Jenny Robinson Print Studio

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Jenny Robinson has a very busy year ahead of her. Here are some of the events on offer…….


2025 Studio Events, Workshops and Master Classes
February 16:  Celebrate our 1 year anniversary at our Open Studio.
Join us for a glass of wine/beer and check out what our small but perfectly formed open access printmaking studio has to offer artists here in Sydney’s Inner West.

February 22-23:  Our first OPEN PRESS weekend
We are introducing our first Open Print Weekend for artists who want to extend their print practice with the time and space to explore printing on a large scale.

April 5-6:  MASSIVE MONOTYPES Weekend
Come and make huge monotypes with us on our massive American French tool etching press. This 2-day workshop is designed for artists who want to make large unique painterly prints on paper.

26-30 May:  5-day Collagraph on Cardboard Master-Class Workshop with Sarah Amos
Sarah returns to the Print Studio to again conduct her extremely popular collagraph technique.
Workshop full, waiting list only.

June 28-29:  2 day Japanese paper backing and seaming workshop
Jenny will again teach the traditional Japanese methods of chine colle, and seaming works together using traditionally prepared jin shofu (wheatpaste).

and introducing…

Juy 4-6:  Advanced Photogravure Master Class
with Silvi Glattauer
This 3-part workshop (including 2 Zoom sessions) is designed to help you create a cohesive body of work using advanced photogravure techniques, with a focus on larger-scale prints, multi-plate printing, and incorporating colour through methods like Chine Collé or À la Poupeé.

See full details on our website.

Copyright © 2024 Jenny Robinson Prints, All rights reserved.

Our mailing address is:
Jenny Robinson Prints
60-66 Vine Street
Darlington, NSW 2008
Australia

Crescendo Artists Book Award

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You have plenty of time to prepare work for this exciting new book award.

Crescendo 2025 Artist Book Award will be open to artists living in Australia and the Asia Pacific. Each artist may submit up to two artist books for consideration. Each entry must be an original work of the artist(s) made after 1 November 2023. Please note that due to space constraints, large scale installation works will not be considered.

Submissions of new work will be accepted from 1 April to 1 August 2025. Selected work will be exhibited at Clifton School of Arts on the northern Illawarra Coast of NSW, Australia in November 2025.

Crescendo 2025 Artist Book Award is non-acquisitive. $5,000 will be awarded to the winning entry and $1,000 to the best entry by a local artist from the Wollongong LGA.

More HERE

CBD Gallery for Andrew Totman’s Exhibition Colour Theory

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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

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. 

Print Council of Australia Print Sale @ UpSpace Gallery

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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

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!

Protests and Pranks: Student Activism and Pranks from UNSW Archives

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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.

Posters for Climarte

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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.

Relaunch of our Artists Page

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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.