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.

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.

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.

Stippling Tools are primarily used by copper engravers, but can also be used on wood. Copper engravers use them to create dots on the surface of metal plates, which will hold ink during the printing process. The dots thus show up as black in the final print. Stippling Tools will often raise a slight burr on the metal plate, around the edge of the stipple, which can be scraped away. Wood engravers use Stippling Tools to create a carpet of small round dimples on the surface of woodblocks. As woodblocks are inked with a roller, these recessed dimples do not receive ink, and therefore show up white 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.

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.

These are best selling rollers used by education authorities worldwide and available in a variety of sizes. Manufactured from durable synthetic rubber and with a perfectly concentric machine-ground roller surface. These popular rollers come with self-lubricating nylon bearings, robust construction, polypropylene handle with hanging slot, aluminium core and continuous steel shaft. Can be used with water and oil based inks and for a variety of purposes other than lino printing. Simply turn over the wet roller and the handle doubles as a stand for cleaner working.

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.

This set of textile inks includes six 4oz (118ml) jars of fabric screen printing ink in the following colours: Black, Red, Blue, White, Green and Yellow.

An ideal introduction to screen printing inks.

Contents Include: 6 x Speedball Ink Jars 4 oz (118ml)
1 x Black
1 x Red
1 x Blue
1 x White
1 x Green
1 x Yellow

Available in A4 or A3 sizes.Bockingford Inkjet is the answer for artists who wish to create their own limited edition prints. Fantastic prints can be reproduced to look like the original, when using a good inkjet printer. Artists familiar with the original Bockingford watercolour paper will recognise the same beautiful surface on Bockingford Inkjet. It is made in the same time-honoured fashion as Bockingford watercolour paper using a traditional mould machine.Unlike other artist inkjet papers, Bockingford Inkjet has an ink receptive coating on both sides of the sheet, allowing limited edition books and portfolios to be created.

Features:Bockingford watercolour paper Traditional mould made watercolour paperDouble sided coatingDurable coatingArchival Benefits: Identical surface to Bockingford 190g/m² (90lb) Authentic watercolour paper Cards, limited edition books, portfolios etc Print resists scratching and scuffing No discolouration of the paper over time

This odorless and water soluble lino print color is easy to use an offers an excellent introduction to lino printing. The selected colors offer even printing results when used directly from the tube or mixed with each other, and are suitable for educational purposes as a result of the color properties and the good value for money. The color palette can be expanded extensively by mixing the colors.

All colors can be mixed and combined with the Schmincke aqua lino print colors, as well as with aqua Lino mediums from the professional range.

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.

The smooth surface and soft texture of the SoftCut lino sheets makes cutting easy: blades will glide through with minimal effort. SoftCut prints well onto a range of surfaces including paper, card and fabric. It can even print onto curved surfaces due to its flexibility. The surface of the lino is cut away using special lino cutters or a knife to form the basis of the lino print. The block is inked up with a roller (known as a brayer) and this creates a positive image when printed onto paper or fabric. The printing process can be done by hand or with a press. You can use water-based lino ink, oil-based lino ink, or a block printing medium mixed with paint.

Suitable for all printmaking techniques, Fabriano Unica originates from the many centuries of experience gained by the Fabriano paper mills and developed in collaboration with a group of artists from the Opificio della Rosa, an international centre dedicated to the awareness and spread of traditional and innovative methods of printmaking. Fourdrinier made, 50% cotton, acid free paper. Flexible and resistant. Also suitable for drawing mediums such as graphite, charcoal and pencil.