Friday, December 17, 2010

Deconstructed prints

Couldn't resist having a go at the deconstructed print style that Gaye demonstrated on one of her previous posts.

This is an interesting technique, particularly when you just feel like churning through the work (and paper). I have now got a stack of prints that will probably become backgrounds for other works or cut up to make cards and things.

Thursday, December 16, 2010

Printmaking Workshop - Intermediate Fabric Printing

The following workshop is in need of at least one other participant to go ahead. Several of the Friday Printmakers will be attending. Take a look at www. for further details.

If further information is required, or you want to attend please email: asap to indicate your intentions.

Office Hrs: Wed- Fri (11- 1.30 & 2- 5), Gallery: Wed- Sat (11 – 1.30 & 2-5)
Firestation Print Studio, 2 Willis Street (just off Glenferrie Road), Armadale, VIC 3143
Tel: 03 9509 1782 & E-mail:
Visiting Artists Program
Intermediate Fabric
with Rhett Kilner
One Day Workshop
Sunday, 23 January
11.00am – 4.00pm

Ants III by Rhett Kilner
Course Content
Process: Colour printing onto fabric using print-ready intaglio and lino plates.
This course will introduce new techniques to competent printmakers wanting to explore a
world away from printing on paper, introducing them to the opportunities and possibilities
of fabric, using their own plates. Many of the techniques will be used in unison, giving a
textured and layered effect to the chosen cotton fabric. Fabric printing is a versatile
process and widely recognized as an essential element of fabric design.
As students will have a prior understanding of printmaking, they will be directed in
combining their existing knowledge with this exciting new technique. Each student will
print his or her own images and apply colour prints onto their chosen fabric. This class
will allow students to produce unique artworks that are both functional and individual.
All heath and safety requirements are in place, solvent free clean up. Classes are limited
to six students so as to provide the very best experience and access to the teacher’s
attention and time.
Office Hrs: Wed- Fri (11- 1.30 & 2- 5), Gallery: Wed- Sat (11 – 1.30 & 2-5)
Firestation Print Studio, 2 Willis Street (just off Glenferrie Road), Armadale, VIC 3143
Tel: 03 9509 1782 & E-mail:
Students will create printed fabrics to use in a variety of applications. Participants will be
provided with new opportunities and a range of possibilities to explore and develop in
their own art practice.
What To Bring
Students are asked to bring their previously completed plates and chosen fabrics to print
on. Please bring cotton based materials if you are intending to be able to heat set in a
clothes dryer or using a hot iron. I.E cushion covers, t-shirts, tea towels, canvass, etc.
However if you are not worried about the process of heat curing the chosen fabrics I.E
you will be stretching the artwork over a frame to hang, you could consider fabrics like
silk, synthetics with some cotton, lycra or other to print onto.
Please bring plates to fit within the dimensions 45cm by 65cm, and cotton fabric size to
match. Smaller pieces are fine also. The plates can be copper, zinc, steel, aluminum,
photo polymer or lino, as each plate will already be processed and ready to ink-up.
unetched plate {Maple Leaf} Printed on black cotton{Maple Leaf etching}
Office Hrs: Wed- Fri (11- 1.30 & 2- 5), Gallery: Wed- Sat (11 – 1.30 & 2-5)
Firestation Print Studio, 2 Willis Street (just off Glenferrie Road), Armadale, VIC 3143
Tel: 03 9509 1782 & E-mail:
About Rhett Kilner
Rhett Kilner works and resides in Melbourne. He has studied printmaking at National Art
School, Sydney, Horsetsia College Of The Arts, London and at London Print Studio, in
conjunction with Brighton University. In 2004 Rhett established his own clothing label
Bronzen Temple Prints from which his highly detailed etchings started appearing on tshirts
and textiles. Textile designs from Bronzen Temple Prints retail both overseas and
in Melbourne. “The Dancing Queen” fabric store, in Richmond, Melbourne have
purchased and printed various Bronzen Temple Prints designs. Large scale printing is
one of Rhett’s primary interests. Wearable artwork is his second love. Rhett has
previously taught etching, photo etching and screen-printing in both London and in
Australia and has exhibited overseas and in Australia and New Zealand. Currently Rhett
is planning his next exhibition in Melbourne for 2010 and developing his new website.
To book a place on this exciting new course contact Edith at the Studio, ph 9509 1782
Wed-Fri, 11-1.30 & 2-5
& Payment Details
Bendigo Bank, East Malvern Branch
Acc Name: Firestation Print Studio
BSB: 633 000
Acc no: 1388 03457
Payments must be received before a course place can be booked.
A minimum of 4 students is required to hold each class.

Wednesday, December 8, 2010

A different technique

Hi All, Have been trying a new technique. It is called "breakdown printing". The good thing is that I haven't had a "breakdown" yet. Will leave one image. Wonder if you can work out how I made it?

Where is everyone else? Where is your work? Hopefully we will see some more on the blog in the next couple of days.

Inkfusion was a great exhibition. Well done! G.

Friday, November 19, 2010


If you click on the INkFUSION invitation it is as clear as day. Thanks for putting it on John.


Thursday, November 18, 2010

INKFUSION exhibition - don't miss it !!!

Bit hard to read - but the artists are Sue Grossman, Raelene Newton, Rebecca Sherman, and Leeanne Wright. Opening is 1 - 4 Sat 27th Nov @ Brougham Gallery.

Wednesday, November 17, 2010

Hi from rps

Hi there. Is everyone aware that both Neil Wallace Printmaking Supplies and Melbourne Etching Supplies have got their half yearly paper sales on. Go to Melbourne Etching Supplies and Its a great time to stock up.

I have been working on a few things. Here are are some proofs. They are works in progress.


Lino cuts

Thursday, November 11, 2010

Friday Printmaking Print Exchange

The Friday class has completed their Print Exchange titled: "Friday on my mind".

The following images are the prints included in the edition of 13.

A great year of Printmaking has been enjoyed by all and everyone went home with a wonderful satchel of hand made prints.

Tuesday, November 2, 2010

I am still alive

Well I have been trying to produce some work. I have many things on the go, but not any perfected yet. I have been really frustrated and wondering if printmaking really is for me - the organisation and cleanliness required is incredibly painful and restricting. I don't think that there is a work space big enough to cope with me. Perhaps I just haven"t found my process yet.

I did a reduction print using my safe wash caligo inks on silk cut. On the final roll, which is with black, it seems to have taken off tiny spots from the two previous colors. When I take the plate off it is covered with tiny blue and coral spots, resulting in a speckled print. Any ideas? I think I might multiple plate method and not reduction lino cuts for a while.

The picture of the print I have uploaded is done without the final black that keeps stuffing up. I have two left and I am just going to keep them the way that they are.



Sunday, October 31, 2010

Latest effort

This is an intaglio bleed print from a shellac burn on an aluminium plate.

Maybe more work will emerge this coming week. Here's hoping.

Wood engraving

Commenced work on a wood engraving today - my first one, apart from a quicky at a David Frazer workshop a year ago - Judging by my progress so far, this one should be ready for the Wintergarden exhibition........... in 2014 !!!

Sunday, October 24, 2010

Go Geelong Received this link to another blog concentrating on Geelong/Greater Barwon region. It looks wonderful and it seems things are really starting to move. After the frustrations of trying to acquire a physical space for artists, now the internet comes to the rescue.

Please show your support by becoming a follower.


Wednesday, October 13, 2010

Where is everyone?

Have been revisiting Collagraph this week with mixed results so far. Anyhoo, thought I would put up an image in the hope that others might also.

This was inked up in the Brenda Hartill tradition of using rubs, which is a viscosity printing technique.

Hope to see some more work from you all. Cheers G.

Wednesday, October 6, 2010

Very nice John. from E.

Latest linocut

Howdy folks - just to prove I've done some printing.... here's a new linocut that I finished on Sunday. The image is lo res and has an ugly strip on it because it was too big for my scanner, and I had to do it in two halves and splice them together in photoshop (Yes, I ripped off the painting that I entered in the Art Is exhibition).

Saturday, October 2, 2010

Printmakers@Geelong Exhibition GAS 2011

Hello interested parties,

The whole of the Shearers' Arms Gallery is now booked for 12th September - 2nd October, 2011 inclusive. The Gallery Hanging committee will hang the works. Will keep you posted on the cost of the entire gallery for that time so you will get an idea of each individual's costs. At present don't know whether a commission is to be paid. Will keep on top of this and let you know as soon as I do.

Wednesday, September 29, 2010

Canadian visit

Hi all,

Returned from overseas Tuesday and still a bit flat from jet-lag but in sorting through the numerous bits of paper and photographs from the trip to Canada I wanted to share a couple of links with you.

I happened upon an exhibition of prints by Canadian artist Sybil Andrews in Victoria and thought others might enjoy her work.

also visited two of the artist run printmaking spaces at the Malaspina Printmakers Studio and Gallery and Dundarave Print Workshop Unfortunately the summer period is pretty quiet in these studios so had to be content to view the great work in their gallery and wander through the studio spaces.

Numerous other galleries visited but not many exhibitions of original hand pulled prints.

Looking forward to getting time in my own studio now that I am refreshed and have heaps of photos of reference material to motivate me.


Tuesday, September 28, 2010

Once more I attempt to post something here. How hard can it be??? The opening of the artIS 12x12 comp was last Thursday evening. A good turn out. I won an "Honourable Mention" for one of my prints. Classes recommence soon, yay, looking forward to seeing soem of you again. E.

Thursday, September 16, 2010

Encaustic Collagraph

Here is the result of my experimentation in the past week. There is something ethereal about this print. Its as though you could fall into it.

Thursday, September 9, 2010


Hi there,

Well I have attempted my first woodcut and my first reduction print. I used an image from a drawing I did a year or so ago. I enjoyed the process, although I would do a couple of things differently next time. I would take my blanket out and run the print through with just a piece of matt board on top and I may use different wood for my block - something a bit thicker. Here are some photos I took during the process.


Wednesday, September 8, 2010

Expression of Interest

Printmakers@Geelong is calling on Geelong Printmakers to express their interest in staging an exhibition at the Shearer's Arms Gallery, Geelong West in September,2011. At this stage the date seems to be 5th September onwards for 3 weeks.

Please reply to

It will be necessary to attend a meeting of all parties in the New Year to discuss this. As we move into the New Year postings will appear on this blog.

Monday, August 23, 2010


TIP I. I read in a book somewhere that you could use a SHARPIE pen as an acid resist. I was a bit skeptical (as I am about most things - except climate change). But !! on the weekend I made a test plate using my new batch of ferric chloride, and I used a SHARPIE pen to rule up the squares, and write the minute numbering in each square (mirrored of course). And..... lo and behold - when I had finished and cleaned up the plate, the lines and numbers masked by the SHARPIE ink were untouched by the ferric chloride. Surely a technique worth further experimentation.

Tip II. I bought the above mentioned ferric chloride in liquid form from Neil Wallace - In the past I have made it up from crystals - buying it ready made wins hands down in my book (I haven't done a cost analysis). * The liquid can't be mailed - so if you can't get to Melb you're stuck with mail order crystals OR (TIP III) ask you know who if she'll get you some next time she goes up :-). JM

Sunday, August 22, 2010

Having a go at Mono-types

(above) First print off.

(above) This is the plate inked, wiped and ready for printing.

(above) Ghost print. I added some ink for the nostril, but I should have wiped in back a bit so it wouldn't be so dominant.

(below) Scary Baby take 1 and Scary Baby take 2 - are they horns or fingerprints?)

Hi every-one,

Well I finally got to have a play on my press today! I was really meant to be concentrating on getting some paintings done for the 12 x 12 exhibition, but what the hell! I was inspired to try and do some mono-types asdemonstrated on the video that Gaye downloaded on to this site. The results can be seen above.

I don't know if I would call them successful, as the baby I was trying to draw is cute and the resulting baby is quite scary. Strangely I do like them.

I rolled the ink on to acetate and wiped it back with a rag and cotton buds. The ink seemed to come off easier on the video. It was like wrestling! The paper I used was only cheap and grainy - but good for experimenting with. I know these aren't fantastic, but it is good to show the good and the bad and the ugly. Hopefully you can be witness to my improvement as time goes on!

I would love to see what others are up to, so try and post something.


Wednesday, August 18, 2010

Still not sure I've got this beat, I thought I just posted something but it all vanished again. Love your new press Robyn, I'm SOOO jealous, sounded a bargain too!

Monday, August 16, 2010


Well I went and picked up my press on Saturday and I must say it a visually pleasing piece of work! I chose the Junior Etching Press. It specifications are : overall weight 45 kg, roller diameter 65mm top and 55mm bottom, bed length 800mm, width 400mm, bed thickness 20mm. I upgraded to a solid ground steel bed. Basically I can print up to a A3 sheet of paper which will suit me for now. It is a portable press if needed - two people can lift it. I purchased it from Neil Wallace Printmaking Supplies in Fitzroy in Victoria and most presses are made on the premises. Cost was $1115 and it came with a 3mm blanket, two tins of ink, and a plastic sheet for registration. I also purchased a thicker blanket of 6mm for an extra $46 (I think). If you type Neil Wallace into your google searcher you will find the site.

Here are some photos. It sits very solidly on the table - eventually I may bolt it directly on. You can buy a stand for it for an extra $200 odd dollars, but I felt I could get away with it.

Lets see what I can produce.


Saturday, August 14, 2010

Wednesday, August 11, 2010

Re: exhibition blues

Gaye, That is a great article and provides much food for thought. The point that I appreciated was to be ready and accepting of the reality but also never stop the dreaming if that is what you indeed want. The point that seemed to be somewhat glossed over is to always remember why you "create" and the pleasure that gives you - exhibiting and selling may just be extra icing

Post Exhibition Blues

This article was reproduced with the kind permission of Sylvia White and

Almost everyone has experienced loss in one form or another at some point in their lives. After the tragedy on September 11th, most of us don't have to look very far to find someone who has been touched by loss. For artists, learning how to recognize and cope with loss will help them in understanding the common phenomenon known as post exhibition blues.

It is normal to experience the sense of loss that accompanies grief when we are confronted with the death of a relative, friend or even a pet but, artists need to learn how to recognize the importance of grieving, when confronted with loss of an expectation or fantasy. Regardless of how unrealistic we may acknowledge it to be.

I realized after receiving a post-exhibition phone call from a distraught, depressed artist, that what she was experiencing was very similar to the crash I felt 10 days after losing a dear friend. After all, for most artists, an exhibition represents years of hard work, an investment in not only time and money, but tremendous emotional commitment. Most importantly, to the educated viewer, it provides a glimpse into who you are as a person. This is a pretty scary concept to most people who spend their lives trying to orchestrate the way they are viewed by the world. Whether you are aware of it or not, you carry with you certain expectations in mounting an exhibition. These expectations can range from hoping your mother is proud of you, to getting a good review in the New York Times. Your job, as a mature artist, is to figure out what these expectations are for yourself, how realistic they are to achieve, and what you can do to help yourself get through the mourning process with as little damage as possible.

For me, loss starts with denial. A period of time when I refuse to believe that whatever it is I have lost is really, really gone permanently. Next, comes the anger looking at everyone and everything to blame. Then, one day, without notice, I find myself so depressed I am limp. Next thing I know I'm crying uncontrollably. All I want to do is curl up in bed and disappear. Then, as if some miracle has occurred, after I have given myself the luxury to grieve, (which is really another way of saying "reflect on my loss") I can get up feeling refreshed, whole and healed. These are not secret strategies that I have invented. These are common sense strategies to help deal with your loss by acknowledging it and confronting it. Applying this strategy to artists, during the culmination of an exciting and stressful time in their career, provides a positive way to identify and understand this very common phenomenon.

Artists who are driven to make art are wired differently than the rest of us. Their need for survival is based on food, shelter and their need to create .For many artists I meet, to deprive them of art making would be the equivalent of depriving them of oxygen. Nothing made this quite so evident, as the movie Quills, when the Marquis de Sade was deprived of a writing utensil. His drive to create was so strong; he pierced his fingers and used his own blood to write. When we learn to recognize that an artist's creative product is borne from such a powerful inner drive, the huge significance of the creative product becomes somewhat easier to understand. Frequently, during the preparations for an exhibition, all the emphasis remains on the product the painting, the book, the play, whatever. Often times the enormous effect mounting an exhibition has on the psyche of the artist is often ignored. But, when an artist's work is held up to public scrutiny, it is in essence, a major loss. The studio is empty, the artwork now out of your control, strangers eyeing it, talking about it maybe even taking it home! It is virtually impossible not to have fantasies and expectations about people's reactions to the work, as well as the possibility of "getting discovered." It is the part of human nature that makes everyone who buys a lottery ticket feel convinced that they are going to be the next winner. And regardless of whether the exhibition is considered a "success" or not, many artists may experience post exhibition blues and should learn to prepare for it.

This phenomenon becomes even more complicated as we look at how each individual artist defines success. Take a good hard look at your expectations. A good exercise for artists preparing for an exhibition is to create a list of the long term and short-term goals they wish to achieve by having this show. You need to write these down. Writing them and reading them will give you a more accurate sense of reality. You can fantasize about wanting a show at the Whitney Museum and know intellectually that you don't really expect it to come as a result of this show but forcing yourself to write it on your list of long-term goals will give you a more accurate pulse of how realistic your goals really are. These will help you to understand the terms by which you define success for yourself. Allow yourself to go the full spectrum from humble to grandiose. I firmly believe that it is impossible to achieve your goals, if you are unable to visualize them go for the gold! The trick is, keeping everything in perspective. Examples of some common goals may include:

* Seeing your work in a public, professional context
* Pride at having friends and relatives acknowledge an important part of who you are
* Hearing strangers talk about your work (for better or for worse)
* Getting a review
* Having sales, how many?
* Getting important collectors, critics and curators to see the show
* Getting recognized by another gallery

Now, evaluate your list and assign a number value 1-5 that reflects how realistic these goals are for you. 1 being the most realistic, 5 being your best-case scenario. Don't forget to distinguish between those goals that are within your control i.e., sending out press packets to 40 writers and those things, which are out of your control getting a review published. Only those things that are within your control can be 1's. Doing this exercise will help you develop a sense of what is both realistic and within your control. Although it will help you to understand the underlying cause of the blues, it may not help to prevent them.

Lots of artists have developed different strategies for dealing with the blues you will need to identify your expectations first, then work on finding the tools to deal with them.

Here are a few suggestions that other artists have used. Feel free to use these, or develop your own strategies.

* Hold back the very last painting you have finished. Keep it in your studio as a springboard to future work instead of including it in the show.
* Take a trip/vacation immediately after the opening.
* Schedule meeting times at the gallery with friends, during the course of the exhibition, to allow yourself the opportunity to talk about the work with a receptive listener.
* Put out a guest book and encourage comments
* Start a new series of work before the work for the show is removed from your studio

In any case, your best defense against "Post Exhibition Blues" is your willingness to recognize and accept this very natural step in the creative process., founded in 1979 by Sylvia White, in Los Angeles, is one of the few management consulting firms specializing in the career development of visual artists. They advise artists on all matters related to business, exhibitions, and marketing. In 1986 they expanded their consulting services to represent selected artists. In addition to their Los Angeles gallery space, they utilize associates in San Francisco, Chicago and New York to help us familiarize galleries, museums, collectors, critics, and curators with the work of emerging, mid-career, and established artists, their artists have participated in hundreds of exhibitions, nationally and internationally. Sylvia White currently serves on the advisory boards for, and

Friday, July 30, 2010

12x 12 Exhibition is on again!!!

Closing Date for entry forms: Friday 3rd September 2010

Delivery: By mail or in person Friday 17th September

Exhibition Opening: Thursday 23rd September 2010 6pm - 8 pm

All works must be on a 12x12 inch square canvas (1.5 inch depth preferred)

Can be a painting, drawing, collage, photography, mixed media or PRINTMAKING.

FOR A MORE DETAILED SHEET AND ENTRY FORM YOU CAN EMAIL ME ON and I will email you a form or call into/contact art is.... studio Level 1, 64 Little Malop Street, GEELONG.

I really enjoyed particiapating in this exhibition last year.


Thursday, July 29, 2010

Hi everyone. I've finally managed to log on. It has taken me all afternoon. Sheila.

I've been having some fun with woodcuts. A lot of waste paper as usual but some of them are taking shape. For this one I used water based oil (no medium) for the first plate which was a ghost print (indian red colour) and vandyke brown (Akua impasto water based ink) for the second plate.
The design is based on some cave paintings from Tunisia but it looks more like three ladies with their racing day hats on.

Seems to have worked okay.

Friday, July 16, 2010

Size and technique used for work.


It has been suggested that we could provide a bit more information about the technique we have used to make our prints and also the size of the finished work. The title would be helpful and If this is an edition, the size of that edition also.  So here goes. "Midden" is a multi plate, reduction Woodcut with stencilling. Edition size 6. Hosho paper with Speedball water based inks. Size 38 x 42cm.

Thursday, July 15, 2010

Hi from rps

Sorry I haven't posted anything for so long, but I forgot how to do it!!!!

Well the opening went off fantastically. It was fun but hectic. My throat was worn out from talking so much. The official speeches were good and Steve gave me a few laughs as well. It was fantastic to be sharing this exhibition with twelve other people who have put so much effort into making top quality work. I was excited to show them off to my family and friends. It was exciting to see that there were quite a few red dots (and half dots) beside prints - I know that this is not the aim of the game, but it is nice to be able to pay some of the framing costs off the credit card!

Sorry I haven't got any photos to pass on - I forgot my camera (Thanks to Melinda for taking some for me on her camera). Now that the exhibition is on its way it is time to think of what to create next. I might try and concentrate on methods that don't need a press. Should be interesting.


Wednesday, July 14, 2010

Gallery Opening

Pip Williams is having a little event to mark the opening of her gallery, and asked me to let Printmakers@Geelong know about it. Please note that it does require an RSVP. I'll be there. Cheers. JM * for a look at Pip's work, check out

Monday, July 12, 2010

Congratulations to everyone. This exhibition and opening is a great success. I am keen to move onto new works now and have the confidence to follow through on some ideas that I was dithering about.

Here are a couple of images of works that didn't make the exhibition.

Saturday, July 3, 2010

The work is up.

Took a peek at the work on the wall at Wintergarden today. Quite a few pieces sold already. Congratulations everyone.

The following pics are not that great as the reflections on the glass from the lights in the building can be a bit distracting, but nontheless, will give everyone an idea of how wonderful the display is. If possible, get in and see the real thing, you will not be disappointed.

North Wall at Wintergarden.

West Wall at Wintergarden

The following images are of the work as I walked around the mezzanine in an anticlockwise direction.