Author Archives: Publisher Textiles

Colour Theory 101

Hello! So in today’s blog we thought we’d go through some basic colour theory and how to mix our inks. If you already have some of our inks you can buy a 4kg empty tub here to mix in (you always want a bigger tub so you avoid spillage!). We recommend sticking to the same ink base; standards with standards and opaques with opaques.

Basic Colour Theory

Lets start down to the very basics. We’ve got primary colours, red, yellow and blue. Then we have secondary colours, which are basic hues achieved by mixing two primary colours. Then we have tertiary colours which is made by mixing primary and secondary colours (red-orange, yellow-orange, yellow-green, blue-green, blue-violet and red-violet). These tertiary colours can vary a lot since you can tweak each to your liking! A blue-green can lean more green than blue for example.

Colour Wheel

Colours can look very different when matched with other colours. So when pairing and mixing hues it’s important to take their placement into account. Is it next to a lighter or darker colour, by itself or next to a complimentary colour? Colours that are opposite one another on the colour wheel are called complementary colours. Orange and blue, red and green etc. here are three examples of combinations from the use of a colour wheel

Analogous – This combines three colours that are next to each other on the colour wheel for example violet, red and orange. 

Split complementary – This one is done by selecting the complementary of a hue but instead of using that you use the colours on either side. So for example if your base colour is blue you the complement would be orange but instead of orange you will use blue, yellow and amber. 

Triadic – This scheme is achieved by choosing hues that are evenly spaced on the colour wheel. 

Colour mixing tips!

Tip 1: So with our inks you can pretty much mix up any hue you desire. The exact proportion of how much of each colour to use is completely dependent on what end result you desire. For e.g. if you are mixing an orange, if you pop a little more yellow than red you will get a yellowish orange and conversely if you mix more red than yellow you’ll achieve a more reddish orange! Remember to write down how much of each ink you put in so you can recreate it later on! 

Tip 2: When mixing colours, it’s important to note that you only need a very small amount of a dark colour to change a lighter colour but you need far more of a light colour to change a dark one. So always add a dark colour to a light colour and not the other way around! E.g. you would add an orange to a white.

Tip 3: Since every colour is considered to be more warm or more cool (oranges and reds are generally more warm whilst blues are cool), you can have tints and shades of each colour that lean warmer or cooler depending on its properties! You could have a warm strawberry red or a cool raspberry red. If you add a warm colour to a warm colour you produce what is called a warm secondary. If you mix a warm colour with a cool colour it’ll produce a more neutral tone.

Tip 4: You can reduce the opacity of our inks with our print base [buy here]. 

Tip 5: Try not to use black to darken your colours. Black can make colours look muddy or murky so try using colours like brown or dark blue to create shades of your colours! 

Tip 6: Mix colours a shade or two lighter than the outcome you want to achieve. Paint dries ever so slightly darker than it looks in the tub so bear that in mind. It’s best to test the mixed colour by doing a swatch on a piece of your fabric!

You can purchase our inks here:

We hope you enjoyed this little 101 on colour theory!

If you have any questions please comment down below and we’ll get back to you as soon as we can!

On our next blog will be a Tales from a Print Room and an in-depth look into our inks, the bases we use and how we mix the our colours!

Stay safe,
From the team at Publisher.

Introducing Ikuntji Artists

We’ve got some amazing new fabrics from Ikuntji Artists and wanted to do a little blog post introducing you to them. Ikuntji Artists is a not for profit and completely member-based Aboriginal art centre. Situated in the community of Haasts Bluff (Ikuntji) with a population of around 150 people. Ikuntji has a board of seven Indigenous directors who all live and work locally.

You can find out more about them at

We’ve now got a little range of their beautiful fabrics available by the metre online and in store!


This design by Keturah Zimran depicts the natural rock formations (puli) found in and around Haasts Bluff.



This design by Mavis Nampitjinpa Marks shows the ‘Women’s Business Story’.



In this design Mitjili Napurrula depicts her fathers Tjukurrpa, the ceremonial spear straightening in Uwalkari country (Gibson desert region). The Watiya Tjuta (Acacia Trees) are the trees that are used to make these spears. Uwalkari country is abundant with Watiya Tjuta, as well as sand hills and other plants. Mitjili paints the motif of the Watiya Tjuta, carrying on the recurring motif as her mother used to draw in the sand. Her mother passed on this Dreaming to her.



This design by Eunice Napanangka Jack depicts her father’s Tjukurrpa (Dreaming). It shows the country at Kuruyultu, near Tjukurrla in Western Australia.



This design by Alice Nampitjinpa Dixon depicts Takupalangu west of Kintore. This is Uta Uta Tjangala’s country, which he has painted throughout his career. Nampitjinpa paints her father’s country of rockholes (puli) and sandhills (tali). There is plenty bushtucker – mangilpa, which are little black seeds around. The road to Kiwirrkurra passes Takupalangu on the side.
Alice describes the big swamp of Takupalangu, in her Fathers country. Takupalangu is filled up with bush vegetables called mungilpa. When Alice was a small girl she travelled this country with her family. Her mother used to collect mungilpa and pummel it into dough which she made into damper. It is also a good place for hunting bush meat as the swamp is surrounded by rock hills.


Javed got his PR + new website!

We are back! We hope everyone had a great New Year and holiday period. We’ve been a little quiet on social media as there has been lot’s of things happening behind the scenes that we can’t wait to share with you all soon!

Having said that, we only have the best news ever…(Insert lots of happy GIFs)

After 8 very long years Javed has finally got his PR Visa approved!!! It’s been a very long and tedious journey to get here but it’s finally happened and we couldn’t be happier. Publisher wouldn’t be Publisher without Javed and this means that everyone’s printing still gets done 🙂

More news; if you’re reading this right now then you’re actually on our BRAND NEW WEBSITE! Our new website has a bunch of functionality that we needed in order to keep growing that our previous platform did not have. If you’ve ever been on our previous website on a mobile you would’ve seen how incompatible it was (pictures all over the place, out of proportion pages and don’t even get us started on that footer!!). Our new website will be much more user friendly and functional.

We’re working on some AMAZ-ing new clothes at the moment so stay tuned but for now that’s all from us!

Enjoy the long weekend all.


We’re heading off to Europe!

Exciting news!!Mark and I (Steph) are off on our first overseas holiday together! We are off to Europe for 3 weeks and will be leaving Publisher in the capable hands of our amazing team, Javed, Remi and Nat.While we are away it will be business as usual for the most part but there are a few services that we will not be able to offer while we are away. 2 most important ones are:We will not be offering screen services from 3rd September until 4th OctoberThis includes stripping and exposing.We will

A Design Blog: How We Choose Colourways

Welcome to today’s blog! We will be going through how we choose colourways for our designs from inspiration, choosing ink colours to strike offs; the complete process.So when choosing new colours we always take into consideration the design, how many colours the design has and what the end product will be; wallpaper, t-shirt, dress, cushion etc.With all this in mind we go onto our very favourite; Pinterest! We always start our inspiration here. We search colour palettes, colour schemes, 80s,

‘Rum Corps’ – A New Design | Publisher Textiles

In today’s blog we thought we’d share with you the background and design process of our new design by Mark ‘Rum Corps’. Inspired by sugar cane, rum and its rich Australian history.It all started when we purchased a 60s styled drink cabinet and followed up with a purchase of the Tiki cocktail book by Smuggler’s Cove; Exotic Cocktails, Rum, and the Cult of Tiki ( bar then officially turned into a Tiki rum bar. Rum is made in at least sixty countries all from


Thank you for all the great feedback on part 1 of this blog series! We really enjoy making these informative blogs and are glad that you’re enjoying them too. If you haven’t read part 1 you can do so here.Materials T2 screen printing mesh screen Cabot’s Cabothane Clear slow glue Monkey grip with angle on it Electric sander Electric stapler Process1. So continuing on from part I you should have a fully dry wooden screen frame. As you can see the excess glue has dried and formed a thick layer. We


Today we are going to show you how you can make your very own screen frame out of wood. How to stretch the screen will be coming in a later blog but for now, onto what you will need for this project!MaterialsWe will be making a frame that fits an artwork up to 1.4m. For this you will need:- 2 pieces of wood (dimensions are 2.7m x 7cm x 3.5cm)- A drop saw- 4 clamps- Selleys Aquadhere Durabond Polyurethane Glue- Measuring tools i.e. a right angle ruler and tape measure- A trusty pen or pencilThe

Tales from a Print Room – Screws in Screens

Below Javed is drilling into the aluminium screen frame, we do it 10cm from each edge all the way through.As you can see below, all drill holes will line up. Making for a better print on a one rail system, as the feet will hit in the same spot for each screen. As seen below, we use 1/4 inch roofing screws as their thread goes from top to bottom, because we need two bolts to lock it onto the frame.Below bolt has already been wound onto screwNext bolt to lock the screw onto frameWe draw a straight


Today we are letting you in on how we glue our tables. This method we found works best for our own water-based inks and we have perfected this method for ourselves through lots of trial and error. A quick disclaimer; what works for us may not work for you or the inks you screen print with so be sure to test thoroughly first.Note: if you use particularly thin fabrics like silk; if the ink seeps through it can potentially pull the stick off of the table and onto the fabric. This has happened to us