Gamblin Etching Inks were formulated at the request of professional printmakers in the Pacific Northwest who wanted strong reliable inks for edition printing. The palette of pure intense pigments offers a broad range of colour mixing potential. Five black inks and Graphite were formulated to meet the demands of printmakers who want deep rich black inks with good working characteristics. Colour: Chlorinated copper phthalocyanine (PG 7) Colour Description: A dark bluish green more closely resembles Verdigris than Viridian. First manufactured in 1927, Phthalo Green has a very high tinting strength and transparency.

Gamblin Tack Reducer is a transparent gel made from a very light drying oil. It is added to oil-based inks to lessen their tack. Used in small amounts its transparency will not reduce the intensity of your ink's colour. It can be used in the same way as an easy-wipe compound.

Gamblin Relief Inks are formulated for all relief techniques including woodblock, linocut, monotype, and Solarplate. They contain the right amount of stiffness and tack to hold fine detail, yet spread evenly on the block or plate. These soft inks should be rolled in a thin layer over the block or plate, their high pigment load will ensure a transfer of intense colour onto the paper. The palette of ten colours is designed to give artists pure pigmented colours straight from the jar, along with a wide range of colour mixing capabilities.

In addition, Gamblin relief inks are designed to suit the specific requirements needed for monotype printing. Their unique softer body and high pigment load allow them to be rolled out in thinner applications with greater colour intensity, particularly as you print multiple layers of colour.

You can also mix Gamblin relief ink with Gamblin oils to create an even wider range of colour. When mixing oil paint with relief ink, it may be necessary to add plate oil and/or tack reducer as the oil paint and ink have different viscosities. Using plate oils, as opposed to linseed oils, will not adversely affect the paper fibres over time.

Gamblin Relief Inks are formulated for all relief techniques including woodblock, linocut, monotype, and Solarplate. They contain the right amount of stiffness and tack to hold fine detail, yet spread evenly on the block or plate. These soft inks should be rolled in a thin layer over the block or plate, their high pigment load will ensure a transfer of intense colour onto the paper. The palette of ten colours is designed to give artists pure pigmented colours straight from the jar, along with a wide range of colour mixing capabilities.

In addition, Gamblin relief inks are designed to suit the specific requirements needed for monotype printing. Their unique softer body and high pigment load allow them to be rolled out in thinner applications with greater colour intensity, particularly as you print multiple layers of colour.

You can also mix Gamblin relief ink with Gamblin oils to create an even wider range of colour. When mixing oil paint with relief ink, it may be necessary to add plate oil and/or tack reducer as the oil paint and ink have different viscosities. Using plate oils, as opposed to linseed oils, will not adversely affect the paper fibres over time.

Gamblin Relief Inks are formulated for all relief techniques including woodblock, linocut, monotype, and Solarplate. They contain the right amount of stiffness and tack to hold fine detail, yet spread evenly on the block or plate. These soft inks should be rolled in a thin layer over the block or plate, their high pigment load will ensure a transfer of intense colour onto the paper. The palette of ten colours is designed to give artists pure pigmented colours straight from the jar, along with a wide range of colour mixing capabilities.

In addition, Gamblin relief inks are designed to suit the specific requirements needed for monotype printing. Their unique softer body and high pigment load allow them to be rolled out in thinner applications with greater colour intensity, particularly as you print multiple layers of colour.

You can also mix Gamblin relief ink with Gamblin oils to create an even wider range of colour. When mixing oil paint with relief ink, it may be necessary to add plate oil and/or tack reducer as the oil paint and ink have different viscosities. Using plate oils, as opposed to linseed oils, will not adversely affect the paper fibres over time.

Gamblin Relief Inks are formulated for all relief techniques including woodblock, linocut, monotype, and Solarplate. They contain the right amount of stiffness and tack to hold fine detail, yet spread evenly on the block or plate. These soft inks should be rolled in a thin layer over the block or plate, their high pigment load will ensure a transfer of intense colour onto the paper. The palette of ten colours is designed to give artists pure pigmented colours straight from the jar, along with a wide range of colour mixing capabilities.

In addition, Gamblin relief inks are designed to suit the specific requirements needed for monotype printing. Their unique softer body and high pigment load allow them to be rolled out in thinner applications with greater colour intensity, particularly as you print multiple layers of colour.

You can also mix Gamblin relief ink with Gamblin oils to create an even wider range of colour. When mixing oil paint with relief ink, it may be necessary to add plate oil and/or tack reducer as the oil paint and ink have different viscosities. Using plate oils, as opposed to linseed oils, will not adversely affect the paper fibres over time.

Gamblin Relief Inks are formulated for all relief techniques including woodblock, linocut, monotype, and Solarplate. They contain the right amount of stiffness and tack to hold fine detail, yet spread evenly on the block or plate. These soft inks should be rolled in a thin layer over the block or plate, their high pigment load will ensure a transfer of intense colour onto the paper. The palette of ten colours is designed to give artists pure pigmented colours straight from the jar, along with a wide range of colour mixing capabilities.

In addition, Gamblin relief inks are designed to suit the specific requirements needed for monotype printing. Their unique softer body and high pigment load allow them to be rolled out in thinner applications with greater colour intensity, particularly as you print multiple layers of colour.

You can also mix Gamblin relief ink with Gamblin oils to create an even wider range of colour. When mixing oil paint with relief ink, it may be necessary to add plate oil and/or tack reducer as the oil paint and ink have different viscosities. Using plate oils, as opposed to linseed oils, will not adversely affect the paper fibres over time.

Gamblin Relief Inks are formulated for all relief techniques including woodblock, linocut, monotype, and Solarplate. They contain the right amount of stiffness and tack to hold fine detail, yet spread evenly on the block or plate. These soft inks should be rolled in a thin layer over the block or plate, their high pigment load will ensure a transfer of intense colour onto the paper. The palette of ten colours is designed to give artists pure pigmented colours straight from the jar, along with a wide range of colour mixing capabilities.

In addition, Gamblin relief inks are designed to suit the specific requirements needed for monotype printing. Their unique softer body and high pigment load allow them to be rolled out in thinner applications with greater colour intensity, particularly as you print multiple layers of colour.

You can also mix Gamblin relief ink with Gamblin oils to create an even wider range of colour. When mixing oil paint with relief ink, it may be necessary to add plate oil and/or tack reducer as the oil paint and ink have different viscosities. Using plate oils, as opposed to linseed oils, will not adversely affect the paper fibres over time.

Gamblin Relief Inks are formulated for all relief techniques including woodblock, linocut, monotype, and Solarplate. They contain the right amount of stiffness and tack to hold fine detail, yet spread evenly on the block or plate. These soft inks should be rolled in a thin layer over the block or plate, their high pigment load will ensure a transfer of intense colour onto the paper. The palette of ten colours is designed to give artists pure pigmented colours straight from the jar, along with a wide range of colour mixing capabilities.

In addition, Gamblin relief inks are designed to suit the specific requirements needed for monotype printing. Their unique softer body and high pigment load allow them to be rolled out in thinner applications with greater colour intensity, particularly as you print multiple layers of colour.

You can also mix Gamblin relief ink with Gamblin oils to create an even wider range of colour. When mixing oil paint with relief ink, it may be necessary to add plate oil and/or tack reducer as the oil paint and ink have different viscosities. Using plate oils, as opposed to linseed oils, will not adversely affect the paper fibres over time.

Gamblin Relief Inks are formulated for all relief techniques including woodblock, linocut, monotype, and Solarplate. They contain the right amount of stiffness and tack to hold fine detail, yet spread evenly on the block or plate. These soft inks should be rolled in a thin layer over the block or plate, their high pigment load will ensure a transfer of intense colour onto the paper. The palette of ten colours is designed to give artists pure pigmented colours straight from the jar, along with a wide range of colour mixing capabilities.

In addition, Gamblin relief inks are designed to suit the specific requirements needed for monotype printing. Their unique softer body and high pigment load allow them to be rolled out in thinner applications with greater colour intensity, particularly as you print multiple layers of colour.

You can also mix Gamblin relief ink with Gamblin oils to create an even wider range of colour. When mixing oil paint with relief ink, it may be necessary to add plate oil and/or tack reducer as the oil paint and ink have different viscosities. Using plate oils, as opposed to linseed oils, will not adversely affect the paper fibres over time.

Gamblin Relief Inks are formulated for all relief techniques including woodblock, linocut, monotype, and Solarplate. They contain the right amount of stiffness and tack to hold fine detail, yet spread evenly on the block or plate. These soft inks should be rolled in a thin layer over the block or plate, their high pigment load will ensure a transfer of intense colour onto the paper. The palette of ten colours is designed to give artists pure pigmented colours straight from the jar, along with a wide range of colour mixing capabilities.

In addition, Gamblin relief inks are designed to suit the specific requirements needed for monotype printing. Their unique softer body and high pigment load allow them to be rolled out in thinner applications with greater colour intensity, particularly as you print multiple layers of colour.

You can also mix Gamblin relief ink with Gamblin oils to create an even wider range of colour. When mixing oil paint with relief ink, it may be necessary to add plate oil and/or tack reducer as the oil paint and ink have different viscosities. Using plate oils, as opposed to linseed oils, will not adversely affect the paper fibres over time.

Gamblin Relief Inks are formulated for all relief techniques including woodblock, linocut, monotype, and Solarplate. They contain the right amount of stiffness and tack to hold fine detail, yet spread evenly on the block or plate. These soft inks should be rolled in a thin layer over the block or plate, their high pigment load will ensure a transfer of intense colour onto the paper. The palette of ten colours is designed to give artists pure pigmented colours straight from the jar, along with a wide range of colour mixing capabilities.

In addition, Gamblin relief inks are designed to suit the specific requirements needed for monotype printing. Their unique softer body and high pigment load allow them to be rolled out in thinner applications with greater colour intensity, particularly as you print multiple layers of colour.

You can also mix Gamblin relief ink with Gamblin oils to create an even wider range of colour. When mixing oil paint with relief ink, it may be necessary to add plate oil and/or tack reducer as the oil paint and ink have different viscosities. Using plate oils, as opposed to linseed oils, will not adversely affect the paper fibres over time.

Gamblin Portland Litho Black is an artist-grade lithography colour. With a focus on high-quality oil and a high pigment load, Gamblin has formulated this lithographic black especially for the artist printmaker for editioning from both stone and plate.

Gamblin Etching Inks were formulated at the request of professional printmakers in the Pacific Northwest who wanted strong reliable inks for edition printing. The palette of pure intense pigments offers a broad range of colour mixing potential.Five black inks and Graphite were formulated to meet the demands of printmakers who want deep rich black inks with good working characteristics. Colour: Titanium dioxide (PW 6), zinc oxide (PW 4)Colour Description: An opaque white useful in creating tints.

Gamblin Etching Inks were formulated at the request of professional printmakers in the Pacific Northwest who wanted strong reliable inks for edition printing. The palette of pure intense pigments offers a broad range of colour mixing potential. Five black inks and Graphite were formulated to meet the demands of printmakers who want deep rich black inks with good working characteristics. Colour: Complex silicate of sodium & aluminum with sulfur (PB 29) Colour Description: Ultra Blue is one of the few mineral colors that is completely transparent. Lightfast with moderate tinting strength.

Gamblin Etching Inks were formulated at the request of professional printmakers in the Pacific Northwest who wanted strong reliable inks for edition printing. The palette of pure intense pigments offers a broad range of colour mixing potential. Five black inks and Graphite were formulated to meet the demands of printmakers who want deep rich black inks with good working characteristics. Colour: Quinacridone red b (PV19) Colour Description: Cool lightfast modern red with high key tint. Useful in place of Alizarin Crimson where more intense masstone and mixtures are desired.

Gamblin Etching Inks were formulated at the request of professional printmakers in the Pacific Northwest who wanted strong reliable inks for edition printing. The palette of pure intense pigments offers a broad range of colour mixing potential.Five black inks and Graphite were formulated to meet the demands of printmakers who want deep rich black inks with good working characteristics. Colour: Napthol AS-D (PR112) Colour Description: Modern organic warm red that closely matches Cadmium Red Medium in masstone. Makes more intense tints, more transparent.

Gamblin Etching Inks were formulated at the request of professional printmakers in the Pacific Northwest who wanted strong reliable inks for edition printing. The palette of pure intense pigments offers a broad range of colour mixing potential.Five black inks and Graphite were formulated to meet the demands of printmakers who want deep rich black inks with good working characteristics. 

Gamblin Etching Inks were formulated at the request of professional printmakers in the Pacific Northwest who wanted strong reliable inks for edition printing. The palette of pure intense pigments offers a broad range of colour mixing potential.Five black inks and Graphite were formulated to meet the demands of printmakers who want deep rich black inks with good working characteristics. Colour: Natural GraphiteTemperature: GreyWiping: EasyPlate Tone: HeavyRecommended Use: Recommended for etching, drypoint, aquatint, mezzotint. Needs additives for engraving.

Gamblin Etching Inks were formulated at the request of professional printmakers in the Pacific Northwest who wanted strong reliable inks for edition printing. The palette of pure intense pigments offers a broad range of colour mixing potential. Five black inks and Graphite were formulated to meet the demands of printmakers who want deep rich black inks with good working characteristics. Colour: Carbon Black - PBk9 Temperature: Warm Wiping: Hard Plate Tone: Heavy Recommended Use: Needs additives to work well for etching, drypoint, aquatinit, mezzotinit and engraving processes.pdf=Gamblin_black_ink.pdf Gamblin Etching Inks.

Gamblin Etching Inks were formulated at the request of professional printmakers in the Pacific Northwest who wanted strong reliable inks for edition printing. The palette of pure intense pigments offers a broad range of colour mixing potential. Five black inks and Graphite were formulated to meet the demands of printmakers who want deep rich black inks with good working characteristics. Colour: Bone Black - PBk9 Temperature: Warm Wiping: Easy Plate Tone: Light Recommended Use: Recommended for etching, drypoint, aquatint. Highly recommended for mezzotint and engraving.pdf=Gamblin_black_ink.pdf Gamblin Etching Inks.

Gamblin Etching Inks were formulated at the request of professional printmakers in the Pacific Northwest who wanted strong reliable inks for edition printing. The palette of pure intense pigments offers a broad range of colour mixing potential.Five black inks and Graphite were formulated to meet the demands of printmakers who want deep rich black inks with good working characteristics. Colour: Bone Black (PBk9), Transparent Mars Red (PR101)Colour Description: Sepia is a rich warm earth colour in both masstone and transparency.

Lawrence Carborundum Grit is available in grades from fine to coarse, with 60 being the coarsest and 220 the finest. Used for the creation of texture and deep areas of tone on collagraph plates of all types. Can be attached with waterproof PVA, mixed into acrylic mediums to paint onto the plate directly, or combined with other materials on the plate.

This innovative range of oil-based inks can be washed away with liquid soap and water, without the need for harmful and often more expensive solvents. Ideal for printmakers interested in a safe and non-toxic alternative. Caligo 'safe wash' inks are available for both relief and intaglio printing. Contains a small percentage of driers (less than 1%).Caligo Safe Wash Relief Inks are suitable for all types of relief printing, for example, linocut, woodcut, wood engraving, photopolymer and letterpress. Safe Wash Inks are oil-based, this means you can still use many of the modifiers used with traditional inks. For example you can use Magnesium Carbonate / Talc, Cobalt / Manganese Driers, or Caligo Wiping Compound / Tack Reducer etc. We also stock Caligo Safe Wash Oil - a washable oil that you can add to any ink from the Safe Wash range when you need to thin your ink a little.

High-quality Swiss made carving tools suitable for either lino or wood cutting. Each tool is made from chrome vanadium steel, precisely forged, sharpened and polished for excellent results. Palm-handles are made of hardwood from ecologically managed Swiss forests. Full bolster and square tang for optimal stability. Internal steel ferrule under bolster prevents handle from splitting. Tools are hardened to edge of bevel. Blades electronically hardened to exacting tolerances.70mm blade length, 125mm overall length. Blade - 5mm.pdf=pfeil-19.pdf More Information