Tag Archives: printmaking

Linda Swinfield: Photo Lithography workshop @ Newcastle Printmakers Workshop Inc.


Rescheduled Workshop for 22nd and 23rd of August
Join us for a two day workshop experimenting with contemporary photographic Lithography processes using Offset Lithography plates. This process will enable participants to marry other media including all traditional printmaking processes.
Participants will be shown variety of hand drawn and photographic techniques. They will be assisted with the exposure, development and hand printing of their work. This course is open to all skill levels from printmaking beginners to advanced; however some knowledge of printmaking processes would be helpful but not essential.

Want to learn photographic lithography?

Linda Swinfield really is one of those rare finds with a seemingly endless repertoire of skill sets. One such talent is the teaching of others and she selflessly gives of her own knowledge and years of experimentation and arts practice again in the upcoming photo lithography workshop to be held at Newcastle Printmakers Workshop Inc.

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Please follow this link to the workshop details (pdf) and follow all instructions within. Hurry…there are limited spaces.

Two Day Photo Lithography 2015

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Posted by on July 23, 2015 in COMMUNITY


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Core Void – 2015 (third year)

_DSC1848Artist Book: one work comprised of two parts, each a seperately bound (un-jacketed) book.
Installation: Can be installed in a number of ways
Printmaking: Collograph, etching, aquatint, chine colle, red wine and coffee
Title: TBA however it might be…’emotional void’
/ ‘Core Void’. I would love your ideas for a title.
















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Collograph Printing with Coffee: Workshop Presenter (HPI’s) Katherine Kennedy

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Hawkesbury Printmakers Presents (HPI): Coffee Collographic Workshop with Katherine Kennedy

Local artist and Hawkesbury Printmaker’s member Katherine Kennedy will be presenting the workshop ‘Collograph Printing with COFFEE’, this Easter on Saturday 11 April 2015 for beginners, dabbler’s enthusiasts and artists alike. Katherine’s own practice often incorporates facial tissues, alcohol and coffee which are actually integrated into her work either as material, colour referent or as geometric shapes.

Katherine explains;
‘A collograph refers to a printing plate made from mount board which can be incised, added to with textures or have some subtracted elements by tearing bits away from the surface. As a print form it is both cost effective and environmentally friendly however what makes this workshop special is that coffee is featured. Coffee is presented as more than just morning tea, we will explore it as a medium and recontextualise it in the process. It will become both a texture and an ink to literally print onto the paper and produce visually what the tactile nature of the texture informs. We will end up with prints that inundate the senses of touch, site and would you believe? Smell!’

All participants are invited to bring various coffee brands in for testing essentially meaning each participant is an active contributor to the learning process for all. For bookings please contact Sheila Sharp on;
Children 6 years and over are most welcome to join in with parental / carer participation. Prices include the costs of materials however participants are invited to bring the following items;
• Optional: Special papers to chine colle (collage) onto the final print
• An image to work with which is specific to your own tastes such as a portrait, animal, shape, flower or landscape etc…
• Favorite coffee brand (be sure to bring the name of the brand and particular make).

Hawkesbury Printmaker’s Inc. Member price $20 / head
Non-member $25 / head

If this sounds like its for you: READ ON.


Learn how to make your own printing plate out of cardboard, coffee and other textures
Date: Saturday, 11 April 2015, 10am to 3pm
Place: Block K13, Corner of Blacktown Road and Campus Drive, Richmond College
Tutor: HPI member and artist Katherine Kennedy

Tutorial Plan:
• 10:00 Participants to arrive
• 10:15-10:30 Introduction
o What is or constitutes a collograph – basic history
o Various methods of preparing and sealing a collograph
o Introduction to tools & associated printmaking terminology
o Inking the plate as relief, intaglio and alla poupee
o Basic introduction of chine colle
o Show example plates and resultant prints
• 10:30-11:00 Morning tea
• 11:00-12:00 Help participants to make their plates
• 12:00-1:30 Lunch & Plates arranged for best dry scenario
• 1:30-3:00 Print

• Paper: Hosho, BFK Rives, chine collee papers/scraps
• Chine Colle paste
• Trays for materials and tools down the centre of the table
• Cutting: Mat’s, stanley knives, cutting implements
• Drypoint scribes
• Wood glue: bulk
• Compact heaters/fans
• Printmaking bible: bring along for participants to flip through
• Chart on mount board with grid for different coffee’s and resultant prints
• Shellac
• Ink

Participants to bring:
• Optional: Special papers to chine colle (collage) onto the final print
• An image to work with specific to your own tastes
o Portrait, animal, shapes, flowers or landscape etc…

• Drypoint tool or any scribe that can be used to scratch a mark into the surface thus drawing via scratching.
• Favourite coffee brand (be sure to bring the name of the brand and particular make). This could be used for texture and dark tones as the ink gathers in the ‘grit’ that is created from the coffee texture. We can document the findings together!

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Posted by on March 16, 2015 in COMMUNITY


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Earlier this year I undertook a task which involved pushing the one plate to its limits. Using etching, sugar lift, acquatint, burnishing and literally cutting the plate up. It was most interesting to see how each student approached this project. However this is my outcome. Note that I made a separate edition of one of the plates in a wine red ink…just because.

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Posted by on December 5, 2014 in PRINT MAKING



Provoked Pain Etching

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Unique State Prints. Printed A la Poupee using plate tone to intentionally create further depth, contrast and atmosphere.

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Provoked Pain Etching, 2014 & Provoked Pain Etching II, 2014 (editions of 5)

An earlier post of these images shows them in their final state with acquatint applied however the initial states of an etching can sometimes be the most elegant in their simplicity. An etched line relies on draftsmanship to inform shape and tone as opposed to other processes. Cross hatching with fine marks inscribed with a drypoint needle is how these images have been achieved.

Also of note, is the push and pull of imagery within both of these prints. A portrait is worked simultaneously with a facial tissue sculpture. The morphing of forms more direct than as evident in the later prints incorporating acquatint.

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Posted by on December 4, 2014 in PRINT MAKING



Complicate/Domesticate Series

red wine_tissues_collographs

This series of prints are specific to an exploration of emotion from a distinctly female perspective. They incorporate the use of red wine, facial tissues and coffee as recurring motifs within my practice and life cycles whilst once again alluding to depth be it emotional or physical. Another present concept is my private joke about the pointlessness of aiming for ‘perfection’ (as a construct) in both the relationship and domestic spheres as perfection arises from acknowledging and celebrating our imperfections.


These prints incorporate a diverse range of printmaking techniques and processes including both relief and intaglio methods with several collograph plates, stencils and viscosity rolls.

Notions of the domestic are evidenced by the use of wallpapers which provide an intentional nostalgic vibe exaggerated by the sepia tones achieved with the coffee printing. A mixed subtle colour provided the first viscosity roll atop the wallpaper and again later with the stenciling of three repeated geometric shapes in rose wine. This method provides an unsaturated inking effect thus increasing the reading of nostalgia for its lack of perfection via the breaking up of a surface which I find most appealing.

Geometric Shapes:

The ovals, circles and squares reference the cubic and rectangular tissue boxes which house facial tissues and the plastic lips and orifices which you pull the tissues out through.


All layers are visible. The visual linking of memory and the present via the rose wine hued colours adjacent to and yet through the coffee tones conceptually assists as a short term bandage for an in-the-moment hurt.  The use of wine for self-healing properties provokes the need for mass consumption of (water and) coffee the following day.

‘All layers are visible’ is a lovely statement about the development of character, strength and beauty arising out of personal trauma, one…layer…at-a-time. This also eludes to the lack of privacy we now have although largely self imposed via our social media engagement and interpersonal interactions.

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Posted by on December 3, 2014 in PRINT MAKING


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Collograph Prints: Coffee Series


Emotional processing is different for everyone and yet many rituals people undertake at these times are the same. It is this engagement with the materiality of objects, interacted with during such times, which is of interest. Items such as tissues, fluffy pillows, comforting photographs and cheerful flowers are some such examples which may be specific to how a person individually comes to terms with and eventually accepts private vulnerabilities.

Much of my work during 2013 to present has included wine as subject and object both as literally used within the artworks by the incorporation of actual alcohol and as perhaps a less positive approach to heart-ache-self-management. The same can be said for my recurring motif of facial tissues, tissue boxes and associated shapes.

The Coffee Series prints once again draw on the tissue box and shapes motif however deal specifically with the ‘morning after’ heart-ache-self-management approach. The alcohol this time is therefore inferred in place of directly utilized. However coffee is present in the work. In fact, the work has a distinct scent of instant coffee ‘Nescafe Gold’ as the artworks are infused with it as a printing device/ink.The coffee printed more and the ink less with subsequent pulls of the press which was a lovely surprise and creates the variation and push-pull present in the 3 versions of each plate.

I would love these collograph prints to be picked up by a down-to-earth cafe somewhere where they could just be pinned to the walls and the customers encouraged to get up close and catch a whiff of the coffee scent. The textures you can see in the images are embossed into the fine art printmaking (BFK Reeves) paper and are most attractive viewed in person.

This series consists of;

4 plates printed 3 times each from the initial inking: small prints 24 x 19 cm (small variations)


1 large plate printed 3 times from the initial inking: 50 x 73 (small variations)

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Posted by on December 3, 2014 in PRINT MAKING


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