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 medium Tint Tool (#5), 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 US.

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 1.5 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.

Wood engravers use Square Scorpers to create incisions on the surface of woodblocks. As woodblocks are inked with a roller, these incisions do not receive ink, and therefore show up white in the final print. Because the tip of a Scorper is flat, rather than pointed (as Spitstickers and Gravers are), scorpers of larger sizes are used to clear large areas of woodblocks (often round the edge of the design, or at the corners of a block) so that they will not print.This is a medium-fine Square Scorper (#39). It has strait sides, which means that it will cut a line of a constant width. Because the tip of the cutting face is completely flat, lines cut with this tool will begin and end abruptly, with a square edge. They will not swell or taper, like lines made with a spitsticker or a graver might; nor will they be rounded at the ends, like cuts made with a Round Scorper.Scorpers are often used to lighten areas of a print by stippling: repeatedly pecking at the woodblock with the tip of the tool, so that the surface bears a carpet of tiny incisions. This tool will create large, angular, squarish dots; for rounded dots, you will need a Round Scorper.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 Scorpers are known as 'Flat Gravers' in the U.S.A.

Lozenge Gravers are used by wood engravers and copper engravers. The face of the tool is lozenge-shaped and will cut a line deeper than it is wide.

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. Lozenge Gravers are known as 'Lozenge Burins' in the U.S.A.

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.

Cranfield Traditional Letterpress Ink is a range of interesting, subtly toned black inks, tailor-made for wood engraving and all letterpress printing. The rich blacks, which are tinted with pigments from green through to graphite, are designed to give nuanced printed results and include a black black - Carbon Black. Their simple, traditional formulation of pigments, finely ground in linseed oil, is designed with optimum viscosity to avoid "ink squash", yet achieve good paper penetration resulting in a smooth and wonderfully rich print. They work very well when printed by hand as well as by machine.

Cranfield Traditional Relief Ink is formulated from a careful mix of traditional linseed oils and vibrant lightfast pigments. As well as being highly pigmented, the formulation provides a viscosity and structure to the ink, along with the unique linseed smell. This keeps the relief print as fresh and bright as the day it was created. All the inks are rated 6 or higher on the International Blue Wool Scale. The range benefits from lovely metalic silver and gold as well as a transparent base. They can be used on all types of relief plate and can be cleaned up with vegetable oil before a final wipe with a low odour or plant based solvent. The range benefits from lovely metalic silver and gold, as well as a transparent base. They can be used on all types of relief plate and can be cleaned up with vegetable oil before a final wipe with a low odour or plant based solvent.

Cranfield Traditional Relief Ink is formulated from a careful mix of traditional linseed oils and vibrant lightfast pigments. As well as being highly pigmented, the formulation provides a viscosity and structure to the ink, along with the unique linseed smell. This keeps the relief print as fresh and bright as the day it was created. All the inks are rated 6 or higher on the International Blue Wool Scale. The range benefits from lovely metalic silver and gold as well as a transparent base. They can be used on all types of relief plate and can be cleaned up with vegetable oil before a final wipe with a low odour or plant based solvent. The range benefits from lovely metalic silver and gold, as well as a transparent base. They can be used on all types of relief plate and can be cleaned up with vegetable oil before a final wipe with a low odour or plant based solvent.

Cranfield Traditional Relief Ink is formulated from a careful mix of traditional linseed oils and vibrant lightfast pigments. As well as being highly pigmented, the formulation provides a viscosity and structure to the ink, along with the unique linseed smell. This keeps the relief print as fresh and bright as the day it was created. All the inks are rated 6 or higher on the International Blue Wool Scale. The range benefits from lovely metalic silver and gold as well as a transparent base. They can be used on all types of relief plate and can be cleaned up with vegetable oil before a final wipe with a low odour or plant based solvent. The range benefits from lovely metalic silver and gold, as well as a transparent base. They can be used on all types of relief plate and can be cleaned up with vegetable oil before a final wipe with a low odour or plant based solvent.

Cranfield Traditional Relief Ink is formulated from a careful mix of traditional linseed oils and vibrant lightfast pigments. As well as being highly pigmented, the formulation provides a viscosity and structure to the ink, along with the unique linseed smell. This keeps the relief print as fresh and bright as the day it was created. All the inks are rated 6 or higher on the International Blue Wool Scale. The range benefits from lovely metalic silver and gold as well as a transparent base. They can be used on all types of relief plate and can be cleaned up with vegetable oil before a final wipe with a low odour or plant based solvent. The range benefits from lovely metalic silver and gold, as well as a transparent base. They can be used on all types of relief plate and can be cleaned up with vegetable oil before a final wipe with a low odour or plant based solvent.

Cranfield Traditional Relief Ink is formulated from a careful mix of traditional linseed oils and vibrant lightfast pigments. As well as being highly pigmented, the formulation provides a viscosity and structure to the ink, along with the unique linseed smell.All the inks are rated 6 or higher on the International Blue Wool Scale. The range benefits from metalic silver and gold as well as a transparent base. They can be used on all types of relief plate and can be cleaned up with vegetable oil before a final wipe with a low odour or plant based solvent.

Cranfield Traditional Relief Ink is formulated from a careful mix of traditional linseed oils and vibrant lightfast pigments. As well as being highly pigmented, the formulation provides a viscosity and structure to the ink, along with the unique linseed smell. This keeps the relief print as fresh and bright as the day it was created. All the inks are rated 6 or higher on the International Blue Wool Scale. The range benefits from lovely metalic silver and gold as well as a transparent base. They can be used on all types of relief plate and can be cleaned up with vegetable oil before a final wipe with a low odour or plant based solvent. The range benefits from lovely metalic silver and gold, as well as a transparent base. They can be used on all types of relief plate and can be cleaned up with vegetable oil before a final wipe with a low odour or plant based solvent.

Cranfield Traditional Etching Inks are handcrafted, highly pigmented and include a vast range of colours giving the printmaker a wide choice whether they want to mix their own colours or not. Cranfield Traditional Etching Ink can be used for engraving, etching, drypoint, mezzotint and aquatint printmaking techniques.

Cranfield Traditional Etching Inks are handcrafted, highly pigmented and include a vast range of colours giving the printmaker a wide choice whether they want to mix their own colours or not. Cranfield Traditional Etching Ink can be used for engraving, etching, drypoint, mezzotint and aquatint printmaking techniques.

Cranfield Traditional Etching Inks are handcrafted, highly pigmented and include a vast range of colours giving the printmaker a wide choice whether they want to mix their own colours or not. Cranfield Traditional Etching Ink can be used for engraving, etching, drypoint, mezzotint and aquatint printmaking techniques.

Cranfield Traditional Etching Inks are handcrafted, highly pigmented and include a vast range of colours giving the printmaker a wide choice whether they want to mix their own colours or not. Cranfield Traditional Etching Ink can be used for engraving, etching, drypoint, mezzotint and aquatint printmaking techniques.

Cranfield Traditional Relief Ink is formulated from a careful mix of traditional linseed oils and vibrant lightfast pigments. As well as being highly pigmented, the formulation provides a viscosity and structure to the ink, along with the unique linseed smell. This keeps the relief print as fresh and bright as the day it was created. All the inks are rated 6 or higher on the International Blue Wool Scale. The range benefits from lovely metalic silver and gold as well as a transparent base. They can be used on all types of relief plate and can be cleaned up with vegetable oil before a final wipe with a low odour or plant based solvent. The range benefits from lovely metalic silver and gold, as well as a transparent base. They can be used on all types of relief plate and can be cleaned up with vegetable oil before a final wipe with a low odour or plant based solvent.

Cranfield Traditional Letterpress Ink is a range of interesting, subtly toned black inks, tailor-made for wood engraving and all letterpress printing. The rich blacks, which are tinted with pigments from green through to graphite, are designed to give nuanced printed results and include a black black - Carbon Black. Their simple, traditional formulation of pigments, finely ground in linseed oil, is designed with optimum viscosity to avoid "ink squash", yet achieve good paper penetration resulting in a smooth and wonderfully rich print. They work very well when printed by hand as well as by machine.

Cranfield Traditional Letterpress Ink is a range of interesting, subtly toned black inks, tailor-made for wood engraving and all letterpress printing. The rich blacks, which are tinted with pigments from green through to graphite, are designed to give nuanced printed results and include a black black - Carbon Black. Their simple, traditional formulation of pigments, finely ground in linseed oil, is designed with optimum viscosity to avoid "ink squash", yet achieve good paper penetration resulting in a smooth and wonderfully rich print. They work very well when printed by hand as well as by machine.

Cranfield Traditional Letterpress Ink is a range of interesting, subtly toned black inks, tailor-made for wood engraving and all letterpress printing. The rich blacks, which are tinted with pigments from green through to graphite, are designed to give nuanced printed results and include a black black - Carbon Black. Their simple, traditional formulation of pigments, finely ground in linseed oil, is designed with optimum viscosity to avoid "ink squash", yet achieve good paper penetration resulting in a smooth and wonderfully rich print. They work very well when printed by hand as well as by machine.

Cranfield Traditional Letterpress Ink is a range of interesting, subtly toned black inks, tailor-made for wood engraving and all letterpress printing. The rich blacks, which are tinted with pigments from green through to graphite, are designed to give nuanced printed results and include a black black - Carbon Black. Their simple, traditional formulation of pigments, finely ground in linseed oil, is designed with optimum viscosity to avoid "ink squash", yet achieve good paper penetration resulting in a smooth and wonderfully rich print. They work very well when printed by hand as well as by machine.

Cranfield Traditional Letterpress Ink is a range of interesting, subtly toned black inks, tailor-made for wood engraving and all letterpress printing. The rich blacks, which are tinted with pigments from green through to graphite, are designed to give nuanced printed results and include a black black - Carbon Black. Their simple, traditional formulation of pigments, finely ground in linseed oil, is designed with optimum viscosity to avoid "ink squash", yet achieve good paper penetration resulting in a smooth and wonderfully rich print. They work very well when printed by hand as well as by machine.

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.

Lightweight yet sturdy with wooden handles, this set of 10 wood cut knives is the perfect introduction to wood cutting. With a range of different blades, from V-Straight parting chisels to gouges, they will enable you to create a variety of effects and textures. Great for basic and detailed carvings on wood, wax and clay as well as for linoleum block carving. Presented in a wooden holder box, ideal as a neat storage solution and for traveling.This set of 10 wood cut knives.
Length from blade to base: 13.5cm
Length of blade: 2.5cm

Heavy Body Artist Acrylic Paint, previously referred to as High Viscosity, has a thick consistency for traditional art techniques using brushes or knives, as well as for experimental, mixed media, collage and printmaking applications. Impasto applications retain crisp brush stroke and knife marks. Good surface drag provides excellent handling and blending characteristics with increased open-working time. High pigment load produces rich, brilliant, permanent colour.