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Intaglio engraving4/19/2023 ![]() Setting the prints outside in the sun to “solar bake” the inks into submission.“Blotting” the uppermost (wettest) inks on each print against newsprint via a run through the press.I knew my paper issue, in particular, would likely cause problems, but I planned to (and did) use a variety of ink-drying methods I read about from other printmakers, including: When you print multiple layers of ink onto age-compromised paper, each layer dries as a barrier, thereby blocking absorption for later color applications. So, I started this project with paper and inks that are a decade old, and the inks required absorption to dry. Waxed paper ink skins and a can of oil-based printmaking ink with the lid taped to prohibit air from getting into the ink to dry it out. You have to get to know each other before you can feel confident about compatibility. Like any relationship, getting acquainted with your inks and paper and printmaking tools works best with some dating and lots of Q&A. It also gives you a lot of control once you get acquainted with various printmaking paper’s absorption rates to accelerate your drying time. This is a great feature when you want to take your time with a monotype print. The pigments may air-thicken, but they won’t dry till they’re transferred to an absorbent paper surface. Akua inks can be left out in the air on a glass slab for weeks. Inks that dry via absorption need to soak into a paper’s pulp to dry. Once they’re printed to paper, we want them to dry, pronto! We want to prevent air from getting to our unused inks, to prohibit their drying. Quick-drying inks are the reason we tape the lid on the ink cans and buy a packet of wax paper “skins” to lay over the ink inside the can. In other words, the moisture in the ink dissipates when exposed to air, and the pigments thicken and dry quickly. Most traditional printmaking inks that are oil-based dry quickly via evaporation. Reduction linocut prints hanging to dry in the studio – for months. ![]() The rubbery plate flexes under pressure, so the edges of shapes skip across the paper during ink transfer, leaving an infinity mirror trail. I don’t like using Soft-Kut or Speedy-Carve plates, with predominantly rubber ingredients, because they are too flexible to carve fine details.Īlso, when registration is part of the printmaking plan – aligning a soft rubber plate to print on top of colors you’ve already printed is a challenge. ![]() Sanding the surface of your linoleum plate, with a block and super fine sandpaper ( more on sanding linoleum here), to smooth any blemishes or lino-freckles on the plate will lead to better ink application and smoother ink transfer. Linoleum is coated with a sealer after manufacturing to keep the material from drying out and getting crumbly. To be clear, I print linocut almost exclusively from un-mounted, burlap-backed, traditional battleship gray linoleum. I get a lot of questions about what I mean by the phrase “prepared linoleum”. After printing the drypoint engraving on soaked and blotted BFK Rives printmaking paper, the still-wet drypoint print was pressed against prepared, unmounted linoleum to transfer the ink to the surface of the lino. ![]()
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