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.

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.

Pfeil carving tools are excellent quality, comfortable in the hand, and offer precisely forged blades.

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 the bolster prevents the handle from splitting. Tools are hardened to the edge of bevel. Blades electronically hardened to exacting tolerances. Blade width - 10mm.

Crystal clear printing plate made from 100% recyclable plastic, 0.75MM thick. The plate’s surface is non-porous and soft, perfect for easy drypoint and collagraph printing, monoprinting and as a base for photopolymer film. Use this versatile printing plate with both water and oil-based inks.

Crystal clear printing plate made from 100% recyclable plastic, 0.75MM thick. The plate’s surface is non-porous and soft, perfect for easy drypoint and collagraph printing, monoprinting and as a base for photopolymer film. Use this versatile printing plate with both water and oil-based inks.

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.

Deep U gouge with 5MM wide cutting edge. From Pfeil's intermediate chisel range.

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.

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 octangonal shaped handle, increasing stability and control. These tools have been sharpened and ground off so they are ready for use. 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.

Slama Press Ball Graphic Press is a beautifully crafted hand printing press designed and manufactured in the Czech Republic. It was developed by Milos Slama whilst searching for a solution to the printing of his reduction linocuts in various sizes as well as something that was portable and affordable. Slama Press opens up the possibility of working across a wide variety of print formats and paper types.

Based on the ball bearing baren, a modern interpretation of a traditional Japanese tool but with added weight, it makes light work of burnishing a relief print. The freely rotating ball bearings create multiple pressure points evenly across the disc and the disc itself rotates around a central axis as you move across the paper. In addition, the 10mm ball bearings on the large Slama Press allow prints to be taken on heavier paper weights. The presses can take relief prints, drypoints, etchings and lithographs.

This is the large Slama Press with 150 x 6mm ball bearings and a rotating disc that is easy to handle. It is highly effective at burnishing prints on smoother, lighter weight papers - up to 250gsm.

The large Slama Press has a vertical handle which keeps your wrist in a neutral position to avoid repetitive strain. It also has the option to purchase additional 1kg weights to increase the overall pressure the press can exert. The large Slama Press can be further modified by removing the vertical handle leaving a short version that can be used in the traditional manner if you prefer to press down. Two options are available in the large press, the 6mm ball bearing press for smoother, lighter papers and the 10mm ball bearing press for papers over 250gsm.

Slama Press requires a tiny space to store so is suitable for the home studio. It comes with a lovely wooden stand to store safely.

Maintenance: Unscrew the lower bolt and take out the ball cage. Remove any impurities from the inside of the body of the press. After cleaning, screw the cage back on. The balls can be gently lubricated with oil by running the press on slightly oiled paper.

Specifications:
Diameter: 118mm
Ball bearings: 150 x 6mm
Weight: 1520g
Material: Stainless steel and wood
Recommended for papers up to 250gsm

The two sponge pack of 8 x 11" (20.3 x 27.9cm) Miracle Sponges is great for big projects. Miracle Sponges are thinly compressed cellulose sponges that expand when wet. They are easily cut or torn into desired shapes, then dipped in paint and used to print on clothing, furniture, window coverings, walls, stationery, gift wrap, balloons, party decorations and much more

This four sponge pack of 3 x 4" (7.5 x 10.2cm) Miracle Sponges will get any project off to a great start. Miracle Sponges are thinly compressed cellulose sponges that expand when wet. They are easily cut or torn into desired shapes, then dipped in paint and used to print on clothing, furniture, window coverings, walls, stationery, gift wrap, balloons, party decorations and much more