Northern Beaches Environmental Art Design Prize

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DANIELLE CREENAUNE, Resounding Vale 2024, woodcut edition 10, 101×80

Big congratulations to Sydney Printmakers Danielle Creenaune, Lea Kannar Lichtenberger and Gary Shinfield for being selected finalists for Northern Beaches Environmental Art and Design Prize. The annual Environmental Art & Design Prize showcases innovative and thought-provoking works that explore the theme of the environment, with an aim to inspire action toward a sustainable future.

The Art Category will be on exhibition 10am-5pm Tues-Sun 1 Aug – 14 Sept 2025 at Manly Art Gallery & Museum

GARY SHINFIELD, Remnants Hill End, 2024, woodcut using found wood, unique state_100 x 60 cm
LEA KANNAR LICHTENBERGER, FootprintConvergencePenguin Highway(detail), Thermal Imaging Antarctica and defunct slides from university glacier lectures

Sydney Contemporary Carriageworks 2025

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Many members of Sydney Printmakers will be showing in the

Paper section at Sydney Contemporary 11-14 September

this is just some of the work

Booth B02 Tiliqua Tiliqua Print Studio and Gallery: representing Ro Murray and Lois Waters

RO MURRAY Dreaming in the Moonlight III 2025, multiple lino prints, unique state, 60×45

Booth B10 Up Space : representing Therese Kenyon and Seraphina Martin

THERESE KENYON Lake St Claire 1, 2025
Ink, watercolour and screen print on Arches Rives BFK
76 cm x 56 cm

Booth B17 Sydney Printmakers: representing Tina Barahanos, Anthea Boesenberg, Angela Hayson and Andrew Totman. They will be giving artist talks Saturday 1.30pm in the Paper section.

TINA BARAHANOS, The Trees Carried Another Place With Them 2025, multiple etching

Booth B12 Gary Shinfield Studio and Collection: Gary Shinfield, Seong Cho, Nathalie Gautier-Hartog.

All three artists will be giving an artists talk on Saturday 13th September at 3pm in the Paper section.

SEONG CHO Contemplating the Void XV 2025, woodcut print 1/10, 40 x 40 cm

Booth B23 Jenny Robinson Studio: Jenny Robinson, Angela Hayson, Janet Parker Smith

JENNY ROBINSON

Melissa J Harvey &Lois Waters : Fold, Vessel

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left: Lois Waters, Warp 1, 2025, etching ink on kozo paper on board. right: Melissa J Harvey, Fold Over, 2025 pulp print made from repurposed cotton t-shirts and pigment pulp

5-22 August 2025

Opening reception 5-7pm Thursday 7 August

Print Council of Australia Studio 2 Guild, 152 Sturt Street Southbank VIC printcouncil.org.au

Gallery Hours 10am-4pm Tuesday -Friday

Exhibiting Partner M.E.S Melbourne Etching Supplies

MEMBERS NEWS: Fremantle Art Centre Print Award Finalists Selected

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Huge congratulations to five Sydney Printmakers who whave been shortlisted

for the Walyalup Fremantle Arts Centre Print Award 2025

Anthea Boesenberg, Anna Russell, Angela Hayson,

Jacqui Driver and Lois Waters

THE EXHIBITION runs from Saturday 16 August- Sunday 21 September 2025, 10am -5pm

Roz Kean Selected Finalist For Ravenswood Australian Women’s Art Prize

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Roslyn Kean, Ground Lines III 2025, US Hand printed woodcut on Japanese Kozo Paper 80.5x125cm

Congratulations to Sydney Printmakers member Roz Kean who has been selected finalist for the prestigous Ravenswood Australian Women’s Art Prize 2025. https://www.ravenswoodartprize.com.au/

Exhibition of Finalists: 21 June- 6 July

Gosford Art Prize Call For Entries

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GAP25 Terms and Conditions

The competition is open to all artists across Australia and attracts entries in all mediums from traditional forms to new media artworks.

Gosford Art Prize 2025 – Call for Entries

16 May 2025 – 07 July 2025 9:30am – 4:30pm
Gosford Regional Gallery 

Entries close on 7 July 2025 at 4pm

Enter here: Gosford Art Prize 2025

This year the prize pool has increased in all categories. The acquisitive Gosford Art Prize winner is awarded $25,000, the Ceramics Prize $10,000, the First Nations Artist Prize $10,000 and the inaugural Moving Image Art Award $10,000.  Entrants in all categories are eligible for the major award.

The winners will be announced at the exhibition opening event Friday September 5 starting at 6pm

M.E.S. A Deep Dive into Black Etching Ink

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Here is an article from Melbourne Etching Supplies which may be of interest to members. M.E.S. are offering 20% off oil based etching inks until the 31st July.

The world of black inks, for printmakers, is a bit of a black hole. For some ink ranges, there are so many options it’s overwhelming. But what is the difference? Isn’t black just.. black?! We could write an essay (and maybe one day we will) but for the meantime, join us as we dive into the details of some of our most popular black etching inks at Melbourne Etching Supplies. 

Of course, these are just the thoughts of some of our printmakers at M.E.S and as such, should be considered a guideline only. We highly recommend testing different black inks to find out what will work best for you!
The Great Debate – Charbonnel 55981 vs 55985
Charbonnel are well-known manufacturers of printmaking inks. With an incredible array of colours and an extended range of black inks, they are favoured by printmakers for their high quality and consistency. Over the years at Melbourne Etching Supplies, debating the difference between the 55981 and the 55985 has been a frequent topic of conversation. So, with distinct differences to their formulations and characteristics, let’s have a look at the key components of both.
Charbonnel Black 55981 
Composition: Ivory Black and Carbon Black
Highly viscous, relatively easy to wipe off – soft, universal black. 

We would suggest that the Charbonnel 55981 is arguably the best ink for fine detail work, and areas where a smooth, even application is needed. It’s quick drying time makes it suitable for projects that require a faster turnaround, which could be considered an added bonus.

Charbonnel Black 55985 
Composition: Ivory black, Carbon Black and Prussian Blue
Very viscous, difficult to wipe off – slightly blueish and very deep.

The Charbonnel 55985 truly helps to reinforce other blacks. Our recommendation is that the Charbonnel 55985 is ideal for achieving deep, rich blacks with a velvety finish. It really is perfect for large solid areas (especially aquatint) and works well on various surfaces, providing a uniform and consistent print.Gamblin Etching Inks are designed for printmakers who need a strong line and a great sensitivity to detail. Each black is designed to meet specific needs in both depth of colour and printability.Gamblin acknowledge that not all black pigments are not perfectly neutral in colour. In a mass sense, i.e. in lines or heavy rollouts, the ‘temperature’ of the black is almost imperceptible, but each ink will leave a plate tone that is either warm or cool. These colour differences, while subtle, can affect the overall look and feel of a finished print – especially when paired with a toned paper.

Gamblin Etching Portland Black 
Neutral in colour, the Gamblin Portland Black is formulated for easy wiping, and offers a moderate level of plate tone ideal for creating subtle value shifts. This ink will print drypoint beautifully, whilst also being a go-to choice for those editioning, and for those working in schools that need an ink for general printing techniques.

Conveniently, there is also a cool tinted version, Gamblin Etching Portland Cool Black, available ‘pre-mixed’.

Gamblin Etching Bone Black
The Gamblin Etching Bone Black is a traditional black with a warm tone. It wipes easily and leaves a very light plate tone. The combination of the light plate tone and easy wiping makes it less suited to works that require a subtle value range and ideal for work that requires strong contrasts.

Gamblin Etching Carbon Black
The Gamblin Etching Carbon Black is a silvery, dense black with a heavy plate tone. It is one of the most difficult black inks to wipe but remains a favourite due to the strong, deep blacks it can produce. The Carbon Black tone has a delicate warmth to it. 

Cranfield Traditional Etching Inks have barely changed in generations. Their historic formulations provide high strength results in a range of colours for all types on intaglio printmaking – plus there is something charming about being milled in family run business in the welsh hills. 

Cranfield Traditional Etching Mid Black
A versatile‚ mid-toned Carbon Black (PBk7) ink with low viscosity & low tack. The Cranfield Mid Black works particularly well for line work. It has a soft feel and wipes evenly & easily to give a strong print. 

Cranfield Traditional Etching Aquatint Black
The Cranfield Traditional Etching Aquatint Black works particularly well for images with lots of tone i.e. aquatint. Although this initially ink feels stiffer than the Cranfield Traditional Etching Mid Black you will find this ink wipes quickly & evenly from your plate and gives bright‚ intense prints.

Cranfield Traditional Etching Bone Black 
A strong, warm-toned black made from genuine charred bone black pigment (PBr9) with a high viscosity & a high tack. The Cranfield Traditional Etching Bone Black works well for both line work & tonal work. It is quite a stiff ink. 

PCA Print Bash!

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For our Interstate subscribers – but soon, there will be more print fun coming for Sydney!

Join us for an unforgettable afternoon of art and advocacy

at the PCA PRINT BASH 2024!

Show your support for the Print Council of Australia at this exciting fundraising event, hosted by The Art Room, Footscray. Immerse yourself in a celebration of print culture with live performances by The Press Gang and John Ryrie, while enjoying a drink and some nibbles. Engage in the thrill of our silent print auction, featuring treasures from the PCA archives and other exquisite works generously donated by local artists. Don’t miss your chance to scoop up some exclusive merch and win a prize at the raffle, including vouchers and products generously donated by the Firestation Print Studio, Melbourne Etching Supplies and Baldessin Press.

Let’s come together to ensure PCA can continue it’s vital mission of supporting 
Australian Printmaking!