Print Club Ltd.

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Print Club Ltd. Print Club Ltd. is a print publisher, atelier and art consultancy.

We are an online purveyor of limited edition, hand-pulled screenprints and lovers of all things print.

An art consultant earns their fee by deciding what works you never have to see.In our view, presenting thirty options me...
17/10/2026

An art consultant earns their fee by deciding what works you never have to see.
In our view, presenting thirty options mean we haven’t done our job yet. By the time art comes up, the client has made hundreds of other decisions. We’ve found that every option added past two or three can lower the conversion rate of the entire presentation.

The reason to bring a specialist into an art program is not access to more options. It is to access their taste and judgment about which works are worth the client’s attention.

For a recent luxury residential project, we reviewed work from roughly twenty-five artists, made an internal shortlist at eight, and then ultimately included three in our proposal. The other twenty-two were not wasted, collectively they made our conviction around the three selects even stronger by exploring so many alternatives. This conviction typically sets the stage for quicker and more confident client decision-making.

We tighten the curation ahead of every presentation so that by the time the client sees the work, thirty artists have already become three.
We’d love to talk about your next project, the link to connect is in our bio.
Image: Private residence designed by IDF Studio IDF Studio artwork by Kamrooz Aram.

An art consultant earns their fee by deciding what works you never have to see.In our view, presenting thirty options me...
17/10/2026

An art consultant earns their fee by deciding what works you never have to see.
In our view, presenting thirty options means we haven’t done our job yet. The version of the client meeting that is most successful is the one where thirty options have become three and only works that are a perfect fit are presented.

By the time art comes up, the client has made hundreds of other decisions. So has the designer. Excessive options at this stage do not read as thoroughness but is felt as additional workload. We’ve found that every option added past two or three can lower the conversion rate of the entire presentation.

The reason to bring a specialist into an art program is not access to more options. It is to access their taste and judgment about which works are worth the client’s attention, and their willingness to defend that judgment in the room. The research, mock-ups, rejections and ultimate selections that happen in advance of the client meeting is where most of their value lives.

For a recent luxury residential project, we reviewed work from roughly twenty-five exceptionally talented artists, then made an internal shortlist at eight, and then ultimately included three in our proposal. The other twenty-two were not wasted, collectively they made our conviction around the three selects even stronger by exploring so many high quality alternatives. This conviction typically sets the stage for quicker and more confident client decision-making.

We tighten the curation ahead of every presentation so that by the time the client sees the work, thirty artists have already become three.
We’d love to talk about your next project, the link to connect is in our bio.
Image: Private residence designed by IDF Studio IDF Studio artwork by Kamrooz Aram.

With a new commission, you’re saying yes to a work before it exists and before anyone can show you exactly what you’re g...
13/10/2026

With a new commission, you’re saying yes to a work before it exists and before anyone can show you exactly what you’re getting. This one began as a conversation with ABBY KUSKIN INTERIOR DESIGN about a room that hadn’t been built, in a villa being built from the ground up, and ended on this finished wall. Here’s how it got there.

A pair of villas on the Mexican coast being built on spec and matched in design, each needed a major painting to anchor their living rooms. The work needed to be the same size, clearly related…but not an identical pair (a potentially unpopular request for a painter!)

We’d followed Brian Dunn’s work for years (he and Liz were in grad school together), so we weren’t briefing into a blank page. His “Sequences” series; curved, circular forms repeating across the canvas in rhythmic patterns, was already close to the language these rooms wanted, so it became our reference point. This was a concrete example of previous work from the artist which could guide where we were headed.

Before we briefed Brian, we studied the space. The furniture and finishes that Irongate and ABBY KUSKIN INTERIOR DESIGN selected all leaned into soft, curving forms in a fairly neutral palette. So the paintings had a clear job: pick up those same shapes, but bring in colour, enough to anchor a big open living room rather than dissolve into the neutrals.

Brian came back with three or four compositions worked up on paper. Two landed straight away; the visual rhythm was right, the forms were right. Nothing was on canvas at this stage, these were painted “sketches” on paper, which is exactly where you want the big decisions being made.

The compositions were there but the palette wasn’t quite right. Brian’s original colours, punchy and playful (and incredible) on their own, would have been a little loud in these spaces. We didn’t want purely neutral but we also couldn’t swing too wildly in the other direction either.

So, we went back to him with a substantially different colour direction, presented as digital mockups, and talked him through our rationale. Asking an artist to move a long way from their first instinct takes quite a lot of care. Brian was receptive to our thought process and moved ahe

We print editions for a living, so the mechanics of what a limited edition actually is informs everything that comes thr...
10/10/2026

We print editions for a living, so the mechanics of what a limited edition actually is informs everything that comes through our studio. It’s a term we use pretty frequently and so I thought it would be worth explaining plainly. It starts with a quantity that is finite: an edition of 50 means that there are 50 prints, now and forever.

When we complete production on an edition, our screens are reclaimed, any misprints or seconds are destroyed, and the number of works that will ever exist is fixed. There is no returning to print more once an edition sells through. Photo: Austin McManus

Each print is numbered by hand, in pencil, either below the image or on the back (or you might see “en verso”, which means “on the reverse”). The number – 23/50 – tells you where your sheet sits in the run, and the “chop” or small embossed logo will be the record of which printshop printed the edition.

Alongside the numbered edition made for sale, a few proofs also exist. Artist proofs (marked AP) are traditionally the artist’s own to keep; printer’s proofs (PP) belong to the studio that pulled the edition. A serious studio typically caps their quantity at around 10% of the edition each and there is usually an understanding that neither party will try to sell their proofs while the main edition is offered for sale.

A smaller edition size simply means fewer of them exist; twenty-five people are able to acquire and live with the piece rather than five hundred. Nothing more mysterious than that! It’s part of why the edition size is worth knowing before you buy as it tells you exactly how many prints of the work are out there.

Edition size holds very little meaning if care hasn’t been given to selecting materials. We print on archival cotton rag which is industry standard, with water-based acrylic inks, made to be framed or stored for decades. The value of a limited edition is also a promise that the work will still be here in a hundred years, and the quality of materials used determines if that promise can be kept.

A few things worth asking before you buy any edition, from us or anyone: How large is the edition? Is it signed and numbered by hand? What paper and inks were used? Ho

When the design team at Irongate were developing the plans for thirty-six residences at Four Seasons Peninsula, they nee...
08/10/2026

When the design team at Irongate were developing the plans for thirty-six residences at Four Seasons Peninsula, they needed an art package for these homes that was (I) consistent across every unit, (II) repeatable, and (III) stick within a firm budget. ⁠
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Sourcing works can typically get you two of those three conditions, but rarely all three. ⁠

We invited a small group of artists and published new editions with them.⁠
⁠
Karin Haas karin haas — a pair of limited edition silkscreen prints. ⁠
Tyler Keeton Robbins Tyler Keeton Robbins — silkscreen/digital print on fabric and a pair of limited edition silkscreen print on paper.⁠
Carolina Jiménez Carolina Jimenez — limited edition silkscreen prints ⁠
⁠
These weren’t existing works that we licensed, instead they were new print editions that we produced in limited quantities and all made in-house in our studio.⁠

We invited a small group of artists and published new editions with them.⁠
⁠
Karin Haas karin haas — a pair of limited edition silkscreen prints. ⁠
Tyler Keeton Robbins Tyler Keeton Robbins — silkscreen/digital print on fabric and a pair of limited edition silkscreen print on paper.⁠
Carolina Jiménez Carolina Jimenez — limited edition silkscreen prints ⁠
⁠
These weren’t existing works that we licensed, instead they were new print editions that we produced in limited quantities and all made in-house in our studio.⁠

We invited a small group of artists and published new editions with them.⁠
⁠
Karin Haas karin haas — a pair of limited edition silkscreen prints. ⁠
Tyler Keeton Robbins Tyler Keeton Robbins — silkscreen/digital print on fabric and a pair of limited edition silkscreen print on paper.⁠
Carolina Jiménez Carolina Jimenez — limited edition silkscreen prints ⁠
⁠
These weren’t existing works that we licensed, instead they were new print editions that we produced in limited quantities and all made in-house in our studio.⁠

We invited a small group of artists and published new editions with them.⁠
⁠
Karin Haas karin haas — a pair of limited edition silkscreen prints. ⁠
Tyler Keeton Robbins Tyler Keeton Robbins — silkscreen/digital print on fabric and a pair of limited edition silkscreen print on p

06/10/2026

13 years in and I'm not sure I've actually introduced myself here. So, hi. I'm Liz, founder and creative director of Print Club, an art consultancy and fine art print studio in Sydney.

We did a quick rapid fire so you can put a face to the studio:

Coffee: Long black. That's it.

Mornings: Definitely a morning person. Less definitely a Zen one. The laptop's open and I'm in my emails before I've done anything else.

First contemporary art memory: Jeff Koons's Puppy outside the MCA in 1995. A giant dog made of flowers on the harbour. That's when it clicked for me that art didn't have to live in a dusty gold frame.

Print Club in three words: Idea before object. We think about the medium, the scale and the room it's going into long before anything gets printed.

What makes us different: Gram (my partner) and I are both practising artists. We'll source existing work, but if the brief calls for something that doesn't exist yet, we make it here in the studio.

And the one thing I'll always say yes to? Working with friends. Life's too short to spend your days with people you don't like.

What's the job you'll always say yes to? Tell me in the comments.

28/07/2026

Whenever we travel, we always make time for visits to print studios – it’s often the first thing we look up in a new city. And lately we’re now also finding ourselves drawn to seeking out ways to visit ceramics studio in person too.

We have collaborated with so many ceramicists over the years, and I got a proper window into how ceramic production works during an artist residency at Kohler back in 2021. All this had been enough to leave us a little obsessed with the process, and always looking for ways to bring ceramic work into the consulting projects we take on.

We met Nicola, who started Kilnhouse Design Studio in 2020, and her sister Michelle, who’s joined as the studio has grown. What caught us was the piece they were in the middle of making – a ceramic “patchwork” of individual faceted tiles, to be stitched together into a large-scale wall-hanging for 100% Design Africa at Decorex Africa . Seeing it in parts, spread out mid-process before it becomes one work, is exactly the kind of thing you only get in the studio. We were treated to a look at how a big piece is planned and built, right there on the table.

This is a studio that thinks in both hand and production, with custom ranges for homes and hospitality, hand-thrown and hand-finished in Johannesburg. What a treat.

We recently enjoyed a ten-day visit to Johannesburg. It was our first time in the city and and first time on the African...
24/07/2026

We recently enjoyed a ten-day visit to Johannesburg. It was our first time in the city and and first time on the African continent so we were pretty giddy ti finally get a sense of its contemporary art and printmaking communities.⁠
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Given we were traveling with a 3-year old much of our art viewing happened in a single afternoon, thanks to Kim Berman of Artist Proof Studio, who scooted us through the tight cluster of galleries around the Rosebank area and also got us into the Jack Ginsberg Centre for Book Arts at Wits Art Museum Wits Art Museum which was incredible. Huge thanks to Kim and more on our visit to Artist Proof Studio very soon!⁠
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The work that really stopped us was at Gallery 2 ; a series of large-scale relief prints by Sithenjwa Luthuli. These were printed, then hand-coloured, and then printed over the top again – so the colour sits inside the image and the gloss of the relief ink was just gorgeous. Each work is an edition of five, and every one is painted differently, in its own palette which basically creates five unique pieces. ⁠
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Other highlights in our diary: Kim Sacks Gallery, David Krut Projects, Wits Art Museum, Artist Proof Studio, Flood House Studio, Goodman Gallery, and Everard Read. A cross-section of a scene we’ve read about for years and were so excited to finally encounter for ourselves. ⁠
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Swipe through and if you know Joburg – tell us what we missed, because we’re already planning the next trip!

Annie May Johnston⁠Ground Flowers in Sicily⁠One color silkscreen print⁠Edition of 20⁠30” x 22” / 76.2cm x 55.9cm⁠⁠Johnst...
08/07/2026

Annie May Johnston⁠
Ground Flowers in Sicily⁠
One color silkscreen print⁠
Edition of 20⁠
30” x 22” / 76.2cm x 55.9cm⁠
⁠
Johnston Annie May Johnston was among nine artists who were asked to share personal photographs taken outdoors, not while making work, but while simply being in the world. What came back became a panorama of collective creative experience, printed in single colours as silkscreen editions. Each print is a suspension of someone else’s free time.⁠
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Annie May Johnston is an artist and mother situated in the field of printmaking, often working towards the margins of the medium - employing new technologies alongside traditional processes. Currently she is an Assistant Professor of Practice at the University of Texas at Austin where she is the Print Area head, chairs the Guest Artist in Print Program and is the faculty sponsor for the UT Riso Room.

Some clients want a track record and others want the work that doesn’t exist yet.⁠⁠Whether to propose a commission, or p...
06/07/2026

Some clients want a track record and others want the work that doesn’t exist yet.⁠
⁠
Whether to propose a commission, or put an emerging name in front of a client, comes down to one read you make early: their appetite for risk. A client can have the money and a sharp eye and still want only what’s proven. Another will back something unseen without hesitating. Read their appetite for risk right and you can offer the braver path with confidence. ⁠
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Knowing which one is in front of you can be uncovered with the right approach. Download The First Conversation – our free guide for designers. Link in bio.⁠
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Image: Michael Craig-Martin, “Eye of the Storm”, 2003

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18 Faversham Street
Sydney, NSW
2204

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