Urban Makers Weekend Market — Sunday 13 September

About this event

Where

Good to know

Meet the makers

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  Anvil & Ivy

  Jewellery

  Everything I make starts as flat sheet or round wire and gets hammered into shape on a small stake anvil I inherited. That means the surfaces keep their planishing marks and catch the light unevenly, which is the whole point. I make wide cuffs, forged bangles and drop earrings in recycled sterling and brass. No stones, no plating, nothing that will chip. If a cuff needs resizing years later, bring it back to a market and I will sort it on the spot.

  website@anvilandivy

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  Foxglove Editions

  Print & illustration

  I make copperplate etchings, which means acid, aquatint and a lot of rag paper soaked overnight before printing.

  website@foxgloveeditions

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  Hearth & Hush

  Candles & home fragrance

  I pour into vessels I cast myself from jesmonite, in a speckled terrazzo made with crushed offcuts from previous batches.

  website@hearthandhush

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  Nightshift Etching

  Print & illustration

  I drive a night bus four evenings a week and draw everything I see from the cab in a pocket sketchbook at the terminus. Those sketches become drypoint prints, scratched straight into perspex with a needle so the burr holds the ink and gives a velvety line. Each plate only yields fifteen good impressions before the burr flattens. The subjects are night workers, empty stops and the strange blue light of an out-of-service depot. I print on Sundays and sell what I have.

  website@nightshiftetching

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  The Dried Bunch

  Plants & florals

  I grow and dry everything myself on an allotment in Walthamstow.

  website@thedriedbunch

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  Thistle & Thread

  Textiles & accessories

  I weave on a four-shaft floor loom that takes up most of my living room. The yarn is British wool from a mill in the Borders, undyed or plant-dyed in my kitchen with onion skins, madder and woad. I make scarves, throws and small woven bags, all finished by hand-twisting the fringes, which is the part that takes the longest. Warping the loom for a run of six scarves takes a full day before any weaving starts. I have been doing this for eleven years.

  website@thistleandthread

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  Type & Tide

  Print & illustration

  I hand-letter with a broad-edged pen and a brush, then print the results. The words come from sea shanties, tide tables and things my grandmother used to say, so there is a lot of salt in them. I mix my own walnut and iron gall inks, which age and shift over the years rather than staying flat. Prints come in three sizes and I letter the odd one-off on request while people wait, which is nerve-racking with an audience but usually goes well.

  website@typeandtide

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  Verdigris & Vine

  Jewellery

  I cast tiny botanical things in silver and bronze: a hawthorn leaf from the canal path, an ash key, a curl of vine tendril. Each one is burned out of the mould, so the original plant is gone and the piece cannot be repeated exactly. I finish with a patina that leaves green in the veins, then polish the high points back by hand. Earrings, pendants and stacking rings, all on recycled metal, all made at a bench barely wider than my shoulders.

  website@verdigrisandvine