Print Club Ltd., 18 Faversham Street, Sydney (2026)

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

12/06/2026

When a commission arrives that allows us to briefly pretend we’re interior designers we’re always going to jump at it. MariPili at Café Frieda at the Frye Art Museum arrived as part art installation, part design brief. Jamilee Lacy Jamilee Lacy , the Frye’s Executive Director is a fellow mural-lover and wallcovering devotee so those elements were always going to be integrated into our design.⁠
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The café is situated within the museum and allowed for very little scope to alter the flooring or millwork. Run by Chef Grayson Pilar Grayson Pilar the café menu features her Galician cooking, so the brief started on the Galician coast. We kept returning to Sargadelos – the cobalt-and-white porcelain made in Galicia with beautiful graphic patterning. Those punchy blue designs became the inspiration for the drapery: a textile repeat we designed ourselves, printed with Spoonflower | wallpaper , fabric + home decor and had produced into curtains and drapes by LP Studio
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From there the room filled in around it. A ceiling mural we designed that was executed by Rocky Road Studios , ceramic vessels by Kassandra Guzman kuupottery , a backsplash by Fireclay Tile Fireclay Tile
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We’ve written the full story over on the journal – the brief, the blue ceramics, and everyone who brought it to life. Link in bio.

Images courtesy of Frye Art Museum Frye Art Museum
Photo Credit: Runyon Collie

29/05/2026

There can be so many positive shifts when art discussions enter a project early: it can be a more defined brief, a sturdier budget, or more generally, what the space can ultimately become. In The Journal, we’ve written about what this looks like in practice. Sharing the link in bio.⁠
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💫The Brief Gets Sharper
When art is part of the initial conversation, the answers shape everything downstream. A client describing what stops them in a gallery is also telling you something about their palette, their furniture register, and how much density a room should carry.⁠
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💫 Commissions are an Option
A commissioned work needs twelve to sixteen weeks minimum (often more). Building that time in from the start opens up something that sourcing existing work never can; a piece that is entirely custom and was conceived for the space.⁠
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💫 The Photography is Elevated
Art that has been specified early on from the brief has a relationship to the room that is visible in an installation photograph. We think an editor can see it immediately. It’s the difference between a space that was built from the inside out and one that was furnished from the outside in.⁠
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All of these gorgeous images are from a luxury residential project at Costa Palmas where we were brought on by the designers before they had even broke ground. Abby Kuskin and the design team at Irongate started the conversation with us when there were nothing but mood boards and construction drawings on the table. That’s exactly when we love to be in the room. More thoughts from us on what became possible because of that generous timing is in our latest Journal article, link in bio.⁠
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And if you’re mid-project and the art conversation hasn’t started yet, our free guide The First Conversation is also linked.⁠
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Images:⁠
(1) Costa Palmas villa residence designed by Irongate Group and ⁠
(2) Custom wall hanging designed by at Costa Palmas ⁠
(3) Painting commisioned by at Costa Palmas ⁠
(4) Custom ceramic and fibre wall relief designed by at Costa Palmas ⁠
(5) Painting commisioned by at Costa Palmas ⁠
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All photos: courtesy of

27/05/2026

Karin Haas⁠
“Untitled I”⁠
Five color silkscreen print⁠
Limited edition of 50⁠
29” x 22” / 73.6cm x 55.9cm ⁠
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From our two-print silkscreen edition with Karin Haas this piece captures the delicate tension at the heart of her practice. Blocky, geometric forms meet fluid, hand-drawn patterning. ⁠
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Haas is renowned for her colored pencil works on paper, and we went to considerable lengths to emulate that distinctive surface texture through the printing process. What makes her work so compelling is how she creates simultaneous experiences: her stacked compositions suggest weight, depth, and sculptural possibility, while the intricate, meditative mark-making constantly pulls your focus back to the surface. ⁠
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(1) Karin Haas, “Untitled I” framed in white wash maple⁠
(2) Karin Haas, “Untitled I” in detail⁠
(3) Installed in the Primary Bedroom of a Peninsula Residence at image courtesy of Costa Palmas.

25/03/2026

We produced a three-print collaborative suite with Los Angeles ceramicist Donna DeSoto several years ago, specifically to install in a series of villa properties at the Costa Palmas development on Baja’s East Cape. ⁠
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DeSoto brings a background in textile design to her ceramic practice, and it shows in her meticulous approach to surface patterning. Her process involves careful masking with tape to create crisp geometric compositions across her vessels, creating bands, stripes, and angular forms that feel both architectural and decorative. ⁠
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The precision required to achieve these clean divisions of color and pattern on three-dimensional forms translates remarkably well to screenprint, where registration and layering are equally critical. Our suite captures the graphic clarity of her work: bold color blocking, sharp geometric divisions, and the tension between surface decoration and vessel form. ⁠
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These were commissioned specifically for Costa Palmas but a small number from the edition remain available. Details are linked to in our bio.⁠
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(1) “Blue/Cream Surface” up close⁠
(2) “Green Surface” installed at ⁠
(3) “Green Surface” 20”H x 14”W, three-color screenprint, shown framed in white wash maple⁠
(4) “Reflected Surface” 26”H x 20”W, six-color screenprint, shown framed in natural walnut⁠
(5) “Reflected Surface” installed at ⁠
(6-9) Donna in her studio, examples of her ceramic works and sketches of her pattern development.

26/06/2025

Earlier this month “The Shakers: A World in the Making” opened at in Basel, featuring New York-based artist Amie Cunat alongside six other contemporary creators exploring how Shaker design principles continue to influence modern art and design practice.⁠
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Amie’s multidisciplinary work—spanning painting, sculpture, installation, and performance—has long engaged with Shaker aesthetics and philosophy. Her 2018 solo exhibition “Meetinghouse” at VICTORI + MO reimagined historical Shaker artifacts through hand-cut paper sculptures, exploring the tension between utility and craft. ⁠Where her first “Meetinghouse” installation presented exclusively interior spaces, “Second Meetinghouse” juxtaposes interior features and exterior facades of a Shaker meetinghouse.

As Amie describes, “I wanted to form a room that proposes an alternate engagement with this historic structure and question the perceptive impenetrability of boundaries. As a visitor walks within and around the freestanding room, they are navigating whether they are inside or outside of the Meetinghouse; spectating or contained by this space.”
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We were lucky enough to collaborate with Amie on a print edition shortly after this 2018 exhibition. For that work, Amie created a small braided rug using traditional Shaker techniques, then painted sections with gouache and Flashe in her characteristically vibrant palette—bridging the sect’s radical simplicity with contemporary color and form. ⁠
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She photographed the finished rug and we created halftone screenprint separations at 1:1 scale, using halftone that mimic the braided texture. Each printed section fits together like a puzzle, honoring both the original craft process and Amie’s artistic vision.⁠
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Prints for this edition are still available in our store through the link in bio.

Address

18 Faversham Street
Sydney, NSW
2204

Website

http://jointheprintclub.com/

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