Wood engravers use Tint Tools to create incisions on the surface of woodblocks. As woodblocks are inked with a roller, these recessed incisions do not receive ink. They therefore show up white in the final print.This is a fine Tint Tool (#1), designed for cutting straight lines of a constant width. The trade engravers of the Nineteenth century referred to a series of parallel lines as a 'tint'. They used tints to depict colour and form; by varying the width and spacing of the lines that made up their tints, they were able to attain a sophisticated range of mid-tones, between the white of the paper and the black of the ink.This tool is not designed to cut curves; use a Graver or (preferably) a Spitsticker for that. The shank of the tool may be damaged if you force it to make corners.This tool was made from high carbon tool steel in the United States by E.C. Lyons. It is supplied factory-sharp, but it has not been honed to a fine edge. Please note, engraving tools are known by different names in the UK and the United States. Tint Tools are known as 'Angle Tints' or 'Angle Tint Tools' in the USA.

This tool is used to prepare metal plates for mezzotints. By repeatedly working the tool over the surface of the plate in a rocking motion, the printmaker can create a smooth carpet of burrs, which will hold ink and show up as a dark area when the plate is printed. This rough surface can then be smoothed with a scraper or burnisher, which will lighten the print in those areas.EC Lyons rockers are known world wide as the finest mezzotint rockers available. Lyons rockers have handles of stained birch and a tool surface of high carbon tool steel. The density of teeth for a rocker is measured in LPI or 'tooth count', a measure of the number of lines per inch on the cutting face of the tool. This is a fine gauge rocker with a 4 inch blade and a tooth count of 100.Please take care when using this tool near the edge of your plates, as unless you have bevelled the edge of the plate it is possible that the tool may slip off or be damaged by the sharp edge.

This sturdy geared etching press has a traditional look with a cast iron handle. With its solid steel rollers it is immensly strong for it's size weighing 100kg. It can be purchased with an additional stand that includes a handy shelf underneath. The stand is available with either locking castors (RKEP3318SC) or with self levelling feet for uneven floors (RKEP3318S). The press can be sent via palette delivery or there is the option of having it professionally installed. Please contact us to discuss delivery options and pricing.Specification ; Weight :- 90 Kg Bed Size :- 838mm x 457mm x 12.5mm Top Roller :- 75mm diameter solid steel & Nickel plated Bottom Roller :- 75mm diameter solid steel Gear Ratio :- 4 to 1 (4 turns of the hand-wheel = 1 turn of the bottom roller) Hand Wheel :- 430mm diameter cast iron Maximum Clearance Top Roller to Bed :- 27mm Bed Height (When on optional stand) :- 910mm

Specially designed for ease of operation due to the double reduction gearing and wide wooden handle. This handsome, traditional style press is extremely robust and solid in construction for the production of perfect etchings. It can be bench mounted or purchased with an additional purpose built stand. Due to the weight of the press it will be installed by the engineers who manufacture it. Please contact us to discuss delivery and pricing.Specification ; Weight :- 200 Kg Bed Size :- 1015mm x 535mm x 15mm Top Roller :- 115mm diameter solid steel & Nickel plated Bottom Roller :- 115mm diameter solid steel Gear Ratio :- 5.25 to 1 (51⁄4 turns of the hand-wheel = 1 turn of the bottom roller) Hand Wheel :- 600mm diameter cast iron. Maximum Clearance Top Roller to Bed :- 30mm Bed height (When on optional stand) :- 1000mm

Oval shaped needle made of high carbon tool steel. and made to be resharpen. These etching needles are set in a wooden handle the steel shaft being oval in shape and chopped at an angle to give an oval profile. As you move the tool through the ground you can rotate the shaft and change the thickness of line. It can create lines that swell and contract.

Dry Point Steel Etching No 1. Classic needle with wooden handle.

Lawrence’s Rhinds Stop Out Varnish is a traditional strong bitumen-based stopping out varnish. It dries with a very dark and opaque finish. Appropriate for backing the plate as well as stopping out areas not to be bitten during etching.

Lawrence’s Rhinds Stop Out Varnish is a traditional strong bitumen-based stopping out varnish. It dries with a very dark and opaque finish. Appropriate for backing the plate as well as stopping out areas not to be bitten during etching.

Lawrence Lump Resin is used to make aquatint in etching, a precise method of creating tone. Made with natural pine resin, it can be melted as part of making your own etching ground or used for making aquatint where the grains are dusted onto the etching plate either in an aquatint box or by gently shaking through muslin. Once the grains are heated, they melt and adhere to the plate, creating tiny islands of acid resist around which you can etch your plate to varying degrees.

The beauty of grinding your own resin powder from the lump form is that you can precisely control the appearance of your aquatint with a variation of grain, lifting the tonal areas from too flat an appearance.
Wear a dust mask when using.

Lawrence Resin Powder is used to make aquatint in etching, a precise method of creating tone. Made with colophony rosin, a natural powdered pine resin, the grains are dusted on to the etching plate either in an aquatint box, or by gently shaking through muslin. Once the grains are heated, they melt and adhere to the plate, creating tiny islands of acid resist around which you can etch your plate to varying degrees.

It is a natural substance so the particle size can vary. Wear a dust mask when using.

Lawrence Resin Powder is used to make aquatint in etching, a precise method of creating tone. Made with colophony rosin, a natural powdered pine resin, the grains are dusted on to the etching plate either in an aquatint box, or by gently shaking through muslin. Once the grains are heated, they melt and adhere to the plate, creating tiny islands of acid resist around which you can etch your plate to varying degrees.

It is a natural substance so the particle size can vary. Wear a dust mask when using.

Lawrence pure beeswax in lump form. Beeswax is an ingredient in stop-outs and etching grounds. Due to its resistance to acid it is the preferred wax for printmakers and is an important raw material in the studio.

Lawrence Copper Sulphate Crystals for mixing up etchant for zinc, steel, and aluminium plates. Not for use with copper or brass. Copper Sulphate can also be used to create a saline sulphate etch by adding household cooking salt. This solution then becomes more active and helps avoid sediments building up inside your lines.

Ensure appropriate protective clothing is worn to avoid inhalation and contact with skin and eyes.

White spirit-based slower drying alternative to SOV.

Bespoke stand with extra shelf for the Art Equipment press RKEP3318. This stand is available with self levelling feet, useful if your studio has an uneven floor.

Economical zinc plate for etching, unpolished, and unbacked. The plate is 0.8mm thick which makes it good for use with small tabletop presses. The zinc has a fine milled finish, ready to polish and degrease for use with traditional resists and grounds.

Great for use with B.I.G. etching grounds or with acrylic grounds. These etching plates are also suitable for non-etched intaglio techniques such as drypoint and engraving.

The back of the plate will require the application of an acid-resistant stop out.

Square Gravers are used by wood engravers and copper engravers. The face of the tool is square-shaped and will cut a line as deep as it is wide. This is a fine Square Graver (#1).Copper engravers use Square Gravers to create incisions on the surface of metal plates, which will hold ink during the printing process. The lines thus show up as black in the final print.

This tool was made from high carbon tool steel in the United States by E.C. Lyons. It is supplied factory-sharp, but it has not been honed to a fine edge.

Please note, engraving tools are known by different names in the U.K. and the United States. Square Gravers are known as 'Square Burins' in the U.S.A.

This tool is used to prepare metal plates for mezzotints. By repeatedly working the tool over the surface of the plate in a rocking motion, the printmaker can create a smooth carpet of burrs, which will hold ink and show up as a dark area when the plate is printed. This rough surface can then be smoothed with a scraper or burnisher, which will lighten the print in those areas.EC Lyons rockers are known world wide as the finest mezzotint rockers available. Lyons rockers have handles of stained birch and a tool surface of high carbon tool steel. The density of teeth for a rocker is measured in LPI or 'tooth count', a measure of the number of lines per inch on the cutting face of the tool. This is a medium gauge rocker with a four inch blade and a tooth count of 65.Please take care when using this tool near the edge of your plates, as unless you have bevelled the edge of the plate it is possible that the tool may slip off or be damaged by the sharp edge.

Economical zinc plate for etching, unpolished, and unbacked. The plate is 0.8mm thick which makes it good for use with small tabletop presses. The zinc has a fine milled finish, ready to polish and degrease for use with traditional resists and grounds.

Great for use with B.I.G. etching grounds or with acrylic grounds. These etching plates are also suitable for non-etched intaglio techniques such as drypoint and engraving.

The back of the plate will require the application of an acid-resistant stop out.

E.C. Lyons Roulettes are made in the US, and are recognised across the world as the finest roulettes available. Designed to be used in intaglio printmaking processes the rotating drum at the head of the tool will stipple the plate surface with dots or lines. These small impressions will hold ink and appear darker in the finished print. They can be used for mark making in their own right or for making corrections to areas of tone on the plate.

Lawrence Citric Acid is used to create an effective etchant for copper and brass. Citric acid will improve the etching potential of ferric as well as dissolving the sediment, enhancing its performance and producing a precise etch. The advantage of using it over straight ferric is that it can be used in flat trays with the plate face up, as well as in vertical tanks.

Ensure appropriate protective clothing is worn to avoid inhalation and contact with skin and eyes.

Lawrence 1.2mm Copper Plate for etching and engraving is highly polished on one side. The polished surface is protected by a plastic film.

The plate is unbacked and will require the application of an acid-resistant stop-out if etching. As well as etching, copper is also suited to non-etch intaglio techniques such as drypoint, engraving, and mezzotint due to its inherent hardness.

Please allow 2mm tolerance on sizes described.

Lawrence 1.2mm Copper Plate for etching and engraving is highly polished on one side. The polished surface is protected by a plastic film.

The plate is unbacked and will require the application of an acid-resistant stop-out if etching. As well as etching, copper is also suited to non-etch intaglio techniques such as drypoint, engraving, and mezzotint due to its inherent hardness.

Please allow 2mm tolerance on sizes described.

Lawrence 1.2mm Copper Plate for etching and engraving is highly polished on one side. The polished surface is protected by a plastic film.

The plate is unbacked and will require the application of an acid-resistant stop-out if etching. As well as etching, copper is also suited to non-etch intaglio techniques such as drypoint, engraving, and mezzotint due to its inherent hardness.

Please allow 2mm tolerance on sizes described.

Lawrence 1.2mm Copper Plate for etching and engraving is highly polished on one side. The polished surface is protected by a plastic film.

The plate is unbacked and will require the application of an acid-resistant stop-out if etching. As well as etching, copper is also suited to non-etch intaglio techniques such as drypoint, engraving, and mezzotint due to its inherent hardness.

Please allow 2mm tolerance on sizes described.