Jo Lankester Limited Edition Print Studio

Creative Printmaking Internships, Darlinghurst

2012-02-16T08:45:00.000+10:00

http://www.australianinfront.com.au/jobs/listing/1350

How to Restore Old Linocuts in 5 Easy Steps

2012-01-31T17:05:00.000+10:00

Printmaking Tip: Restoring old lino blocks

Recently I was approached by a client to restore a set of old lino blocks which she created almost 20 years ago. The lino had been sitting in water in the boot of a car (life in the tropics) where they had been exposed to extreme conditions. They were soaked through, cracked and in very bad condition on arrival to my studio.

When the blocks dried out they were brittle, warped, and cracked. Some of the cracks were on the surface and others were all the way through to the backing. I felt the safest way to print these blocks without damaging them further was to fix them to a board.

Step 1. Dilute a mix of water and PVA to coat the back of the lino block; the backing surface may absorb the liquid quickly.

Step 2. Apply a second coat of undiluted PVA to the entire surface.

Step 3. Place the lino block onto a sheet of MDF.

Step 4. Place even weight on top of the linoblock and MDF board, then leave to dry for a couple of days.

Step 5. Apply plaster gap filler to the large cracks, then gently sand and if necessary re-carve lines ready for printing.

Happy Printing!

Warmly,
Jo Lankester

2011-11-10T19:22:00.001+10:00

“If you want to discover printmaking, attend exhibition openingsand non-toxic printmaking workshops subscribe to my Jo Lankester LimitedEdition Print Studio/Brush & Press Studio e-newsletter below”

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Irene Rae Studio Access

Rhonda Stevens 'Crossing' Exhibition Opening

Drypoint & Chine Colle' Workshop

Warmly,

Jo Lankester

Karen Fiorito Produces a 5 Colour Reduction Linocut at Brush & Press Studio for Neoteric Print

2011-10-09T21:09:00.000+10:00

Karen Fiorito Produces a 5 Colour Reduction Linocut with JoLankester at Brush & Press Studio for Neoteric Print

Karen Fiorito produced a 5 colour reduction linocut withartists and technician Jo Lankester at Brush & Press Studio as artist inresidence for Month of Print, a national celebration of printmaking tocelebrate Australia hosting Impact 7, an international multi disciplinary printmakingconference hosted by Monash University, Melbourne during September.

This reduction print isbased on the Hindu legend of the Goddess Durga:

A long time ago, the worldwas in great peril. War and famine were widespread,and demons ruled the earth. The great demon Mahisasura, who took the form of abull, was their leader. Despite all their efforts, none of the male gods could defeat the demon. The gods retreated from battleand summoned a goddess, for it was foretold that only a woman could save theworld from such destruction. Out of a supernova of their collectiveenergies appeared the Goddess Durga with 10 armsriding a tiger. She defeated Mahisasura and his army. Peace was restored andthe earth was healed. Although the people of earth begged her to stay and rulethem, she refused. "That is not my way," she said, "but if everyou need me again, just think of me, and I will come."

"I have recreated this image of theGoddess Durga and replaced her weapons with tools used in printmaking. She represents the creative, emotional,compassionate and powerful aspects of the divine feminine. Durga is thedestroyer of ignorance and represents determination and will power, fiercecompassion and patience. I believe thatonly through these qualities can we bring about peace on earth and to all ofits creatures. My hope is that through my art I can cultivate these aspects ofthe divine feminine and inspire others to do the same, whether they be male orfemale."

Karen received her Master’s in Fine Art in Printmaking from ArizonaState University and her Bachelor of Fin Art in Printmaking from the Universityof Pennsylvania of the Arts.

Forthe past 7 years, she has run Buddha Cat Press, a socially conscious printmakingstudio and publishing company. Most recently her work was showcased at theJ. Paul Getty Museum in Los Angeles for the Pacific Standard Time project.

Herwork has also been featured in major publications such as Art in America, theHuffington Post, the LA Weekly, and URB Magazine. She is therecipient of a Puffin Foundation Grant in 2005 and a Change, Inc. Grant fromRobert Rauchenberg in 2004.

Neoteric print

Contemporaryprintmaking artists, working with new ideas and processes pushing theboundaries of traditional printmaking practice in a gallery setting. Themediums used by these artists range from new variations on traditional intaglioand relief techniques, to digital video projections.

Artists: Doug Arana, Aja Ausman, Kelly Bianchi, John Bradshaw, Laura Castell,Michelle Hall, Donna Foley, Karen Fiorito, Sheree Kinlydise, Jo Lankester,Kyana Pike, Gerald Soworka, Sandra Wright

Umbrella Studio of Contemporary Arts, Townsville

ExhibitionOpening: 7pm Friday 30 September by Jo Lankester

ArtistTalk: 11am Sunday 9 October 2011

ExhibitionDuration 30 September 6 November 2011

Brush & Press Studio is possiblethanks to the Renew Townsville Initiative www.renewtownsville.com

Warmly,

Jo Lankester

P.S I challenge you to make your life a masterpiece. I challenge you to join the ranks of those people who live what they teach, who walk their talk.

Anthony Robbins

Neoteric Print, Umbrella Studio Contemporary Arts 30 September-6 November 2011

2011-09-29T07:59:00.000+10:00

Neoteric Print: Artist Douglas Arana Printing at Brush & Press Studio for Month of Print

2011-09-28T07:40:00.000+10:00

Neoteric Print is a celebration of the diverse printmedia currently being explored in Townsville amongst emerging and mid careerartists.

Townsville Has adynamic printmaking community which has been developing over a long period oftime incubating, and still currently offered, at the Barrier Reef InstituteTAFE then a Bachelor of Visual Arts at James Cook University, and most recentlythe forming of Pressnorth, a Townsville based printmaking group comprising of 40 members actively exhibiting, teaching and earning a living fromprintmaking.

DouglasArana is one of 13 artists participating in Neoteric Print at Umbrella Studiofrom 30 September to 5 November 2011.

Printmaking is widelycelebrated within Australia with Townsville being one of the most vibrantprintmaking communities with artists winning awards in recognition of theirskills across many mediums including artist books. Neoteric Print is part of a national Month of Print andco-insides with Impact 7 an International Multi-Disciplinary PrintmakingConference, 27-30 September 2011, Hosted by Monash University, Caulfield,Victoria.

neoteric - Used todescribe a person, especially an author, it means one belongs to modern/recenttimes—but it might also refer to a person having a modern outlook or new ideas;when used of things, it indicates that they are modern, new, or recent.

Thesefollowing images are of Douglas Arana printing two works for the exhibition atBrush & Press Studio, 375 Flinders Street Townsville.

NeotericPrint: Doug Arana, Aja Ausman, Kelly Bianchi, John Bradshaw, Laura Castell,Michelle Hall, Donna Foley, Karen Fiorito, Sheree Kinlydise, Jo Lankester,Kyana Pike, Gerald Soworka, Sandra Wright

ExhibitionOpening: 7pm Friday 30 September by Jo Lankester

ArtistTalk: 11am Sunday 9 October 2011

ExhibitionDuration 30 September 6 November 2011

Brush & Press Studio is possiblethanks to the Renew Townsville Initiative www.renewtownsville.com

Happy Printing!

Warmly,

Jo Lankester

P.S Go confidently in the direction of your dreams. Live the life you've imagined.

Henry David Thoreau

Neoteric Print: Artist Laura Castell Printing at Brush & Press Studio for Month of Print

2011-09-25T07:49:00.000+10:00

Neoteric print

LauraCastell is one of 13 artists participating in Neoteric Print at Umbrella Studiofrom 30 September to 6 November 2011.

Whileplanning for this exhibition I titled the exhibition to be quite open to interpretation.I did not want to be descriptive and set a theme that directed each artist awayfrom their current practice. I feel it is quite important to keep true to yourown concepts and aesthetic ideas when exhibiting in a group exhibition.

Thesefollowing images are of Laura Castell printing one of two works for the exhibitionat Brush & Press Studio, 375 Flinders Street Townsville. This is the first time Laura has worked to this scale. All the prints in the exhibition are 800 x 600 mm.

NeotericPrint: Doug Arana, Aja Ausman, Kelly Bianchi, John Bradshaw, Laura Castell,Michelle Hall, Donna Foley, Karen Fiorito, Sheree Kinlydise, Jo Lankester,Kyana Pike, Gerald Soworka, Sandra Wright

ExhibitionOpening: 7pm Friday 30 September by Jo Lankester

ArtistTalk: 11am Sunday 9 October 2011

ExhibitionDuration 30 September 6 November 2011

Brush & Press Studio is possiblethanks to the Renew Townsville Initiative www.renewtownsville.com

Warmly,

Jo Lankester

P.S You gain strength, courage and confidence by every experience in which you really stop to look fear in the face. You must do the thing that you think you cannot do.

Eleanor Roosevelt

Linocut Printing at Brush & Press Studio with Guest Printmaker Karen Fiorito

2011-08-15T06:24:00.000+10:00

Welcome to my blog about printmaking.

I have been working in my studio on an oversized linocut 80 x 120 cm for client Tate Adams in between major projects and with the help of Karen Fiorito I was able to complete the edition.

Karen has recently moved to Townsville from LA where she owns and operates her own printing press, Buddacat Press. We met through a mutual friend and fellow printmaker in Townsville, Sandra Wright. I called Karen and asked for to assistance with printing and advice on how to solve some technical issues I was having with my press.

Karen was fantastic in analysing all the contributing factors in the equation and together we have produced the most stunning linocut edition for Tate Adams.

It has been the most enjoyable experience working with Karen and I look forward to working together on future projects.

Warmly,

Jo Lankester

P.S. Say no to opportunities that won’t help you meet your goals.

Alyson B. Stanfield

Paper Bird Exhibition Installation Shots

2011-06-11T06:13:00.001+10:00

Jo Lankester & Hannah Murray Paper Bird Umbrella Studio Contemporary Arts 27 May- 3 July 2011.

Paper Bird: Printing a Permanent Marker Resist Aluminium Plate

2011-06-10T06:13:00.000+10:00

Welcome to my blog about printmaking,

In previous posts I describe in detail the etching process on how to create an etching using Aluminium and Copper Sulphate etch with permanent marker as a resist.

The images below are of the print hot off the press.

Jo Lankester & Hannah Murray Paper Bird can be viewd at Umbrella Studio Contemporary Arts until 3 July 2011

Warmly,
Jo Lankester

Paper Bird: Permanent Maker Resist Aluminium & Copper Sulphate Etching

2011-05-18T20:00:00.017+10:00

Welcome to my blog.

Paper Bird is an exhibition of artworks using non-toxic intaglio printmaking, drawing and collage that represents a mutual interest in symbolic and aesthetic qualities of birds and their habitats.

The previous post included pictures taken of one of my Aluminium plates with an image drawn using permanent marker acting as a resist for etching.

I placed the Aluminium plate in the acid for 2 minutes before removing and carefully washing off the iron accretions. I was careful to evenly wipe off any sediment with a soft sponge making sure to remove all streaks, the steaks are built up sediment which can also act as a resist and be visible when printing, taking care not to wipe off the permanent marker.

I then applied shellac to cover areas of the permanent marker that were to remain white. The marker will start to lift (foul bite) quite quickly once re-submerged in the acid.

I then placed the Aluminium plate back in the Copper Sulphate etch until I was happy with the depth of bite.

If you have tried this method of etching before let me know as I would love to hear about how the plates turned out.

To be continued.....

Warmly,
Jo Lankester

P.S Paper Bird 27 May-3 July 2011 Umbrella Studio Contemporary Arts 482 Flinders Street, Townsville

Paper Bird: Plate Creation Using a Permanent Marker as a Resist for Aluminium & Copper Sulphate Etching

2011-05-17T13:00:00.002+10:00

Welcome to my blog,

Whilst creating the plates for our exhibition Paper Bird I found an interesting method of using a permanent marker to creating wonderfully rich and stark aquatint etchings using permanent marker, Aluminium and Copper Sulphate Etch.

To be continued..................................

Warmly,
Jo Lankester

Paper Bird: Jo Lankester & Hannah Murray Exhibition Rational

2011-05-16T20:38:00.013+10:00

Paper Bird

Paper Bird is an exhibition of artworks using non-toxic intaglio printmaking, drawing and collage that represents a mutual interest in the symbolic and aesthetic qualities of birds and their habitats.

Birds assume a variety of roles in mythology, religion and art including freedom, wisdom, spirituality, peace and mortality, and are often associated with journeys beyond ordinary experience. Hannah Murray considers the ambiguity of bird symbolism – specifically the dove, the owl and the crow. Indirectly inspired by stories of faith and folklore Murray’s body of mixed media work also represents retrospection and sense of self.

Jo Lankester explores her sense of place using the aesthetic qualities of line and texture. Layered complexity of marks and tone convey snippets of observation drawing from feelings, memory and intuition to create the compositions.

This body of work depicts a multitude of meanings for Lankester who draws inspiration from the common interest shared with Murray of birds and nests creating pieces that emerge from subconscious symbolism and aesthetic. Lankester takes you on a visual journey exploring personal change, freedom, loss and new beginnings.

The collaborative pieces in the exhibition bring together the individual styles of each artist symbolising their common shared journey - one of personal change, transformation and artistic freedom. The process of working in collaboration, a first for both artists, has been an unexpectedly positive and inspiring experience.

Paper Bird

Jo Lankester & Hannah Murray

Exhibition Opening 7pm Friday 27 May 2011

Exhibition Duration 27 May-3 July 2011

Artist Talk 7pm Tuesday 31 May 2011

Umbrella Studio Contemporary Arts

482 Flinders Street, Townsville

(07) 477 7019 | www.umbrella.org.au

The collaborative prints were created at Jo Lankester's studio, Brush & Press Studio 375 Flinders Street, Townsville
Brush & Press Studio is possible thanks to the Renew Townsville Initiative http://www.renewtownsville.com

Paper Bird: Jo Lankester & Hannah Murray Exhibition Invitation 7pm Friday 27th May 2011

2011-05-15T20:36:00.000+10:00

Custome Printing

2011-02-10T10:59:00.001+10:00

I have been working on this latest lino block for a client which is the largest both of us have worked on together.

We have just completed the image on the surface of the lino with Indian Ink, ready to carve.

The lino block measures 84 x 125 cm for a bleed print of 80 x 120 cm. Through discussions with Simon White and Martin King form the Australian Print Workshop on how best to print the lino block, they have advised to glue the lino to a board to keep it flat and stable. They also mentioned that the proofs printed on news print will most probable print better than the BFK reeves paper.... lets hope I do not make too many mistakes :-)

Happy Printing,

Warmly,

Jo Lankester

The Opeing of Brush & Press Studio

2011-01-25T05:14:00.000+10:00

It has been a very busy month since opening on the 17^th December 2010. We worked around the clock for two weeks to have the studio ready in time for the Renew Townsville opening a week before Christmas. The support and encouragement we received from you made it all worthwhile.

The following links will take you to a photo gallery of the studio in the different stages of the fit out.

Getting the Keys & Getting Started

Plastering the Walls

Painting the Studio

Jamie Thompson from OrganiGallery was an amazing support and inspiration in getting the studio ready. He gave us endless instructions, tools and moral support whilst fitting out his own gallery three doors up. Without his expert advice we would still be plastering the walls.

Renew Townsville is a not for profit company limited by guarantee. Renew Townsville has been established to find short and medium term uses for buildings in Townsville’s CBD that are currently vacant, disused, or awaiting redevelopment.

To read more about Renew Townsville follow the link below.

http://renewtownsville.com/

Warmly,

Jo Lankester

P.S It was character that got us out of bed, commitment that moved us into action and discipline that enabled us to follow through.

Zig Ziglar

I'd Rather Be in the Studio!

Day 17: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

2010-11-23T15:35:00.000+10:00

Day 17: Printmaking residency at Umbrella Studio Contemporary Arts, Townsville

I arrived at the studio early to have another look at the prints before collecting Tate Adams to view the new work.

I had a lot of prints for him to look at and felt confident with the new plates.

Tate had redesigned the book layout and was excited to show me, it is now a bound book consisting of three pages, two of which fold out.

I had the prints all laid out on a large table and Tate swooped on the prints with an eager eye. He chose two very quickly saying they were much better than the two I showed him a few days ago and more in line with the 4 prints purchased by Perc Tucker Regional Gallery from my last group exhibition XXX+Why at Pinnacles Gallery, Riverway Arts Centre, Townsville.

As soon as Tate Adams left I commenced the first colour in the edition. The lines are so deeply etched that when all three plates are printed consecutively the ink bleeds. So I'll be printing one colour at a time.

Happy printmaking!

Warmly,
Jo Lankester

P.S Set aside one hour a day to keep in touch with your peers. Read about other artists. Look for competitions and other opportunities. Participate in an online forum.

P.P.S Discover how to turn your printmaking hobby into a profitable business www.howtogetstartedinprintmaking.com

P.P.P.S You must be the change you wish to see in the world.
Mahatma Gandhi

Day 16: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

2010-11-22T17:12:00.001+10:00

Day 16: Printmaking Residency @ Umbrella Studio Contemporary Arts

Today was a huge day in the studio proofing new plates.

I proofed all the plates in black first to see exactly what was etched in each plate. I printed different combinations of plates using Yellow Ochre, Burnt Siena and Black.

I was very happy with the line definition and image diversity. As mentioned in previous posts, the plates were created on location at the old Echlin Street Quarry, Townsville. Each plate has a variation of mark, some with a greater intensity of line than others, allowing for diversity when printing using multiple plates.

Tate Adams will be visiting the studio in the moring to view the new plates.

To be continued......

Warmly,
Jo Lankester.

Day 15: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

2010-11-19T19:56:00.000+10:00

Day 15: Printmaking Residency at Umbrella Studio Contemporary Arts.

As mentioned in my previous post, I decided to create a new series of plates for consideration for the book. I spent last night applying Liquid Hard Ground on 6 Aluminium plates ready for to take on location at the old Echlin Street Quarry, Townsville.

I am lucky the the wet season has started early this year as the natural springs were flowing. They weren't flowing as fast as previous site visits but they were flowing enough for the plates to glide down the old road.

I'm glad that there was less water flow than I anticipated as different marks were created to previous plates.

I also skid the plates across a dry rocky surface for different marks.

I etched the plates for 10 minutes and discovered the acid was substantially weaker due to all the activity over the past two weeks so I added an extra 250 gms of salt, waited for it to dissolve before putting the plates back in the acid for another 15 minutes.

The lines are a deep rough bite. Just what I was after.

Happy printmaking.

Warmly,
Jo Lankester

Day 14: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

2010-11-18T09:49:00.000+10:00

Welcome to my blog,

Day 14: Printmaking Residency at Umbrella Studio saw a twist in my approach to creating the prints for the book Fissure to be published by Tate Adams, Lyre Bird Press, I decided to create a whole new series of prints made site at Echlin Street Quarry. With 4 days remaining of the residency I have plenty of time to prep, create, etch and proof the plates.

After talking to Tate Adams on the weekend, it was decided that the two images where too similar and did not contain the same feel to previous prints created on location at the Echlin Street Quarry. Tate requested another print displaying more mark variation.

Today was spent sourcing the aluminium, having it cut to size, degreasing and applying the liquid hard ground to six aluminum plates. I will set off to the abandoned Echlin Street Quarry first thing in the morning.

Happy printing.

Warmly,
Jo Lankester

Intaglio: Acrylic-Resist Etching, Collagraphy, Engraving, Drypoint, Mezzotint

Day 13: Jo Lankester Printmaking Copper Sulphate workshop @ Umbrella Studio Contemporary Arts

2010-11-17T07:59:00.000+10:00

Welcome to my blog on printmaking.

Day 13 of my printmaking residency at Umbrella Studio Contemporary Arts was the last day of the Copper Sulphate Aquatint Etching workshop using Aluminium and Zinc.

The objectives of the coarse was to create two editions using Sugarlift, Aluminium and Zinc in Copper Sulphate Etch to create an Aquatint without using rosin, spay paint, sandpaper etc, only using the plate and the acid.

Today everyone was incredibly productive, producing unique state and small limited editions.

I prepared the paper the night before and created a template for up to 5 prints to be printed in one go. By doing this the artists were able to produce there editions easily in the time we had.

We had a little trouble with the blankest moving as the plates passed through the press so everyone worked together to ensure the blankets were flat from start to finish

Gabriel Smith pushed her zinc plate further in the acid to get a rich velvet black aquatint. Previously the zinc was open biting rather than creating a tooth to hold ink. Gaby carefully etched the plate by watching the plate in the acid and removing it before the black build up on the surface of the plate lifted. I think the times were no more than 30 seconds each and she patiently did this over a period of time watching the textured surface of the zinc gradually build to ensure it held ink.

There was a joke going..
"What do you call a group of printmakers standing around a press? An impressionable crowd. "

Nadia Hilton produced some very interesting experimental prints including using and inking process called, A la poupee A method of applying two or more than one colour to a plate

At the end of the workshop we drew a name each for a print exchange, It as great to see such a willing exchange amongst artists, most people swapped with more then one person in the group.

Indian Ink Sugarlift recipe:

Place Indian ink in a saucepan on the stove and bring to the boil
Pour 1/2 a cup of white sugar in at a time dissolving as you go until you have a thickish syrup.
You can add addition Indian ink to the mix as required before applying to your plate if you require a thinner solution.

To your success as a printmaker.

Warmly,
Jo Lankester

Australian Printmaking in the 1990s: Artist Printmakers : 1990-1995

Day 12 Printmaking Residency: Jo Lankester Printmaking Copper Sulphate workshop @ Umbrella Studio Contemporary Arts

2010-11-15T12:05:00.000+10:00

Hi, thanks for reading my blog on printmaking.

Today is the start of the second weekend of the Copper Sulphate Etching workshop at Umbrella Studio, Contemporary Arts and we leaped straight into proofing the sugarlift Aquatint etchings on aluminium and zinc.

The Zinc plates had more of an open bite effect, previously I have been able to obtain a strong black aquatint etch but this time round we have struggled to get the desired effect. On the other hand the Aluminum has worked beautifully with rich velvety blacks with only 3 minutes in the Copper Sulphate Acid.

Tomorrow the artists will be creating a limited edition of the the plates they have created in the workshop.

Happy printing,

Warmly,
Jo Lankester
Magical Secrets about Line Etching & Engraving: The Step-by-Step Art of Incised Lines, with an Appendix on Printing by Kathan Brown

Day 11: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

2010-11-15T11:59:00.000+10:00

Hello, and thank you for taking the time to read my blog on printmaking.

Day 11, of my printmaking residency at Umbrella Studio, Contemporary Arts was fantastic.

I printed a couple of proofs of the second and final three plate colour etching and have a strong BAT, (Bon a tier French for Good To Print.) to show Tate Adams, Lyre Bird Press.

I mixed my own black, 2/3 Charbonnel RSR & 1/3 Charbonnel 55985 and took this photo as a reference for when this batch runs out.

After taking this photo, I took another proof with the plates facing the other direction, including the Lyre Bird on the reverse but facing the right way up. I did this because of the weight of the picture. The black in the top left corner of the print in the foreground needed to be in the bottom right. And the large Burnt Siena shapes in the top print needed to be on the bottom of the page rather than at the top and center.

Once I pulled the prints, I felt there was a balance and harmony in the prints. They felt complete.

Happy printmaking.

Warmly,
Jo Lankester
Colour Etching (Printmaking Handbooks)

Day 10: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

2010-11-13T16:24:00.001+10:00

Hi, thank you for taking the time to read my blog on printmaking.

Day 10 of my printmaking residency at Umbrella Studio, Contemporary Arts was manly focussed on completing the drawings for the second, three colour plate etching in my artist book Fissure to be published by Tate Adams, Lyre Bird Press.

The third plate, pictured in progress, is concerning me. I feel I have over drawn a section similar to the first Burnt Siena plate. I have decided to etch the plate and take a proof to see the result but I am definitely open to redrawing the two Burnt Siena plates if required.

I underestimated the time it would take to draw each plate, in all a good 6-8 hrs of scratching with an etching needle.

In retrospect the combination of sugarlift and drawing with an etching needle would speed the process up and create great marks.

Happy Printing,

Warmly,
Jo Lankester

Day 9: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

2010-11-12T22:05:00.000+10:00

Day 9 of my printmaking residency at Umbrella Studio, Contemporary Arts was a challenging one. I prepared some paper the night before, ready to take a proof of the first page, the Lyrebird and the reverse side, the first three plate colour Aluminum etching.

My blankets are only just long enough to accommodate the etching plates, 950 x 400 mm. Umbrella Studios have a couple of thin blankest long enough to print with so I was relived to have another blanket to use.

The Lyre bird plate is small, 100 x 200 mm and sits in the middle of the first page. I was concerned when printing the three plate image on the other side that I the embossing of the Lyrebird plate would be visible. To my relief it flattened out beautifully.

The first proof I took of the three colour plate etching did not print well. There was not enough pressure, and I over wiped the plates. It took just under two hours to ink up and wipe back the three plates so I was very disappointed when I pulled the print off the final plate.

My second attempt printed beautifully. I left a lot more plate tone on all three plates especially the Yellow Ocher.

Now that I have proofed the first plate I know that the etching times were good, around 15 minutes for each plate in the Copper Sulphate Etch and I can now proceed with the second, three colour plate etching.

Happy Printmaking,

Warmly,
Jo Lankester
Non-toxic Printmaking (Printmaking Handbooks)

Day 8: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

2010-11-11T08:54:00.001+10:00

Welcome to my blog,

Day 8 of my printmaking residency at Umbrella Studio, Contemporary Arts, Townsville was very satisfying. I completed drawing the three plates to the first colour etching and etched them in Copper Sulphate.

The acid was etching fast as I mixed a 10 - 1 solution,

4 kgs Copper Sulphate
1 kg of Table salt
100 gms of Sodium Bisulphate
40 lts of water

The acid is a lovely deep blue once mixed and your able to see your plates easily when etching.

Here are two of the plates drying once out of the acid and water rinsing bath.

My partner rang me early this morning to tell me he bought a beautiful set of Silky Oak plan draws for my studio out of the paper. I went to pay for them this afternoon and couldn't believe my eyes. They are in fantastic condition and slide open and close very smoothly. :-)

Happy Printing.

Warmly,
Jo Lankester

Day 7: Jo Lankester Printmaking Copper Sulphate workshop @ Umbrella Studio Contemporary Arts

2010-11-10T08:36:00.003+10:00

Hello, and thank you for taking the time to read my blog on printmaking.

This is day 2 of a 4 day workshop during my printmaking residency at Umbrella Studio, Townsville, Australia.

Everyone was eager to get started with dissolving their sugar-lifts. We poured warm water into trays and placed our plates face up. The process was a little slow to begin with but after a while we started to agitate the water and gently rub the surface of the hard ground to help dissolve the sugarlift.

We discovered that the gouache was very hard to remove due to the thin application and the fact that it dried hard before applying the hard ground. So it was decided that thick and soft/not yet fully dried goauche would work best.

Some members of the group decided to experiment with a home made sugarlift and decided that they preferred it over the gouache and commercial sugarlift. They liked the consistency and the fact that it dissolved quicker and easier than the others.

Once we all had removed the sugarlift and coated the back of our plates with shellac we excitedly went out to the back to mix the Copper Sulphate etch and start etching our plates.

The acid was fresh and strong, so the plates were biting fast. We found that the best surface was created on the zinc by dipping the plate in for 30 seconds, washing it off and re-dipping it into the Copper Sulphate to created a nice aquatint surface.

The Aluminum bit beautifully, creating the best surface out of the two metals. I highly recommend Aluminium over zinc for an aquatint surface. The aluminum bites similar to zinc in nitric acid.

Happy Printing,

Warmly,
Jo Lankester

Day 6: Jo Lankester Printmaking Copper Sulphate workshop @ Umbrella Studio Contemporary Arts

2010-11-08T09:41:00.002+10:00

Day 1 of 4; Copper Sulphate workshop, Umbrella Studio Contemporary Arts.

Today was the first of a 4 day work shop at Umbrella Studio demonstrating Copper Sulphate Etching using Zinc & Aluminium.

There are 10 students enrolled who are enthusiastic to learn how to create an aquatint without using the traditional techniques of Aquatinting.

I demonstrated how to polish, degrease, and apply a purchased sugarlift, and gouache as an alternative sugarlift medium, I also made available a home made sugarlift using sugar, water and Indian ink. Then how to apply and liquid hard ground.

Amanda Wileheart using gouache as a sugarlift medium

Gabriel Smith using Heildelbrg Fine Art Sugar Lift

Margot Laver using Gouache on Aluminum

Lyn Scott-Cummins using the Heildelberg Sugarlift.

We applied the liquid hard ground and then knocked off for the day.

Happy printmaking,

Warmly,
Jo Lankester

Day 5: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

2010-11-06T22:20:00.000+10:00

Welcome to my blog,

Day 5 of my printmaking residency at Umbrella Studio has been focussed on completing the three plates for the first image in the book. I had a challenging day with the imagery for the third plate which is the Burnt Sienna colour plate. The ground was a little more brittle than the others as I had over smoked it slightly. The other plates were waxier and easier to scratch and carve into.

After scrathing all day I felt uncertain of the results I achieved. I went home considering the following,

If the cross hatching I used for certain areas were too dominant on the plate. Thinking that the sugarlift process would work better in giving a softer aquatint tone and to reduce the size of the marks of the crossed hatched areas.
I pondered on blocking out the crossed hatched areas and etching the line work which I am happy with and consider applying sugarlift as an alternative to the cross hatching for a second etch.

I slept on it and feel that I may etch the plates as they are and if they are no good then redo them using the back with the sugarlift process. This way I have tried both ways and made an informed decision.

Happy printing,

Warmly,
Jo Lankester

P.S Oh the places you'll go!
Dr. Suess

Magical Secrets About Aquatint: Spit Bite, Sugar Lift & Other Etched Tones Step-by-Step

Day 4: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

2010-11-05T09:47:00.000+10:00

Hello, thank you for taking the time to read my blog on printmaking,

Day 4 of my artist in residency at Umbrella Studio was less physical and focussed on creating the large plates for the book.

After completing the small test plates and experimenting with different printmaking tools, I was able to select the right tools for the desired marks I want to create on the aluminium plates.

I chose to use a diamond tip etching tool and a reasonably flat lino tool to scrape the hard-ground of the plate to expose the aluminium ready for etching in Copper Sulphate.

Happy printing,

Warmly,
Jo Lankester

Day 3: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

2010-11-04T10:05:00.000+10:00

Welcome to my blog on printmaking.

I'm well into my 3rd day of my printmaking residency at Umbrella Studio, Contemporary Arts and I have had a very busy day completing an edition of the small three colour plate etching.

Barrier Reef Institute of TAFE students paid me a visit to see what I was up to as an artist in residence. Most of the students had some experience in printmaking and were able to ask relevant questions and see first hand how a limited edition is made in a professional studio.

I'm ready to move on to the larger plates and hope to have three plates ready for etching tomorrow evening.

I also printed a few Artist Proofs of the Lyre Bird to show Tate Adams

Happy printing,
Warmly,

Jo Lankester

Day 2: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

2010-11-03T13:21:00.002+10:00

Hi, Thanks you for taking the time to read my blog on printmaking.

Day 2 of my printmaking residency at Umbrella Studio was getting to know the press and experiment with printing the small etching plates.

I etched the Lyre Bird, and the other plates form the three colour etching which is a test for my larger plates for the book.

The press is a lovely old Hildav Industries etching press made in Sydney. The press has great pressure and it took me a while to find the right amount of pressure for the small plates.

The three colour plate etching will print will be sent to the Australian Print Workshop as a donation towards a fundraiser exhibition IMPRESSIONS.

I was very happy with how it turned out. The yellow plate posed a problem as the aluminium oxides with each application of yellow ocher particularly when wiping back. I found I had to clean the plate with solvent and metho and use tarletan and very little paper.

Happy Printing,

Warmly,
Jo Lankester

Day 1: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

2010-11-02T10:18:00.000+10:00

Welcome to my bog about printmaking.

I had a very productive 1st day in the printmaking studio at Umbrella Studio Contemporary Arts, Townsville, Australia.

Happy Printing,

Warmly,
Jo Lankester

Printmaking Residency at Umbrella Studio, Townsville

2010-11-02T10:04:00.000+10:00

Hello, thank you for taking the time to read my blog on printmaking.

Today is the start of a two week residency in Umbrella Studio's printmaking studio located in the basement.

I'll be working on a limited edition artist book to be published by Tate Adams, Lyre Bird Press.

The book is a two page fold out book with and essay by Frances Thomson. The two etchings are three plate colour etchings including my artist impression of a Lyre Bird.

The overall plate size is 400 x 1200 mm and the book size is 400 x 400 mm and is an unbound book.

The Artist book is titled Fissure and will be an edition of 25 with two Artist Proofs.

I'll keep you posted with images and updates on how the residency goes.

Happy printing.

Warmly,

Jo Lankester

Compact prints 2010 Exhibition , Exchange & Auction: Umbrella Studio, Townsville

2010-10-28T12:41:00.000+10:00

Welcome to my blog on printmaking.

Compact Prints 2010 is currently showing at Umbrella Studio in Townsville, Australia.

The biennial print exchange exhibition is Umbrella's trademark exhibition attracting participants nationally and internationally.

The exhibition opened on Friday 8th October with a sensational bang! Artists were asked to submit two works, one for the touring exhibition, and one for exchange. Vicki Salisbury and her team asked the artists to donate a third work for auction to raise money for the print studio located in the basement of the building.

The auction went fast and furiously, I got caught up in excitement and purchased at least 7 prints for my collection. I invited my 14 year old son, Holden, to start him on his journey as an educated art buyer, he bought two prints :-).

The exhibition is on until 7 November 2010, Umbrella Studio 482 Flinders Street, Townsville.

Happy printmaking!

Warmly,
Jo Lankester

Compact prints 2010, Umbrella Studio
Jo Lankester
Fissure, 2010
12 x 12 cm
2 copper plate colour Sugarlift Aquatint etching

© Jo Lankester 2010

Artspaced Inc. Membership Give Away: Jo Lankester Limited Edition Print Prize Raffle!

2010-10-24T07:47:00.005+10:00

Artspaced Inc. Membership Give Away: Jo Lankester Limited Edition Print Prize Raffle!

Artspaced Inc. Annual General Meeting Friday 5th November 2010 at 6.30pm Artspaced Inc. (Upstairs at Dance North) Crn Walker Street, Townsville

FREE Limited edition print up for grabs!

Tittle: Cicada ll

Date: 1998

Medium: Two plate colour etching

Size: 15 x 12 cm

Value: $250

Collections: National Gallery of Australia, Art Bank

Go in the running to win a limited edition print by Jo Lankester by simply becoming a paying member of Artspaced Inc. before 5pm October 28th 2010.

Artspaced Inc. Annual General Members Form

Click on the link to download the AGM Members Form.

Email a copy to artzspaced@gmail.com and pay your membership using our PayPal account.

Full Membership $5.00 annual fee includes:

· Voting rights at Artspaced Annual General Meeting

· Potential membership of Artspaced Inc. Management board

· Regular updates on all exhibitions and events

· The opportunity to exhibit your artwork

· Advertising with approval on our upcoming web blog and current Facebook page

· Plus More

Send this offer to your friends for extra chances to win Cicada ll, 1998 by Jo Lankester. Simply ask your friends to include your name on their membership form and PayPal as a reference to claim your extra tickets.

You will be emailed your raffle ticket numbers on receipt of payment.

If you are an existing paying member the offer is available to you through your friends who sign up before October 28^th 2010. So send this to as many friends as possible to be in the draw!

The winner will be announced at the AGM and the print will be available to collect after the draw. For those who live outside Townsville the print will be posted shortly after the AGM. The winner will also be announced on Facebook.

Thank you for your support

Mmegi Online :: Clean printing technology in Zambia

2010-10-13T15:11:00.001+10:00

Mmegi Online :: Clean printing technology in Zambia

"Compared to conventional printing, the clean printing technology uses organic materials like soya beans which, unlike petroleum-based inks and other toxic solvents employed in conventional printing, are environmentally friendly.".................................................

Non-toxic Intaglio Printmaking

Custom Printing in my Home Studio During School Holidays

2010-09-23T07:36:00.001+10:00

Welcome to my blog on printmaking and arts business.

It's currently school holidays so I am juggling printing an edition for my client and spending time with my two boys, 11 and 14 yrs.

I'm finding my day is starting around 5 am with a few stretches, walk the dogs, and have a little bite to eat then hit the studio until 11.30am. We then have lunch and head out on our bikes on an adventure for the day.

I'm able to get back in my studio around 7pm for another session of printing the edition.

I have found by splitting my day up in this routine everyone is happy. The kids are usually sick of watching TV or playing computer games by 11.30 am and ready for some action, and I am meeting my deadlines with clients.

How do you manage your children and working in the studio during school holidays?

Happy Printmaking,
Warmly,
Jo Lankester

P.S. Get your FREE copy of how to build a Sustainable Printmaking Practice www.howtogetstartedinprintmaking.com

P.P.S Build your contact database by adding one new person a day, then send out a newsletter telling them what you are doing or about the latest thing you have learned.

Jill O'Sullivan Mapping the North West: A Chorographical Perspective

2010-09-16T10:34:00.001+10:00

Welcome to my blog on Printmaking.

Jill O'Sullivan's exhibition Mapping the North West: A Chorographical Perspective presents a series of chorographic maps that pertain to the North West region of Queensland. The maps are not intended to be a geographical representation in accuracy of the locations represented but symbolic interpretations of experience of the region and all it's incumbents. Jill's interpretations are a result of ongoing and continuous exchange between theory, history of chorography and practice in contemporary application. directed by her personal affinity and understanding of the region resulting from 30 years of living there.

Jill has produced large scale works using a range of materials including lithography, charcoal/conte, pen, watercolour and woodcut.

The scale of the works are striking when you enter the gallery, drawing you closer to see the fine detail of the landscape. The woodblocks have a free hand quality conveying a spontaneous work method thats indicative of the landscape and the artist.

Jill's exhibition fulfills a component of the degree of Doctor of Philosophy in Creative Arts James Cook University.

The exhibition can be viewed from the 6th - 17th September 2010 at eMarge Media Space James Cook University Townsville.

Tate Adams Signing His Most Recent Edition at Garage Press

2010-09-14T09:01:00.002+10:00

Donna Foley (& grandson), owner operator of Garage Press and Frances Thomson, Director Perc Tucker Regional Gallery watch as Tate Adams signs his most recent edition at Garage Press.

Artist: Tate Adams
Title: Maura
Medium: Sugarlift, Aquatint Etching on zinc plate
Size: 69.5 x 48.5 cm
Paper: Hahneumuhle
Edition: 20 Limited Edition Prints
Edition: 4 Printers Proofs
Edition: 7 Artist Proofs
Ink: Charbonnel Black 55985
Printer: Jo Lankester
Printed at Garage Press August 2010

The print is available for sale through Perc Tucker Regional Gallery, Townsville, Australia. 07 4772 9011

Printmaking at the Edge: 45 artists: 16 countries: a new perspective

How to Grow Your Business Through Referrals | Artsy Shark

2010-09-09T07:35:00.003+10:00

How to Grow Your Business Through Referrals | Artsy Shark

A great article with simple suggestions to grow you visual art practice and build your client database.

The Art of Pricing: How to Find the Hidden Profits to Grow Your Business

Brookston home to rare hand-made paper company :: Lifestyles :: Post-Tribune

2010-09-08T07:16:00.004+10:00

Brookston home to rare hand-made paper company :: Lifestyles ::Arnold Grummer Pour Handmold for Paper Making- 8.5x11 Inch Post-Tribune

The Papermaker's Companion: The Ultimate Guide to Making And Using Handmade Paper

NontoxicPrint.com | Nontoxic Printmaking

2010-09-02T09:27:00.001+10:00

NontoxicPrint.com | Nontoxic Printmaking

We are building a list of art schools that practice "green" printmaking. Some of the schools aim to be exclusively nontoxic, while others have introduced new methods and safer practice into their existing programs. If you run, teach at, study at, or know of other schools to add to this list, we'd be pleased to hear from you.

Non-toxic Printmaking (Printmaking Handbooks)

Spend 50% of Your Time Marketing Your Printmaking Products & Services

2010-08-25T10:23:00.000+10:00

Welcome to my blog on Printmaking and Arts Marketing.

I have recently been focusing on taking advantage of the added features of Blogger and making use of the available 10 pages that is included with the service.

I believe that Google recognise and rank higher websites and blogs that have more than one page. This tells Google that you are a real site worth promoting.

I plan to add a new work each day until I have all my current pieces on display.

happy printmaking.

Warmly
Jo Lankester

P.S. Spend at least 50% of your time marketing your printmaking products; start by doing a little each day until you build up to 50%.

P.P.S Your Life is in your hands, to make of it what you choose.
John Kehoe

The Artist's Marketing and Action Plan Workbook

Discover How Social Media Can Grow Your Business.

2010-08-12T21:50:00.003+10:00

Social media Tips: Webinar Interview with Tyler Leese

Discover how social media can grow your business.

Businesses are spending 60% of their budget on social media.

Do you use facebook to connect with friends and want to start promoting your visual Art practice
or business but don't know how?

Want to know the secrets to help grow your business fast?

Are you afraid promoting to your friends will turn them off?

Tyler Leese will give you tips to using social media for business.
https://www1.gotomeeting.com/register/314491537

Twitter now has 105,779,710 + registered users.

That's, 1 hundred & 5 million, 7 hundred 79 thousand 7 hundred & 10 uses.

New uses are signing up at the rate of 300,000 per day.

Facebook has 500 million active uses.

50% of active uses log on to Facebook each day.

Discover how to make social media work for you.
https://www1.gotomeeting.com/register/314491537

See you there....

Warmly,

Jo Lankester
99 Ways To Make Money Using Twitter

TRACES a film about Printmaking

2010-08-10T22:49:00.000+10:00

Welcome to my blog on printmaking.

Independent film maker Ong Zheng Kai has directed a film about printmaking to raise awareness of the visual art discipline in Singapore.

TRACES follows Ken, a printmaking teacher, who is suddenly faced with the difficult decision of choosing between his past and his future when an ex-student returns after a lengthy absence. Memories begin to emerge from the cracks of their fractured relationship, with shared histories reaching into present.

TRACES was produced as part of the LASALLE - The Puttnam School of Film, Degree Films. Conceived in late '09, TRACES was shot early in '10 over five days. Director Ong Zheng Kai has recently graduated from LASALLE College of the Arts, The Puttnam School of Film and TRACES is his second directorial effort.

Warmly,

Jo Lankester

P.S Turn your passion and hobby into a profitable printmaking practice

P.P.S Seek Inspiration. from other Artists. From nature. From your inner strength. From simple things.

Alyson B. Stanfield

I'd Rather Be in the Studio!

7 Health & Safety Guidelines for Etching Zinc with Copper Sulphate

2010-08-04T21:59:00.001+10:00

Hi, Thanks for taking the time to read my blog on printmaking.

In my last post I discussed a method of mixing a copper sulphate etch.

The following health & safety precautions should be considered when mixing and etching with copper sulphate.

Wear rubber gloves when preparing the solution and at all times when etching with zinc
Where a dust mask when handling the crystal copper sulphate to prevent inhalation
Avoid drafts or highly ventilated areas when handling the copper sulphate
Wear eye protection and mask when mixing the copper sulphate solution. If the solution gets into your eyes or on your bare skin, rinse immediately with a plenty of water
Make sure you have an exhaust system or open air area when etching zinc with a copper sulphate etch. Always use a organic gas ventilation mask when etching with zinc in a copper sulphate etch as hydrogen gas is released in the etching process
Clean up spills wearing rubber gloves and a wet rag.
Wash your hands and mouth before eating, drinking or smoking.

Always consider your health and your impact on the environment when in your printmaking studio.

To your printmaking success.

Warmly,

Jo Lankester

P.S Discover how to strengthen your business skills www.howtogetstartedinprintmaking.com

P.P.S Take action today Worlds First Online 1 Day Goal Achievers Workshop

P.P.P.S Believe. Believe in your art. Believe in yourself. Believe in your goals.

Alyson B. Stanfield

Health and Safety in Printmaking : A Manual for Printmakers

How to mix a Copper Sulphate for a Zinc Plate Aquatint Etch

2010-08-03T17:51:00.000+10:00

Welcome to my blog on printmaking and arts business.

I have been experimenting with copper sulphate etch for some time now etching zinc and aluminium in the same bath and I have had some very pleasing results.

I am currently working on a custom plate for artist Tate Adams and require some further testing before I mix up a large copper sulphate bath for etching aquatints.

It is possible due to the way the copper sulphate and zinc react to create an aquatint tone without using a rosin. To get the desired result, testing is necessary.

A fresh solution creates the best results so I will be mixing up two small solution baths to test for the best results.

How to mix a copper sulphate for a zinc plate aquatint etch.

Fine line, course aquatint, soft ground: 50 grams of copper sulphate to 1 litre of water (comparable to a nitric acid solution of 7-8%)
Fine aquatint: 25 grams of copper sulphate to 1 litre of water (comparable to a nitric acid solution of 4-5%)

The stronger the solution the faster it etches.

The addition of Sodium Bisulfate is necessary when etching zinc and aluminium in the same solution.

Happy printmaking,

Warmly,

Jo Lankester

P.S How to turn your printmaking hobby into a profitable business www.howtogetstartedinprintmaking.com

P.P.S It's finally here the Worlds Fist Online 1 Day Goal Achievers Workshop

Etching Plate Zinc 16x20

Add Another Income Stream to Your Printmaking Practice

2010-08-02T20:57:00.000+10:00

A great way to add another income stream to your printmaking practice is to include a fee to install the framed print for your client.

The gallery standard for hanging an artwork is for the centre of the image to be at eye level, 1755 mm from the ground.

Make sure you use the appropriate hardware material for the type of wall you are installing the hanging hook.

Take into consideration the measurement of the flex in the hanging wire on the back of the frame and add this measurement to the 1755mm to ensure that the centre of the work sits at that point.

Creatively thinking of ways to increase your augmented products can be things that you might not have thought of before; a great way to come up with ideas is to brainstorm them down on a large piece of paper.

Think outside the square.

To your printmaking success.
Warmly,
Jo Lankester

P.S Discover the 7 Secrets to Building a Sustainable Printmaking Practice get your FREE report now. www.howtogetstartedinprintmaking.com

P.P.S Set your goals high. How else will you reach the top?
Alyson B.Stanfield
Think And Grow Rich: The Secret To Wealth Updated For The 21St Century

What is Your Time Worth?

2010-07-30T18:05:00.000+10:00

Making a profit in your printmaking practice is important.

I have some tips for quoting on custom printing that will help you generate an income and make a profit.

Always consider what your time is worth when quoting on custom printing. Otherwise you may be doing the job for less than the award wage or industry rate and the only benefit is gaining experience and positioning yourself within the market place.

Send a brief to the customer to complete and return within a set time frame. Then make a meeting time to discuss the criteria making sure you get the client to sign off on the project as confirmation. This is very important otherwise the goal posts may keep changing as the project gets underway, and you will be making less of a profit than originally quoted.

What to write in your brief,

Name
Address
Phone
Email
Size of plate
Size of paper
How many colours
How many plates
Number of Artists Proofs
Number of Printers Proofs
Edition size

Start date

Delivery date: Always allow extra time in case you cannot meet the deadline.

Include your cost per print or hourly rate.

State your conditions of payment: I recommend 50% upfront & 50% on completion.

Arrange a meeting to view proofs and again get them to sign off on the proof the customer is happy with.
Arrange a date for the customer to sign the prints once they are dry. never let the edition leave your studio unsigned.

To be continued....

To your printmaking success
Warmly,
Jo Lankester

P.S Are you wanting to know more about running a sustainable your printmaking practice www.howtogetstartedinprintmaking.com

P.P.S It's finally here a World Exclusive - 1 Day ONLINE Goal Achiever's Workshop

P.P.S All successful people set goals. Set 5 year goals, Set 1 year goals. Set monthly goals. Set weekly goals. Set daily goals

Jo Lankester
Stone Vl, 2010
Sugarlift Aquatint
comp: 12 x12.5 cm
Edition 20
$90 AUD unframed

© Jo Lankester 2010

A long Time Coming: Webinar Interview Success

2010-07-29T14:34:00.000+10:00

My first webinar interview was a long time coming.

Last night I interviewed Dave Sheahan, the World's #1 No Holds Barred Elite High Achievement Consultant and it was a real blast. I was stoked at how well it went.

The webinar was full of attendees eager to learn Dave's 9 step goal setting system. Dave, in his typical style over delivered powerful information, tips and strategies that could be implemented straight away.

The webinar was interactive, Dave had the attendees actually writing down there goals and responding to his 9 steps during the interview. It was very powerful.

Have a think about how goal setting could work for you in your Printmaking Art Practice.

What is holding you back from achieving success?

Is it your mind set?

Is it lack of direction?

Dave Sheahan is holding a world exclusive 1 day ONLINE Goal Achievers Workshop event, never been done before on 14th August 2010 from 9.30 am -5.30 pm. There will breaks in between session like at a live event.

For more details visit Dave Sheahan's website.

To your success,
Warmly,
Jo Lankester

P.S What's missing from your business skills? 7 Secrets to Building a Sustainable Printmaking Practice

P.P.S Experiment. Trying new creative outlets could enrich your art. Weave, build, throw, cast...
Alyson B. Stanfield
I'd Rather Be in the Studio!

Tate Adams Pandanus and Palms

2010-07-28T14:12:00.000+10:00

Welcome to my blog on printmaking and arts marketing.

Tate Adams, Australian printmaker has recently opened an exhibition of recent gouache paintings at the Perc Tucker Regional Gallery titled Tate Adams Pandanus and Palms.

The works are exquisite and visit the subject of tropical Palms and Pandanus plants. The works are all large scale black and white paintings.

Frances Thomson opened the exhibition, who has written extensively on Tate Adams, and also gave an illustrated lecture on the Artist, and his life work.

The exhibition also launched Tate's latest publication: Tate Adams-Number 15 in the Macmillan mini-art series.

The exhibition can be viewed at the Perc Tucker Regional Gallery in Townsville until 29 August 2010.

Warmly,
Jo Lankester

P.S Are you ready to take massive action? Join me for a goal setting webinar interview with Dave Sheahan this evening at 8pm
http://www1.gotomeeting.com/register/675534512

P.P.S get your FREE copy of 7 Secrets to Building a Sustainable Printmaking Practice
www.howtogetstartedinprintmaking.com

Jo Lankester
Grass Tree ll, 2008
Two Plate Colour Dremel Drypoint Engraving
Sheet: 38.5 x 28.5 cm
Image:29.5 x 20cm
edition 5
$125.00 AUD unframed

© Jo Lankester 2010

A Secret Weapon to Saving Money & Increasing Your Profits

2010-07-27T09:53:00.000+10:00

Welcome to my blog on printmaking and arts marketing.

A secret weapon to saving money and increasing your profits in your printmaking practice is to always get three quotes.

Yesterday a client purchased two prints and wanted them framed but did not how to go about it. I asked what his budget was and I proceeded to obtain three quotes from local framers.

The following prices were quoted.

Framer no # 1: $115.00 each
Framer no # 2: $147.00 each
Framer no# 3. $141.15 each

All three framers quoted on the same type of frame mould, glass, and mat board.

I was able to make a greater profit as I knew the budget my client had to spend.

To your printmaking success,

Warmly,

Jo Lankester

P.S. Register for a FREE live webinar interview on goal setting and take your visual art practice to the next level.

https://www1.gotomeeting.com/register/675534512

P.P.S Get your FREE Arts Business report

P.P.P.S Clean your desk. Make your office space an attractive place that you look forward to using.

Alyson B. Stanfield

Jo Lankester
Grass, 2008
Two Plate Colour Dremel Drypoint Engraving
Sheet: 38.5 x 28.5cm
Image: 29.5 x 20cm
Edition 5
unframed: $125.00 AUD

© Jo Lankester 2010

Get Your FREE Goal Setting Audio

2010-07-26T15:48:00.000+10:00

Monday, 26 July 2010
3:28:47 PM

Are you ready to take massive action?

Reserve your Webinar seat now at:
https://www1.gotomeeting.com/register/675534512

Discover how goal setting can work for you.

watch this video

Join me for an exclusive interview with Dave Sheahan.

Dave will reveal his 9 step gaol setting system which will guarantee the changes you

desire for either your artistic practice, business, personal relationships, finances,

or health & wellbeing.

Goal setting is for anyone in any field who wants the most out of life.

"If we don't know where we are going, we are likely to get lost"

Get your FREE goal setting audio by Dave Sheahan for attending, see you at the webinar.

Title: Goal Setting Webinar Interview with Dave Sheahan
Date: Wednesday, July 28, 2010
Time: 8:00 PM - 9:00 PM AEST

After registering you will receive a confirmation email containing information about joining the Webinar.

Warmly,
Jo Lankester

P.S All successful people set goals do you?
https://www1.gotomeeting.com/register/675534512

P.P.S Get your FREE goal setting audio by Dave Sheahan for attending, see you at the webinar.
https://www1.gotomeeting.com/register/675534512

P.P.P.S Talk out loud. Practice talking about your work; to yourself or to whomever will listen

Alyson B. Stanfield

Jo Lankester

Grass Tree, 2008

Single Plate Black Dremel Drypoint Engraving

Sheet-38.5x28.5cm

Image-29.5x20cm

edition 5

unframed $110.00 AUD

Who Sees Your Art?

2010-07-23T13:39:00.000+10:00

Do You have a website?

Who sees your art?

Check out deviantArt this website allows you to display up to 24 images of your limited edition prints for free.

There are 13,000,000 members, what a great way to get your art seen.

To your printmaking success,
Warmly,
Jo Lankester

P.S Do you have a small business or visual art practice and want to take it to the next level? Register for this free Goal Setting Webinar Interview with Dave Sheahan
http://www1.gotomeeting.com/register/675534512

P.P.S Get your FREE 7 Secrets to Building a Sustainable Printmaking Business report www.howtogetstartedinprintmaking.com

P.P.S Review your daily goals each night before you go to bed "If you don't know where you are going, you'll end up somewhere else."

Jo Lankester
Midday 2008
Dremel Drypoint Engraving
38 x 28 cm
Edition 10 only 2 AP's left
$130.00 AUD

© Jo Lankester 2010

Did you reach your goals for the 2009/2010 financial year?

2010-07-22T16:06:00.001+10:00

I am delighted to announce I have secured an Exclusive Live Interview with Dave Sheahan the World's #1 No Holds Barred Elite High Achievement Consultant who will take time out of his crazy schedule to share his 9 step goal setting system with you.

Watch this video

Follow the link to register for this Exclusive Live Webinar Interview

https://www1.gotomeeting.com/register/675534512

Did you reach your goals for the 2009/2010 financial year?

Goal setting has helped me move forward and be doing what I love, Printmaking!

Dave Sheahan will discuss how to set achievable goals in a realistic time frame.

Are you making 100% of your income from your art practice?

Are you working in a job that sucks?

Follow the link and register now.

https://www1.gotomeeting.com/register/675534512

Warmly,

Jo Lankester

P.S Secure your FREE copy of Dave's 60 minute Goal Setting Audio

https://www1.gotomeeting.com/register/675534512

P.P.S Stop procrastinating! Tackle those things on your list that you are putting off. You are only hurting yourself and your potential when you ignore what must be done.
Alyson B. Stanfield

P.P.P.S Get your FREE copy of 7 Secrets to Building a Sustainable Printmaking Practice
www.howtogetstartedinprintmaking.com

How to Coat a Sugarlift (Gouache) Prepared Zinc Etching Plate with Liquid Hard Ground

2010-07-20T10:40:00.000+10:00

Welcome to my blog on printmaking and all things art business related.

Watch this video to learn how to coat a sugarlift or gouache prepared Zinc etching plate with liquid hard ground.

Keep posted for the next video demonstrating washing the sugarlift/gouache from the plate to expose the zinc ready for etching.

Happy printmaking,
Warmly,
Jo Lankester

P.S Discover the secrets to marketing your printmaking products successfully
www.howtogetstartedinprintmaking.com

P.P.S Meet more people. People who will buy your art. People who can help advance your career. People who inspire you.
Alyson B. Stanfield.

Jo Lankester
Echlin St Quarry Juxtaposition 2b, 2010
Etching Aquatint
80 x 60 cm
Edition 10
$270.00 AUD

© Jo Lankester 2010

How to Degrease a Zinc or Copper Plate Etching

2010-07-19T04:35:00.004+10:00

Welcome to my blog on printmaking and all things related.

My latest video demonstrates how to degrease a zinc or copper plate for etching.

Stay tuned for my next video on using gouache as an alternative to sugarlift for etching.

Happy printmaking!
Warmly,
Jo Lankester

P.S Get a FREE report on 7 secrets to building a sustainable printmaking business.
www.howtogetstartedinprintmaking.com

P.P.S Stop procrastinating! Tackle those things on your list that you have been putting off. You are only hurting yourself and your potential when you ignore what must be done.
Alyson B. Stanfield
I'd Rather Be in the Studio!

How to File Edges: Zinc Etching Plate

2010-07-16T11:52:00.001+10:00

Discover how to file your edges on a Zinc Etching plate ready for printing.

Happy printmaking,

Warmly,

Jo Lankester

Creative Income Coach

P.S Discover how to market your printmaking products successfully
www.howtogetstartedinprintmaking.com

P.P.S Make time for yourself. Your spirit nourishes your art, so it has to be healthy and happy.
Alyson B. Stanfield

Jo Lankester

Stone Wall lX, 2010

Sugarlift Aquatint

12 x12.5cm

Edition 20

$70.00 AUD

What Are Your Augmented Products? Is Internet Marketing for You? Join Now

2010-07-15T07:38:00.001+10:00

Tracy Repchuk is my coach and mentor, if you're looking for a fast track to a proven, powerful week by week, detailed lesson with assignment, video, audio, free ebook, and weekly affirmation to keep you moving in a positive direction, with real measurable results than this Internet Marketing club is for you.

You'll get a full internet marketing experience from a top internet marketer. Includes a monthly teleseminar where you can ask me any question to keep your progress always moving forward.

What are your augmented products?

I joined Tracy's program in February and have learned more than I could imagine, I had very little knowledge about creating webpages, autoresponders and how to collect money on line. If you want to learn from one of the top Internet Marketers I recommend Tracy Repchuk.

To your success,
Warmly,
Jo Lankester
Creative Income Coach

P.S Get a FREE report of the 7 Secrets to Building a Printmaking Business. www.howtogetstartedinprintmaking.com

P.P.S Tackle the pile! Don't let things accumulate. Make three piles: things you need now, things you'd like to do, and things that are unimportant.
Alyson B. Stanfield

31 Days to Millionaire Marketing Miracles

How to Create a Hotplate for your Printmaking Studio

2010-07-14T11:14:00.000+10:00

Welcome to my blog.

Yesterday I wrote about the important role a hotplate has in the printmaking studio, especially in cold climates. Living in the Tropics allows for less of a need for a hotplate but some etching plates require the use of a hotplate especially if the ink is drying out from age, exposure to air or the plate is worn.

The best hotplates are made commercially for kitchens but are very expensive to purchase. But it is easy enough for you to create your own hotplate.

You will need,

An excellent quality two-burner electric hotplate, also referred to as a burner
An old copper plate with the back still in good condition at least 1.2 mm/18 gauge
3 equal sized pieces of wood for the frame.

The copper plate should be big enough for your larger plates and there should be no screw or nails sitting above the surface of the timber to damage your etching plates. Make sure to leave a little gap at the back for the electric cord to feed through. The copper plate top should sit just above the hotplates to ensure that the heat is evenly distributed and you're not wasting energy.

The Hotplate is a tool that should be used judiciously but is essential in cold climates.

Happy printmaking
Warmly,
Jo Lankester

P.S. Get a FREE report of the 7 Secrets to building a Sustainable Printmaking Practice.
www.howtogetstartedinprintmaking.com

P.P.S Say no to opportunities that won't help you meet your goals.
Alyson B. Stanfield
Complete Printmaker

Hotplate: An Absolute Must In the Printmaking Studio

2010-07-13T09:53:00.001+10:00

Hello, thanks for taking the time to read my blog.

Living in the tropics changed my printmaking habits due to the very humid climate for 6 months of the year.

I first moved to Townsville, Queensland 10 years ago from Melbourne, Victoria and discovered that there were no hotplates in Townsville studios. It took me a little while to adjust to printing without a hotplate and have managed for the past 10 years but recently when printing an edition I was not getting the results that I knew were possible when printing with a hotplate.

In general, ink at room temperature, if wiped when fresh and not left to dry out, will produce good prints, particularly from plates that are etched and not worn, especially aquatints. However plates that need very rich and full printing can be warmed to bring out the best qualities of the ink, a hotplate is an absolute must in the printmaking studio.

The following three problems may occur when using a hotplate.

Be careful not to overheat your plates, it may bake the ink into the finer lines, causing them to print faintly.
To prevent the etching plate from buckling place the plate on the hotplate when they are both cool and bring the heat up so the warm at the same time.
Printing the plate when it is too warm can dry the paper somewhat and create spotty effects. The heat dries the paper quickly and will pose a problem when printing multi colour plate etchings.

It is possible to print without a hotplate and many artists produce beautiful prints by adding easy wipe to their inks but I have discovered that some etching plates, especially ones with aquatint require warming while inking up and wiping back.

Happy printmaking,

Warmly,

Jo Lankester

P.S Get a FREE report of the 7 Secrets to building a Sustainable Printmaking Practice. www.howtogetstartedinprintmaking.com

P.P.S Purge: Get rid of the pile marked unimportant! Throw away anything that isn't necessary and make room for the things that are.

Alyson B. Stanfield

Jo Lankester

Stone Wall lV, 2010

Sugarlift Aquatint

12 x12.5cm comp.

Edition 20

$70.00 AUD

Polishing Quartz-Zinc for Etching

2010-07-12T09:40:00.001+10:00

I recently purchased zinc from a national zinc manufacturer and distributor rather than from a printmaking supply company with the intension to reduce my purchase and freight costs due to my location.

The zinc arrived at half the cost but not quite as I had anticipated. The zinc was not polished and did not have an enamel back coating as requested, (like when purchased from a printmaking supplier). Instead the zinc had a grey textured surface on both sides.

I quickly went to work with steel wool and metal polish and bought the zinc back to a shiny smooth surface. I then applied metal polish with a rag to give it the final smooth polish required for etching.

Materials you will need for polishing zinc:

Steel wool
Metal polish
Rags

A little elbow grease and determination transformed my disappointment into enthusiasm in no time. I'm now ready to work on my next commission.

Happy printmaking,
Warmly,
Jo Lankester

P.S Get a FREE report of the 7 Secrets to Building a Sustainable Printmaking Business.
www.howtogetstartedinprintmaking.com

P.P.S Review your weekly goals at the beginning of each week. Plan the upcoming week with your goals in mind.

Printmaking Tool Set- Plate Maker Graver Set

Why Creating a Website Will Benefit Your Printmaking Business

2010-07-09T20:14:00.000+10:00

Welcome to my blog on printmaking and all things related.

Creating a website to promote your printmaking products and services will increase your exposure and allow the following to occur;

Constant access-from anywhere, anytime.
Keeps your audience updated with the latest information
Increases knowledge and awareness
Builds buyer confidence
Gives confidence to the prospective customer
Direct sales provision for customers to buy your printmaking products
Promotional provision to present background information to clients, curators and journalists

The most common type of artist website is a brochure type site that talks about who, what, where, when and why. If you choose this option make sure you have an autoresponder to capture the name and email address of the person visiting your site. Offer a free newsletter or report in exchange for their contact details. This way you can market to them for future exhibitions, a new product range, artist workshops etc.

Once your website is created and offering a range of benefits to visitors there are a few points to continually monitor and evaluate,

Make sure you are getting the correct message across at all times
Your website is easy to navigate through
Your home page is quick to download/open
Your website is kept up to date with the latest news and product information

Creating a website will benefit your printmaking business and can be a fun and playful way to promote your art.There is no need to spend ridiculous amounts of money for an effect website.

To your printmaking success,

Warmly,

Jo Lankester

Creative Income Coach

P.S Get a FREE report of the 7 Secrets to Building a Sustainable Printmaking Business.
www.howtogetstartedinprintmaking.com

P.P.S Let others lead small lives, but not you. Let others argue over small things, but not you. Let others cry over small hurts, but not you. Let others leave their future in someone else's hands, but not you.
Jim Rohn

Effective Websites for Artists and Art Groups: Second Edition

Protect Your Most Valuable Asset; Your Database

2010-07-08T11:15:00.001+10:00

Protecting your most valuable asset; your database is something you should be aware of. After spending a long time networking, recording names and emails of people attending your exhibition openings, paying customers, and recipients of your newsletter etc., you do not want to breach privacy legislation or their trust, this way you can build a long term relationship with your database.

A common mistake often made when sending an email to a client database is putting the recipients email address in the To field instead of the BCC field.

A BCC (blind carbon copy; also Bcc) is a copy of an email message sent to a recipient whose email address does not appear in the message.

This is in contrast to To and CC recipients, whose addresses do appear in the respective header lines. Every recipient of the message can see all the To and CC recipients, but does not know about BCC recipients.

I do not recommend you sell, trade or give your mailing list to anybody or organisation.

You must provide recipients with information on how to be removed from your email list.

To your printmaking success,
Warmly,
Jo Lankester
Creative Income Coach

P.S Get a FREE report of the 7 Secrets to Building a Sustainable Printmaking Business.
www.howtogetstartedinprintmaking.com

P.P.S Review your weekly goals at the beginning of each week. Plan the upcoming week with your goals in mind.

P.P.S Your life is in your hands, to make of it what you choose
John Kehoe

Pure and Simple ways to Update Your Database

2010-07-07T12:30:00.001+10:00

Updating your database on a regular basis will increase your printmaking audiences, your profile and positioning, your credibility as a printmaking artist and importantly your sales.

You may be thinking that you don't know enough people to keep adding to your database on a regular basis. The aim is to build your database to include prospective buyers, people positioned in the community who buy art and support the arts.

I recommend adding 5 people to your database weekly, schedule this in your diary for the same time each week to get in the habit of doing it.

Your database will need to include a range of categories such as:

Family
Friends
Friends of friends
Friends of family
Neighbours
Members of organizations you belong to
Past, current and potential customers and collectors
Funding bodies
Artist peers
Directors and curators of public art galleries
Directors of alternative art venues and non-profit spaces
Commercial galleries
Dealers and agents
Architects, interior designers and property developers
Businesses and art collectors
Media-local, metropolitan, specialist art/craft magazines
Editors of and writers for publications in which your work might fit
Head of local and state arts agencies
Art organizations you belong to

The most important people to start with are your past, current and prospective clients given the 80/20 rule for sales, (That is 80% of your sales will come from 20% of your buyers), I can't stress enough how important these people are to you making 100% of your income from your printmaking products and services.

To your printmaking success,

Warmly,

Jo Lankester

Creative Income Coach

P.S Get a FREE report of the 7 Secrets to building a sustainable printmaking business that will catapult your sales and rocket ride your bottom line.

www.howtogetstartedinprintmaking.com

P.P.S Learn to enjoy every minute of your life. Be happy now. Don’t wait for something outside of yourself to make you happy in the future. Think how really precious is the time you have to spend, whether it’s at work or with your family. Every minute should be enjoyed and savoured.

Earl Nightingale

Jo Lankester

Stone Wall ll, 2010

Sugarlift Aquatint

12 x12.5cm

Edition 20

$70.00 AUD

How to Create Your Free & Easy Database Guaranteed to Increase Sales

2010-07-06T10:24:00.001+10:00

Hello, thanks for reading my blog on printmaking and creating your own database.

There are many ways to create a database including purchasing software specifically designed to record data on your clients. Alternatively there is a free and easy way to create a database using a Microsoft Excel spreadsheet. This can easily be exported to many other platforms including your email account.

The following fields are recommended to include when creating your database,

Name
Position
Organisation
Address
Suburb
State/Territory
Postcode
Phone Number/s
Email Address
Category
Title of Artwork
Edition Number
Date Purchased
Price Paid
Dispatch Date
Notes

Microsoft Excel is an easy and simple spreadsheet to use. Fill in each field in order as listed from A-Z in the top bar of the spreadsheet. Your clients, prospective clients, galleries etc are then listed down the page in numerical order.
You can add any field that is relevant to your research in segmenting your target audiences.

To your printmaking success,
Warmly,
Jo Lankester
Creative Income Coach

P.S Get a FREE report of the 7 Secrets to building a sustainable printmaking business that will catapult your sales and rocket ride your bottom line.
www.howtogetstartedinprintmaking.com

P.P.S The secret of getting ahead is getting started.
Mark Twain

Jo Lankester
Castle Hill; West End Dusk, 2010
Sugarlift & Open Bite
60 x 80 cm
Edition 20
$270.00 AUD
© Jo Lankester, 2010

3 Hot Reasons to Build Your Database

2010-07-05T12:09:00.003+10:00

Hello, thank you for taking the time to read my blog on printmaking and building your client database.

Creating a database of people who have previously bought your printmaking products or services enables you to build an ongoing relationship with them and those who have expressed interested in what you do. These people may have attended your previous exhibitions or exhibition openings, artist talks or workshops.

Your database is priceless and could potentially be a recurring income stream for you.

3 hot reasons to build a database are,

Investing the time to keep in touch with your client database with news of new work, and workshops will increase their knowledge and interest in what you are doing. You are contributing in creating confident art buyers, gallery patrons and supporters of the arts.
You can email your client database regularly with a newsletter, exhibition opening dates, artist statements about new works, how many prints sold each month, new galleries or outlets that sell your work. By keeping them informed you are adding value to their investment.
Viral marketing is something that happens naturally when you start building a relationship with your client database. Once they become confident and educated in your printmaking products and services they will naturally want to share their knowledge with others, spreading your information to people in their circle of friends or work colleagues expanding your printmaking audiences.

If you haven't already created a client database I encourage you to do so straight away. This is a marketing tool which will be the most beneficial to you long term.

To your printmaking success,

Warmly,

Jo Lankester

Creative Income Coach

P.S Insider secrets to building a sustainable printmaking business www.howtogetstartedinprintmaking.com

P.P.S Our greatest glory is not in never failing but in rising up every time we fail

Ralph Waldo Emerson

Jo Lankester

Fissure, 2010

Free Bockingford Inkjet & Somerset Traditional Printmaking Paper Samples

2010-07-02T09:39:00.003+10:00

Welcome to my blog on printmaking.

I was very excited to receive a package from the Australian distributor Rossdale for Bockingford Inkjet Paper & Somerset Traditional Printmaking Paper yesterday.

The free samples are very generous in size and beautifully presented. The Bockingford Inkjet paper sample set comes in an A3 cardboard packet containing three sheets. The Somerset Traditional Printmaking paper sample set contains 30 sheets, 18.5 x 17.5 cm, in a well presented Somerset paper folder.

Bockingfod Inkjet paper is a double sided watercolour paper made for inkjet reproductions or original digital artworks using a quality inkjet printer.

If you are familiar with the original Bockingford watercolour paper you will recognise the same surface on the inkjet paper, it is also made on a traditional mould machine. The Bockingford artist inkjet paper is a unique paper on the market as it has an ink receptive surface on both sides of the sheet, allowing limited edition books and portfolios to be created.

Somerset papers are mould made; acid free, 100% cotton rag, deckle edged watermarked paper. The papers are buffered with calcium carbonate to protect them from acids present in the pollution that attack finished works of art. The noticeable benefits of a mould made artist papers is excellent surface stability and superior surface strength when compared to standard fourdrinier/machine made paper. (The Fourdrinier Machine is the basis for most modern papermaking, and it has been used in some variations since its conception. The Fourdrinier accomplishes all the steps needed to transform a source of wood pulp into a final paper product.)

To your printmaking success,
Warmly,
Jo Lankester

P.S To receive your free copy of sample pagers in Australia visit the Rossdale website and request a free sample or alternatively contact the St Cuthberts Mill directly for a distributor near you.

P.P.S Are you ready to discover the secrets to building a sustainable printmaking business www.howtogetstartedinprintmaking.com

P.P.P.S I challenge you to make your life a masterpiece. I challenge you to join the ranks of those people who live what they teach, who walk their talk.
Anthony Robbins
Somerset Velvet Printmaking Paper - Antique Velvet, 30 x 44, Velvet Printmaking Paper, Sheet

Three Main Ways to Recognize and Characterize your printmaking Audience

2010-07-01T13:47:00.000+10:00

Welcome to my blog on printmaking and identifying your target audience.

The three main ways to recognizing and characterizing your printmaking audience are by:

Geography

Identify the best way to reach your target audience by conducting post code analysis, and breaking your audience into the following sub groups, state, regions, cities, or suburbs.

Demography

Identify the best way to reach your target audience by breaking your audience into sub (niche) groups by demographic profiling, age, sex, education levels, ethnic background, income or occupation.
Within each sub group dig deeper and determine the most effective ways to reach niche groups within niche groups for e.g. Age; youth may respond best reached through social media and the older generations by post etc.

Behaviour

Identify the best way to reach your target audience by patterns of behaviour such as how often they visit a gallery and if have they bought from you before.

Three effective ways to capture your audiences information is by:

Comments book in the exhibition space recoding the name, address, phone number, email address age, and how they heard of the exhibition.
Networking opportunities at exhibition openings, artist talks and art events can allow you to self promote and exchange business cards with people for future exhibition openings, newsletters etc.
Website Opt in box to capture the name and email address of people interested in your printmaking products or services.

Segmenting your audience will give you a greater chance of reaching each niche group effectively increasing your conversion rates.

To your printmaking success,
Warmly,
Jo Lankester
Creative Income Coach

P.S Acquire the business skills you need to run a sustainable printmaking business today www.howtogetstartedinprintmaking.com

P.P.S Always bear in mind that your own resolution to succeed is more important than any one thing.
Abraham Lincoln

How to Segment Your Target Audience

2010-06-30T17:15:00.000+10:00

Hello, Thank you for reading my blog on printmaking and segmenting your target audience.

Segmenting your audience is a term given to a process that narrows down your audiences into small sub groups or otherwise referred to as niche groups. It is a more efficient way of marketing for limited budgets and providing your printmaking products or services to a target of specific groups.

An easy way to do this is to know your overall marketing objectives, start with writing down your current positioning and where you want be in the future. This will help you reach your goals and create a marketing strategy with benefits.

The four main areas of consideration of a marketing strategy are,

Engaging in Market Development

Are you creating your printmaking products for a new audience?

Engaging in Market Penetration

Are you making more of the same type of work for an existing audience?

Engaging in Product Development

Are you creating new work for an existing audience?

Engaging in Market Diversification

Are you creating a new type of printmaking product for a new audience?

By breaking your audience into smaller groups you will be able to communicate more easily with them.

To your printmaking success,

Warmly,

Jo Lankester

P.S To get your free audience development report go to www.howtogetstartedinprintmaking.com

P.P.S The whole secret of a successful life is to find out what is one's destiny to do, and then do it.

Henry Ford

Printmaking: History and Process

How to Understand Your Printmaking Audience

2010-06-29T11:53:00.000+10:00

Welcome to my blog on printmaking.

Understanding the arts audience will allow you to identify your target audiences easier. People engage and become interested with art for all sorts of reasons and bring varying levels of experience, knowledge and expectations to their engagement.

People engage with art because it offers them real benefits. Focusing on the benefits that your printmaking products offer will help you to identify and clarify who might be your target audiences. Highlighting the benefits within your marketing mix will help sell your printmaking products from the onset, establishing a relationship with your target audiences and influencing their thinking.

Think about what benefits your printmaking products could give to audiences, some benefits could include:

pleasure
investment value and commercial profit
decoration
interest
life style association
work place enjoyment
status
entertainment
commemoration
passion
cultural identity

The art world also offers some barriers to engaging with art which can lead to people buying non-legitimised art, such as furniture, design objects and mass produced prints to satisfy their needs for aesthetic stimulation. Some of the barriers of engagement may include:

exclusiveness
elitism
feelings of inferiority
feelings of feeling intellectually or financially inadequate
money

By applying these benefits and possible barriers to your printmaking products, you will be able to identify new target audiences and develop creative ways of reaching them

To your printmaking success,

Warmly,

Jo Lankester

P.S Discover 7 secrets to building a sustainable printmaking business www.howtogetstartedinprintmaking.com

P.P.S Seize the moment of excited curiosity on any subject to solve your doubts; for if you let it pass, the desire may never return, and you may remain in ignorance.

William Wirt

I'd Rather Be in the Studio!

Who Else Could be Your Target Audience?

2010-06-28T12:11:00.001+10:00

Hello, thanks for reading my blog on printmaking.

This post is a continuation into the discovery of reaching your target audience and I pose a question; who else could be your target audience?

As artists we need to start thinking like marketers when reading the local paper. Look for what is going on in our community for special events, markets, trade fairs, open days etc and identify different customer segments for each event. Find a niche customer interest base and within these segments focus right down on it.

Think through what you have to offer and identify customer segments. For e.g. Townsville will be hosting a V8 Super Cars race in a couple of weeks offering a niche market of car enthusiasts, I am looking at what prints I have in stock that relate to this clientele base and make these prints available at art and craft markets during this time. The limited edition prints could be of a variety of subjects for e.g. cars, landscape and city scenes of Townsville and Magnetic Island or I could make something specific for the occasion.

You may find other target audiences through making your printmaking products available through,

Commercial Galleries
Retail outlets
Public or regional galleries
Hotel & Motel lobbies
Art Critics
Art magazines

To your printmaking success,
Warmly,
Jo Lankester

P.S Unearth more profits you deserve www.howtogetstartedinprintmaking.com

P.P.S The greatest discovery of my generation is that a human being can alter his life by altering his attitudes of mind.
William James

Blossoming Printmaking Business Opportunities

2010-06-25T17:47:00.001+10:00

Hi, thanks for taking the time to read my blog on printmaking.

I have been presented with a unique opportunity to expand my printmaking business much earlier than I had planned by a local group called Renew Townsville.

Renew Townsville is a not for profit company limited by guarantee that finds short and medium term uses for buildings in Townsville's CBD that are currently vacant, disused or awaiting redevelopment. Renew Townsville describes itself as a 'permanent structure for temporary things'.

Renew Townsville finds artists, cultural projects and community groups to use and maintain these buildings until they become commercially viable or are redeveloped. The group is not set up to manage long term uses, own properties or permanently develop sites but to generate activity in them until a future long term activity happens.

I will be putting in an application to move my print studio into a shop front to operate as a gallery, print studio and office. The rent for the space is minimal allowing for the development of my creative endeavour possible. This is a great marketing opportunity taking my printmaking to new audienceS, and increasing my income stream. I will be able to expand my augmented printmaking products and services including, workshops, studio space and a place for printmakers to meet and discuss ideas, processes and projects.

The application process is simple and straight to the point; I hope to be operating by August when my new press is ready.

Happy printmaking.
Warmly,
Jo Lankester

P.S How understanding the 7 Secrets to Building a Printmaking Business has never been made easier. www.howtogetstartedinprintmaking.com

P.P.S Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.
Albert Einstein