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CBD Gallery for Andrew Totman’s Exhibition Colour Theory

October 12, 2024 by Anthea Boesenberg Leave a Comment

We are pleased to invite you to a panel discussion with Nick Vickers,Steven ‘Paddo’ Patterson and Andrew Totman

Colour Theory Saturday, 26th October,  2:45 – 4PM

Nick Vickers – Independent Curator
Steven Patterson – Master Colour Maker, CEO of Derivan Matisse
Andrew Totman – Artist, Master Printmaker, Art Educator

This Panel will discuss the different approaches to the use of colour within the exhibition and colour making stories.

The Exhibition runs from 1 OCT to 2 NOV 2024
RSVP

Filed Under: Forum, Of interest to members. Tagged With: Andrew Totman, CBD Gallery, Colour Theory, Nick Vickers, Steven Patterson

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

July 10, 2024 by Anthea Boesenberg Leave a Comment

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. 

Filed Under: News, Of interest to members. Tagged With: Black etching inks, Charbonnel, Gamblin, M.E.S., Melbourne Etching Supplies

Print Council of Australia Print Sale @ UpSpace Gallery

May 30, 2024 by Anthea Boesenberg Leave a Comment

The Big Print – An Auction at UpSpace Gallery as a Fundraiser for the Print Council of Australia

Big 24 Addison Road Community Centre, 142 Addison Road, Marrickville.

Saturday 22nd June, 2024, between 3 and 5pm

Meet other print fans and print experts. Talk prints with Art Dealer Damien Minton and Curator/ avid print collector Akky van Ogtrop.

Bid for prints from the Print Council of Australia collection – and take one home!

Demonstrations by Master Printers Roz Kean and Andrew Totman.

RSVP (for catering) HERE

Filed Under: Of interest to members. Tagged With: Akky Van Ogtrop, Andrew Totman, Auction of prints, fundraiser, PCA, Print Council of Australia, Roz Kean, UpSpace Gallery

PCA Print Bash!

May 19, 2024 by Anthea Boesenberg Leave a Comment

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!

Filed Under: Commissioned prints, News, Of interest to members. Tagged With: #printcouncilofaustralia, PCA Print Bash

Exhibition and Sale of Prints

May 19, 2024 by Anthea Boesenberg Leave a Comment

Filed Under: Exhibitions, Of interest to members. Tagged With: Beagle Press, Exhibition and Sale, Royal Art Society

Protests and Pranks: Student Activism and Pranks from UNSW Archives

January 8, 2024 by Anthea Boesenberg Leave a Comment

Photograph by Neilton Clarke of UNSW (AMCAE / City Art Institute / COFA) art students protest march through Hyde Park to CBD against earmarked introduction of student fees, c.1980-81.

Drawing on material from UNSW Records & Archives, Protests & Pranks traces a history of student-led protests and Foundation Day pranks at UNSW. The exhibition features posters, photos, videos, oral histories, and protest ephemera, including badges, t-shirts, and pamphlets.

Some of us might recognise ourselves in these photographs!


When:

26 February – 14 June 2024
 

Where:

Level 5 Main Library
Law Library
Paddington Library

Partner:

UNSW Records & Archives
 

Protests & Pranks, for the first time, will span all three UNSW Libraries. At UNSW Main Library, the exhibition shifts between global and hyperlocal protest movements. Protests & Pranks reveals how students mobilise to effect change, from the worldwide campaigns against the Vietnam War to student demonstrations in response to university policies. UNSW Law Library features tactical frivolity, the playful, non-compliant side of student resistance that manifested in pranks and stunts designed to provoke and challenge authority. The display at UNSW Paddington Library contains materials from recent climate rallies and political demonstrations to show how students utilise protests as a form of activism to bring about reform. 

The exhibition features photos, videos, oral histories, newspaper clippings, and protest ephemera, including posters, badges, and pamphlets. These materials help to piece together the shared concerns, movements, and cultural identity of UNSW.

Accessibility: UNSW Main Library, UNSW Law Library, and UNSW Paddington Library are wheelchair accessible. The exhibition will include large-text artwork labels and booklets, audio-described guides, and braille exhibition guides.

Filed Under: Exhibitions, Of interest to members. Tagged With: Exhibition, UNSW

Posters for Climarte

March 3, 2022 by Anthea Boesenberg Leave a Comment

Anthea Boesenberg and Anna Russell, together with Rhonda Nelson have been successful in their submission for Climarte’s poster project with this ‘Canary in the Coal Mine’ poster with a nod to Spike Milligan. The posters will be pasted up across Melbourne over the next few weeks, together with 9 other posters from other artists.

Go HERE to read about the project.

Rhonda Nelson with the posters.

Filed Under: Exhibitions, Of interest to members. Tagged With: Anna Russell, Anthea Boesenberg, Canary in the Coal Mine, Climarte, Rhonda Nelson

Relaunch of our Artists Page

September 22, 2021 by Anthea Boesenberg 1 Comment

Anna Russell has been hard at work setting out and reorganising our Artists portfolios on the Artists page, with bigger and better slide shows of your prints.

Please go and check it out. Your feedback is welcome, both positive and negative.

Anna will be contacting artists by email over the next little while for further information from you for the website and blog. Please wait until you are contacted.

Filed Under: Of interest to members. Tagged With: Anna Russell, Artists Page, Sydney Printmakers, website

Invitation from The Black Hand Gang: A Post Covid Opportunity?

August 14, 2021 by Anthea Boesenberg Leave a Comment

Black Hand Gang is based in Bali, Indonesia, and was established back in the ‘heady care-free’ pre-covid days of early 2020.  It is the leading printmaking facility in Indonesia and has 1.5 years worth of collaborations with artists creating a great portfolio of printed works.

Black Hand Gang have managed to be the flag-bearer for ‘fine art print’ in Indonesia and helped to elevate the medium and have captured the interest and imagination of the art community in Indonesia.

We’ve found liaising with printmaking studios/communities around the world is a great way to connect and see what opportunities may arise.

We are seeking printmakers to come and be a part of our studio.  We have local Indonesian printmakers but would love to explore the opportunity for International printmakers too.  We are open minded and rather than impose a formal structure for how this might happen, are just leaving it as a casual enquiry for people to get in touch, share their resume/ portfolio and then discuss what they are looking for and see if there is some way to make a match.  Could be short term guests or longer term involvement, just exploring to find middle to senior printmakers who see the value and potential of the opportunity here in Bali.  There are more details for candidates if they apply.

We thought you may know anyone or would pass the word about the opportunity – your support to share the word is appreciated with great thanks.

Press Release, Catalogue, & Printmakers Opportunity Post

More information on the Black Hand Gang website: www.blackhandgang.id

Filed Under: Of interest to members., Open Studio, Residencies Tagged With: Bali, Black hand Gang, collaborations, Indonesia, international, post-covid, Printmakers, residency opportunity

Join the Print Council of Australia

August 6, 2021 by Anthea Boesenberg Leave a Comment

Established in 1966, for over 50 years the Print Council of Australia has promoted and supported contemporary artists working in print media, and advocated for the appreciation of printmaking as a vital and vibrant field of creative endeavour in the Australian context. This advocacy extends to related practices such as artist books and zines, and the broader field of works on paper.

The Print Council of Australia (PCA) is a national not-for-profit member organisation. They publish Imprint, the quarterly art magazine dedicated to contemporary printmaking in Australia and beyond.

It has members from throughout Australia and overseas, including artists, students, arts institutions, galleries, universities, schools and collectors.

The PCA receives NO funding and absolutely relies on membership to raise the funds to pay their hard working staff, pay overheads and produce IMPRINT magazine. Without members the PCA cannot exist. 

As a national, not-for-profit organisation, the PCA has Committee Representatives in each state and territory, activating the Australian print community at a grass roots level. The Print Council of Australia has an open membership policy with no restrictions on joining.

From $77.00 a year (including GST), this is what you get from membership of PCA:

  • Subscription to IMPRINT, the quarterly art magazine dedicated to printmaking, artist books, zines and works on paper. (Four issues per year)
  • Free promotion for your exhibitions ‘Australia in Print’ in IMPRINT, in the
  • monthly e-newsletters and social media platforms. Visit the Member Exhibition Submission page for more info.
  • Opportunities for artists including the annual PCA Print Commission and the biennial PCA Print Exchange project.
  • Stay connected to what is happening in the world of print through information about awards and opportunities.
  • Opportunities to purchase prints at member rates in the annual PCA Print Commission program.
  • Exclusive discounts at various art suppliers, framers and workshops.
  • Exclusive events such as curator talks and collection tours.
  • Voting rights: the PCA is a membership organisation, as a member you have the right to vote at our Annual General Meeting as well as nominating for and electing national Committee Representatives.

MEMBERSHIP SUBSCRIPTION

From: $77.00 inc GST / year

Renew your membership of the Print Council or join up here.

For membership enquiries or other information, contact the PCA office on 03 9416 0150 or

 generalmanager@printcouncil.org.au.

Filed Under: Of interest to members., Print Commission, Print Council of Australia, Publication Tagged With: advocacy, Imprint Magazine, not-for-profit, PCA Print Council of Australia, print commissions, printmaking, publication

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