ARTMAKER PRINTMAKING REVISITED

The Plate AFTER taking a hand rubbed impression on damp watercolour paper to check for depth of line and image balance.
The plate after inking and rubbing with a very FINE layer of ink in the engraved plate.

It has been a few years since i created a limited edition series of fine art prints and there are new products to investigate, new papers to trial and i have different aspirations and thoughts.








Printmaking Inks



Unlike free flowing drawing and writing inks, printmaking inks are designed to be just the opposite. Despite the vast differences involved in printmaking, the only real difference in printmaking ink is viscosity and the binder. Traditional lithographic ink is oil based but differs from oil paint in that the ink must be ground to the very finest sort of grain and the most complete dispersion possible, by being repeatedly put through powerful and accurately adjusted roller mills. The consistency requirements differ from those of oil colors in that print making inks must be capable of depositing on the paper a smooth, level, uniform stain rather than a thick painty layer. The color effect is generally that of watercolor, the underlying white paper contributing brilliancy and luminosity to the tones; but opaque color effects are not entirely unknown. In order to meet these requirements the ink makers produce a very stiff paste, capable of being spread or rolled out to a level flat film on the inking roller, and having just the necessary degree of snap or sticky tackiness, combined with certain oiliness.








One of my major concerns is the lack of a printing press and running this edition through WITHOUT one and printing by hand. it's going to take some trial and error i suspect Yet learning as we go is half the fun....