Print Club Ltd.

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

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

28/07/2026

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

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

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

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

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

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

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

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

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

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

Donna DeSoto⁠Reflected Surface⁠Six color silkscreen print⁠Edition of 20⁠26” x 20” / 66cm x 50.8cm⁠⁠A textile design back...
04/07/2026

Donna DeSoto⁠
Reflected Surface⁠
Six color silkscreen print⁠
Edition of 20⁠
26” x 20” / 66cm x 50.8cm⁠
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A textile design background shows clearly in Donna de Soto ‘s ceramic practice; meticulous surface patterning built from tape-masked bands, stripes, and angular forms that feel simultaneously architectural and decorative. This print captures that graphic clarity directly, translating the crisp geometric divisions of her vessels into silkscreen through the same discipline of registration and layering that defines her process in clay.

People frequently don’t know what they really want until they see it. ⁠⁠Style preferences are often a description of wha...
01/07/2026

People frequently don’t know what they really want until they see it. ⁠
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Style preferences are often a description of what they’ve already encountered and enjoyed rather than the edges of what they’d respond to. The wildcard is how you find out what that edge is. The key consideration though is calibration. The wildcard shouldn’t feel like you haven’t been listening at all, rather it should feel like you listened closely and then went one step further. ⁠
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How we find that line is in The First Conversation, free for designers – link in bio.⁠
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Image: Andy Warhol, “Siberian Tiger” (from “Endangered Species”), 1983.

Alyson Fox⁠Shape 30⁠One color silkscreen print⁠Edition of 10⁠28” x 22” / 71.1cm x 55.9cm⁠⁠Known for deftly moving betwee...
29/06/2026

Alyson Fox⁠
Shape 30⁠
One color silkscreen print⁠
Edition of 10⁠
28” x 22” / 71.1cm x 55.9cm⁠
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Known for deftly moving between fine art, textile, graphic and product design, we have created a grouping of “Shapes” screenprints based on Alyson Fox’s designs. Alyson treats the daily generation of these shapes as one would a journal. Peppered with her very particular experiences of shape, surface and the fascinating interactions between objects and images, Fox’s Shapes reflect how she moves through the world; seeing and absorbing the ways in which edges touch, forms overlap, shadows are case or objects obscured.

A client’s “no” often tells you more than their “yes.”⁠⁠When we sit down with a client for the first time, we don’t alwa...
26/06/2026

A client’s “no” often tells you more than their “yes.”⁠
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When we sit down with a client for the first time, we don’t always open with identifying what they love. We find it helpful to open with what they’d never live with. It sounds backwards, but a person’s “no” has edges you can work from, whereas “I like abstraction” gives you almost nothing to hold. By the end of that one conversation we usually know more about where a collection is heading than weeks of mood-boarding would tell us. ⁠
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It’s one of three frameworks in The First Conversation, our free guide for designers – link in bio.⁠
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Image: Ed Ruscha, “No, Go”, acrylic on canvas, 2010

Cody HoytSurface: Oblique Vessel (Projection)⁠Eight color silkscreen print with airbrush detail⁠Edition of 35⁠22” x 28” ...
24/06/2026

Cody Hoyt
Surface: Oblique Vessel (Projection)⁠
Eight color silkscreen print with airbrush detail⁠
Edition of 35⁠
22” x 28” / 55.9cm x 71.1cm⁠
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For this print, Hoyt placed a finished ceramic vessel directly onto a scanner bed and captured its inlaid patterned surfaces in exact detail. What started as clay then became a print, two processes that share the same logic of building a surface one color at a time.

An art acquisition budget buys more when you stop splitting it wall by wall or piece by piece. ⁠A total budget approach ...
22/06/2026

An art acquisition budget buys more when you stop splitting it wall by wall or piece by piece.
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A total budget approach gives you the ability to build range amongst your selections. A significant anchor work from a mid-career artist with a serious exhibition history, paired with two or three more economical works by emerging artists starts to look like the beginning of a collection rather than a series of purchases. ⁠
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More on it in The First Conversation, our free PDF download – link in bio.⁠
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Image: Jasper Johns, “0 Through 9”, 1961

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