn’t care for the environment.

Which is your favourite Pureprint x G . F Smith project?

It has to be The Collection. I think as far as paper selector tools go, this one is utterly iconic. We won a D&AD pencil for it, after all!

Are there any exciting G . F Smith projects in the pipeline that you can tell us about?

I can’t give too much away but there may be a rather exciting A3-sized Colorplan promotion on its way – and we are working on it with Pureprint!

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Colour Queen: One to One with Camille Walala

Thursday 15th September

Her buildings often stop you in your tracks. Among the dull greys of the urban landscape, Walala’s explosively colourful geometric murals stand out like a hoot of unbridled joy. Originally a textile designer, Walala has transformed walls in New York, Sydney, London and more, turning bland buildings into beloved landmarks with her Memphis-inspired, tribal-influenced murals.

It was while she was working on an office block in East London that she caught the attention of Eye magazine’s John L Waters, who featured her one-woman urban-regeneration campaign in the latest issue, fresh from the Pureprint presses.

We took a moment with Camille to find out about the processes behind working at such scale…

Is it important to you to bring the values of graphic design into the public domain?

YES! When I started doing street art, most of the things I was seeing were quite dark images, very figurative illustrations (of faces mostly). I wanted to bring graphic shapes and bright colours in the street. In my opinion, graphic arts work best on large surfaces such as walls or buildings. When I design the mock-up on my computer and the design looks pretty simple (almost boring), I know now that it will please me very much when I will see it on that big wall!

What’s the first thing you do when you’re presented with a space or surface to transform?

I look at it for ages, leave it alone for a while, then come back to it and I usually start doing a collage in my sketchbook or make a few notes. Then I will do the proper design on the computer.

How long do you spend planning your designs? Are there any specialist tools involved in this part of the process?

It varies, depending on the complexity of the design. If I’m painting a wall, I will make a plan with all the measurements accurate to the size of the wall.

What is your favourite part of the process behind each project?

I love the different steps. It’s very satisfying to work and design on the computer, then to go and paint for a few days up and down ladders or on a cherry picker. Then when my body can’t take it any more that's usually the time the painting is done, then I am happy again to go and work on my desk with paper or in front of my computer until the next project.

Have you got any exciting projects coming up that you can tell us about?

September is really busy with London Design Festival, where I am working on three great projects. I have done a design for a zebra crossing for Better Bankside that I can't wait to see on the road. I am collaborating with the Italian brand Natuzzi, and will be customising one of their emblematic chairs, and I will also create a Walalalounge for Clerkenwell London by customising walls, floor and ceiling.

We’ve seen your work all over London and further afield, but where is your dream location for a project?

I would love to paint the De Beauvoir estate in Hackney – I’m keeping it local for now.

You feature in the Colouring in the City piece in the latest issue of Eye Magazine, how did your relationship with Editor John L Walters develop?

I met John last year when we were painting the building. I think he was just passing by and we started talking. We saw him a few times that week (as it was his way to work) and had some nice chitchat. At the end of the 10 days, when the painting was done and the building was in its full glory he said he wanted to do a feature about it. Whoop! I was very chuffed about it.

Do you have a favourite piece of print?

Eye Magazine!

Find out more about the London Design Festival

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Great news in the PrintWeek Awards

6th September 2016

This week we received the great news that we have been shortlisted in all 8 categories we entered into the PrintWeek Awards 2016. The shortlistings highlight the high quality work we produce for a range of great creative brands and customers as well as the skills and expertise available throughout the Pureprint Group, from our litho and digital factories to our packaging and large format teams. This year we have been shortlisted for our Point-of-Purchase, Luxury Packaging, Bespoke Digital, Magazine, Brochure, Book, Fine Art and Report & Accounts printing.

The awards night is on 17th October so we will update you after that on how we get on.

Find out about the awards we have won

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