Upcoming Workshops

This class is currently full with a waitlist.

5-6 April 2025. Cost AUD$650 plus $45 Studio Fee. Limited to 5 participants. See Terms and Conditions below.

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. 

Some printmaking experience will be useful but is not essential. The workshop will include a general demonstration of monotype techniques on Saturday morning.

Since this is a self directed workshop we strongly encourage you come prepared with ideas and drawings of the images you want to make so that you can make the best use of the time available.

Please contact us if you have any questions about the workshop, size of plates, etc.

What we provide

Basic colour inks and modifiers

Tarlatan, rags, brayers, palette knives etc

1x large plexi plate each

1x 120 x 150 table to work on

Clean up supplies, tea, biscuits and print happiness

What to bring:

A range of paint brushes suitable for oil based inks, mark making tools, stencils (if you use them), disposable gloves.

Inks - we recommend you bring any specific etching ink colours in your preferred palette. We suggest bringing tubes of Charbonnel which are cost effective as they don’t dry out and are pigment heavy.

Large sheets of paper. We recommend that you order paper on the roll to be delivered to the studio before the workshop, which is the most cost-effective option. We do sell paper off the rolls, but please contact us in advance.

With Sarah Amos

This class is currently full with a waitlist.

26-30 May 2025.  Cost:  AUD $1,650 plus $45 studio fee.  Limited to 5 participants. See Terms and Conditions below.

I have been working with the collagraph technique for over 25 years and have along the way taken this discipline to a new level of complexity due to my love for the technique and obsessive experimentation. I am also committed to the non-toxic process that I have adapted over the years and love the green aspect of this technique in the studio. The multiple plate process and layering technique that I primarily use is a wonderful way to achieve a rich painterly surface with both oil paint and etching ink. In addition I will be using a variety of drawing materials and water based mediums to embellish and add another dimension to my finished pieces.

This class explores both collagraph and drawing and stenciling techniques which are used to create unique printed paintings on Paper. Building stable but interesting Collagraph plates will be our first objective. We will make several plates all the same size with a multitude of materials that are either glued, stitched or incised onto our boards. Paper,  textiles, thread, textured fabric, tape and gel mediums can be used to make very sculptured plates. We will learn how to scrape, and perforate the surface to create wonderful textures of pattern and organic lines and marks.

Artists will also learn the multiple plate system, registration capabilities and how to apply ink and paint with stencils on paper. I will show how to sequence plates and organise your colour palette so that your prints are clear and clean with a sharp graphic punch. After the prints are dried, the wet work or drawing mediums can be added. I will demonstrate my various techniques with brush’s and pencils on the finished works. I shall also discuss the “French Seam” technique whereby small works are pieced together with archival tape to make much larger or shaped collagraphs.

I will share my own work to illustrate techniques and provide critiques to artists who wish guidance. The use of non-toxic materials are also discussed at length due to my heightened sensitivity to such materials during my printmaking career. This class is designed for the artist who has had previous experience in printmaking and who wants to take their printmaking practice to a new level of exploration.

Sarah Amos has been making multimedia prints for over 25 years, having left Australia to study at Tamarind Institute of Lithography in New Mexico USA, where she became a Master Printer. Sarah now lives and works in her Printmaking studio in East Fairfield, Vermont and maintains an active International and National exhibition schedule, despite her intense commitment to teaching and collaborating with Professional Artists. Sarah also teaches Master Classes from her home studio and has been an Adjunct Professor for 12 years at Bennington College, Williams College and Dartmouth College.

With Jenny Robinson

This class is currently full with a waitlist.

28-29 June, 2025. Cost: AUD $750 plus $45 studio fee. Limited to 5 participants. See Terms and Conditions below.

This in-depth workshop is designed for artist’s who want to take their work the next level by learning the traditional Japanese methods of chine colle, and seaming works together to create larger, tessellated works, adding collaged elements, and backing techniques for larger prints using traditionally cooked and prepared jin shofu (wheatpaste).

You will learn the correct method of handling and printing on fine Japanese papers, with the opportunity to experiment and expand your ideas. The workshop includes in depth demonstrations and collaborative practices, as well as a one hour Zoom meeting with all participants 2 weeks prior to the start of the workshop to discuss projects.

Artists should bring their own plates/matrices and pre-printed works on Japanese paper to work on over the weekend.

Jenny has been working almost exclusively with fine Japanese papers for the past 10 years, specifically on gampi shi, having learnt Japanese scroll backing techniques from master printer Paul Mullowny in San Francisco.

Gampi paper to be used in this workshop kindly provided by Awagami Factory.

with Silvi Glattauer

4 – 6 July 2025. Cost: AUD$1100 plus $45 Studio Fee. Includes two 1.5 hour Zoom sessions and 3 Studio days.

This workshop requires a minimum of 5 students and a maximum of 6.

Take your photogravure skills to the next level! Building on your experience, this 3-part workshop 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.

This hybrid workshop combines two interactive Zoom sessions, followed by a three-day intensive, hands-on studio experience. It's ideal for those who have completed a beginner's photogravure workshop and have a solid understanding of Adobe Photoshop.

Zoom Session 1 (26 June 2025, 7-8.30pm)

Discuss your project idea and examine the possibilities for creating a body of work that expands on your current practice. Explore potential directions for your imagery with scale, colour and framing to affect the visual quality of your work. Silvi will give examples of potential directions. Each student will have the opportunity to show and discuss their own project ideas.

Zoom Session 2 (1 July 2025,7-8.30pm)

Getting ready for the hands-on studio workshop, this second session will give you the opportunity to present your project idea and receive feedback. Silvi will also cover the essential digital skills to prepare your black & white files, delving into advanced techniques for controlling contrast, tone and drama in your images.

3 Day Studio Session

After the initial zoom sessions you will be ready to maximise the studio hands on time. Bring your ideas and your prepared digital files to the studio and let’s turn them into beautiful prints. We will concentrate on advanced studio practices such as Etching press set up and considerations for large format printing; complex registration methods for multi plate printing; and adding colour with Chine Collé or À la Poupeé methods.

With Jenny Robinson

19-20 July, 2025. Cost: AUD $750 plus $45 studio fee. Limited to 5 participants. See Terms and Conditions below.

Due to popular demand we are adding another Seaming and Backing workshop, designed for artist’s who want to take their work the next level by learning the traditional Japanese methods of chine colle, and seaming works together to create larger, tessellated works, adding collaged elements, and backing techniques for larger prints using traditionally cooked and prepared jin shofu (wheatpaste).

You will learn the correct method of handling and printing on fine Japanese papers, with the opportunity to experiment and expand your ideas. The workshop includes in depth demonstrations and collaborative practices, as well as a one hour Zoom meeting with all participants 2 weeks prior to the start of the workshop to discuss projects.

Artists should bring their own plates/matrices and pre-printed works on Japanese paper to work on over the weekend.

Jenny has been working almost exclusively with fine Japanese papers for the past 10 years, specifically on gampi shi, having learnt Japanese scroll backing techniques from master printer Paul Mullowny in San Francisco.

Gampi paper to be used in this workshop kindly provided by Awagami Factory.

November 2025, 5 days (dates to be announced). 

Cost:  AUD $1,650 plus $45 studio fee.  Limited to 5 participants. See Terms and Conditions below.

Learn all about sustainable creations using Jenny’s innovative Non-Toxic Printmaking technique in this unique , Massive Cardboard Plate Masterclass.

This 5 day, intensive masterclass offers professional and dedicated artists a high-level, fast-paced exploration of large-scale drypoint etching using specially sourced cardboard as the matrix.

Pioneered by Jenny in California over two decades ago, this innovative non-toxic technique was developed as a solution for creating large-scale works without the prohibitive costs or hazards of traditional etching methods. By eliminating the need for acid and rosin, this approach preserves and replicates the rich detail and tonal depth of  conventional etching while offering a safer, more accessible and faster alternative to platemaking.

Through expert-led demonstrations and hands-on experimentation, participants will learn to prepare their plates, distinguish between the different qualities of substrates and engage with an extensive range of mark-making, textural applications, and wiping techniques, creating prints that are virtually indistinguishable from traditional etchings.

Designed to challenge artistic conventions in both scale and material, this course is structured around in-depth group discussions, individualized mentoring, and a rigorous examination of sustainable studio practices.

Each participant will receive two (100 x 80cm) plates to develop their imagery, culminating in a refined, small edition of large-scale, varied works on paper.

With a limit of 5 participants, each artist will get extensive press access for printing and experimentation and will emerge with a portfolio of large scale finished prints and the technical expertise to integrate non-toxic printmaking seamlessly into their practice, expanding the boundaries of contemporary etching.