Grafix Monoprint Plates are a transparent, durable, nonporous printing surface used to create unique prints by applying paint, using stencils, tracing, or removing ink to create a print. They are economical compared to metal or glass plates and are lightweight for easy portability. Drypoint and collage techniques are also possible with these multipurpose plates. Their flexibility and lightweight nature means they are easily scratched which is ideal for drypoint.

Grafix monoprint plates have a light blue protective coating on each side to keep the film from scratching. Just remove the blue liners before use.

A pack of 3 Monoprint Plates each measuring 8x10in

Grafix Monoprint Plates are a transparent, durable, nonporous printing surface used to create unique prints by applying paint, using stencils, tracing, or removing ink to create a print. They are economical compared to metal or glass plates and are lightweight for easy portability. Drypoint and collage techniques are also possible with these multipurpose plates. Their flexibility and lightweight nature means they are easily scratched which is ideal for drypoint.

Grafix monoprint plates have a light blue protective coating on each side to keep the film from scratching. Just remove the blue liners before use.

A pack of 3 Monoprint Plates each measuring 6x8in

Grafix Monoprint Plates are a transparent, durable, nonporous printing surface used to create unique prints by applying paint, using stencils, tracing, or removing ink to create a print. They are economical compared to metal or glass plates and are lightweight for easy portability. Drypoint and collage techniques are also possible with these multipurpose plates. Their flexibility and lightweight nature means they are easily scratched which is ideal for drypoint.

Grafix monoprint plates have a light blue protective coating on each side to keep the film from scratching. Just remove the blue liners before use.

A pack of 3 Monoprint Plates each measuring 5x7in

World renowned Swiss-made wood carving tools from Pfeil. All tools are forged from steel that is manufactured especially for them, and this special steel guarantees excellent elasticity and the best edge retention with extreme hardness.

The alloyed steel blade has a square tang which sits in an innovative octagonal-shaped handle, increasing stability and control. These tools have been sharpened and ground off so they are ready for use. These medium-sized tools are ideal for smaller hands and beginners tackling basic projects. Much consideration is given to the impact of manufacture on the environment. The handles are made from native wood and are treated with solvent free vegetable oil.

This is a extremely shallow U gouge with 12mm wide cutting edge. Pfeil's intermediate chisel range.

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.

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 Sugar Lift Solution is a traditional saturated sugar recipe for use in etching. Apply with brush or dip pen to your thoroughly degreased etching plate to create painterly marks. When dry, paint over with stop-out or dark straw-hat varnish. Use in conjunction with aquatint to add tone, or without to create areas of open bite.

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 Artist Quality Rollers are instantly recognisable around the world. Assembled in the UK using high quality UK manufactured components, these rollers have handles that have not changed in design for generations. The distinctive emerald green durethene and the full-thickness rubber add softness and weight to make inking up easy. With care, these rollers will last you a very long time and the wood and metal parts are durable and recyclable.

Lawrence artist quality roller frames are made from brass, a corrosion-resistant material, and designed with an integral stand when inverted during use. The turned beech wood handles, which are comfortable to hold, also have a small depression in the end to facilitate a screw eye or hook for hanging up.

Durathene is a special type of durable polyurethane that is less prone to degradation. It has an ultra-smooth surface and is nice and soft at 25-30 shore. The traditional soft rubber rollers have a full-thickness coating of rubber making them soft at 30 shore. Both types of material are perfect for relief printing techniques. The softness and weight combination assists with inking up and capturing the smallest of details.

Both materials are available in two diameters 50mm and 64mm and a large choice of lengths, with the largest roller, 64mm x 45cm having two handles due to its weight. The total inking areas can be calculated, for the 50mm diameter your inking area will be 15.5cm x roller width and for the 64mm diameter your inking area will be 20cm x roller width.

Replacement Rollers are available for the Artist Quality Durathene and the Artist Quality Rubber roller frames.

Cleaning: we advise that you only use vegetable or baby oil on your durathene rollers. Do not use harsh chemical cleaners such as turps, this will break down the roll. Do not use powder to keep the roller dry.

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.

Mix acrylic colour 50% to provide consistency suitable for screen printing. Excellent adhesion and flexibility. Waterbased and non-toxic. Suitable for painting or printing onto fabric. Iron fixable. Conforms to USA Standard ASTM D-4238pdf=Textile_Medium.pdf Material Safety Data Sheet

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.

Copperplate oils are the base carrier or vehicle for traditional printing inks to which pigment is added before grinding to the appropriate consistancy for the various printmaking techniques. Also known as boiled or burnt linseed oil, referring to their traditional method of modification, they are today created in a heated high pressure vessel. The process adds viscosisty and tack to the linseed oil in increasing degrees ranging from weak to strong as heating time is increased. As a rough guide the weaker (thin) to medium oil being the base for intaglio inks and the medium to strong (thick) oil the base for relief and lithographic inks. You can soften and loosen an ink by adding weak thinner oil and increase tack and viscosity by adding stronger thicker oil. pdf=SDS_Cornelissen_Copperplate_Ink_Oil.pdf Cornelissen Copperplate Ink Oil Safety Data Sheet.

Akua Intaglio Ink was originally formulated for intaglio printmaking, however this ink can also be applied with a brayer for relief printmaking, monotype, and collagraphs; and it will print from any plastic, wood, linoleum or metal plate. It is a soy based ink which is made with high quality lightfast pigments. The inks have a thick consistency with minimal water content and contain no toxic driers - this means a longer working time. The ink cleans up easily with a dry rag followed by soap and water. Inexpensive liquid dish detergent can be used. Never use toxic solvents. Prints can be re-soaked immediately after printing if handled carefully. Once the print is dry, Akua Intaglio is permanent. Ink will never skin or harden in the jar or the ink slab, meaning minimal ink is wasted. Wiping the plate with Akua Intaglio is easier than wiping oil-based ink, meaning you need to spend less time cleaning up.

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.