Letterpress/relief inks are a different thing, there are two types there, rubber and oil. So I don't use them and can't recommend them. I find the water based and safe wash inks to be far inferior to traditional linseed inks when it comes to purely printing results. ![]() I actually use all oil inks, and zero solvents in my studio (for inking) and stick to soaps and surfactants. Cleaning up oil based inks can be solvent or soap based, can be light or heavy. The pigments in inks are probably the most toxic component and the safe wash inks are no exception. The oils in traditional inks, particularly in Charbonel and Gamblin, are modified linseed oils (flax oil) which are not heavy on the environment, granted they are no longer food safe with some of the modifiers that go into them but they aren't the petro terrible problem that the 'safe wash' inks are promoting themselves as the solution to. There's been some discussion about Akua and other water based inks in this category for 'environmental' reasons. So while manufacturers (good ones) do try to address the use of the ink in the way they formulate them, in a lot of ways they are interchangeable and mixable, especially within the lines of a singular manufacturer. They have additives to improve wiping (intaglio/etching) or flow (litho/mono) or some other characteristic like working times and drying control. Print with raised ink and embossed edges.When it comes to oil based inks, chemically relief, intaglio and litho are essentially the same. Manipulating a metal surface is evident in the final Artists like intaglio processes because it's a very Is laid on top and it is run through the press withįelts at high pressure. On the fingers will remove any residue ink from theĮdges and non-image areas of the plate. The plate, and finally, a small amount of hand wipingĪnd cleaning of the edges so that all of the white areas Plate, utilizing tarlatan to remove excess inkįrom the raised surface or upper surfaces of Plate with ink to force ink into the recesses of the Once the plate has been etched, the ground has been removed, and the plate has beenĬleaned, it is now prepared for printing. Minutes, then it is pulled out and rinsed and replaced back in the bath for an additional 15 minutes This is a process of eating away all of the bare copperĪreas showing on the plate, deep into recesses that will hold ink. Through that black ground, it will be etched or eatenĪway to create a trough for ink to sit in. Only barely scratching the surface, just to remove the ground. The plate is to create a burr or to move metal. Scratching away the ground so that copper is revealed. Prepared with a ground, the surface is a jet black. Plate is held upside down, so that the ground can be That it is dark enough to see the copper showing through wherever the ground hasīeen scratched away. Protecting the white or non-image areas of the etching plate. The second step would be applying a ground to the plate. Or scratches on the surface that could interfere with The first step is to prepare the plate, which involves polishing and cleaning, so that there are no marks That we use for dry point are also used for etching. This will help the plate remain strong so that none of the burrsīreak during printing. Where you have a delicate and fragile burr that's Strength of the surface of the plate, which is extremely important for things like dry point The purpose of all of theĭifferent types of marks that I'm using is toĬreate different textures and varying tones, so that the composition that I'm working with doesn't feel flat by something being madeįrom all of the same type of mark. Laid out with basic lines, I'm going to use the roulette In working with a roulette, now that I have my composition Where that ink is heldĬreates a fuzzy line, which is the characteristic Typically not removing metal, we're actually moving itĪnd the burr that is raised from moving that metal holds ink. Scratch will raise a burr, where the metal was then ![]() Of our etching tools, in this case a steel scribe,Īnd scratch the surface of this plate, that What dry point is is aĭirect scratching or moving of the material on the plate. ![]() Are any print making process where the image area isīelow the flat surface of your printing matrix or plate.
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