Questions & Answers
Subject: Creating Rich Monotype Roll Ups
Subject: Brushwork on Monotype Plates
Subject: Monotype Release Coat
Subject: Print Drying Time
Subject: Printing Japanese Hanga Woodcuts
Subject: Storing Akua Intaglio Inks
Subject: Transparent Wash for Monotype
Subject: Best tool for Hand Printing
Subject: Ink Opacity
Subject: Creating Rich Monotype Roll Ups
I want a rich ink roll transfer, instead it’s faint and the image is grainy. My Studio is cold. I print on Rives BFK paper dry, I’m using a smooth plastic plate and printing with an etching press. I applied the ink with a soft rubber brayer and added Retarder to the ink. No other modifiers or water were added to the ink. The bottles of Akua Kolor have been sitting for a long time so I shook them up well. Can you give me any suggestions?
Reply to: Rich Monotype Roll Ups
The studio being cold is most likely the problem. I bet you will have better luck in the humid summer. But let’s see what we can do to improve your results in the cold. If adding just a little Retarder is not working than try using Tack Thickener instead of the Retarder.
Here is what I suggest:
-Select an Akua Kolor labeled intense
-Mix a little Tack Thickener into the color
-The ink consistency should be soupy
-Prime the plate by rolling out a thin even layer of ink onto the plate.
-Then roll another layer of ink on top of the primed plate.
-Continue to roll up the plate till the ink is dense.
-Check the density of the ink by looking through the inked plate with the use of a light source. (A light table is ideal but a window will do.)
-If you see light pass through the ink coated plated, add more ink and roll again.
-The ink should lift off easily from the plate when drawing with a cotton swab.
Results: Rich Monotype Roll Ups
Wow!! Good news, my practice monotypes came out great! Thanks to you. I rolled the plate with several layers of ink & Tack Thickener, and did my subtractive method and I was so pleased. It looked just like oil base inks in its intensity. I’m so excited.
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Subject: Brushwork on Monotype Plates
I paint Akua Kolor on the monotype plate. I love the fluid consistency of Akua Kolor for brushwork. When I add Tack Thickener or Akua Oil Converter to the ink it gets too thick to use with a brush. I really like the shine that the Tack Thickener and Akua Oil Converter give to the finished print. Is there a way I can get that look with brushwork?
Reply: Brushwork on Monotype Plates
Yes, try priming the paper with Akua Oil Converter before and/or in between printing your image. Roll out the Akua Oil Converter with a brayer and then transfer it to the paper by rolling the coated brayer directly on the paper. Another way to prime the paper is to roll Akua Oil Converter onto a monotype plate and then print the coated plate on top of the paper.
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Subject: Monotype Release Coat
Do I need to apply a release coat on the plate before painting my image?
Reply: Monotype Release Coat
It is not necessary to apply a release coat on the plate. The natural surface of plastic is better suited for brushwork and roll-ups. Coating the plate prior to painting may cause the image to blur. With the right combination of pressure, suitable paper and climate the ink will release well. If ink is not releasing due to cold, dry conditions or lack of pressure Retarder or Tack Thickener will help release the ink during the printing process.
Subject: Print Drying Time
I’ve been block printing with Akua Kolor onto primed canvas and it isn’t drying. I added Tack Thickener. It’s been about 5 days. Does the Tack Thickener lengthen the drying time? Do you have any ideas?
Reply: Print Drying Time
It may take a few weeks to dry but it will dry. The ink was formulated to stay wet for a long period of time on plastic and metal surfaces. Priming the canvas is like applying a plastic coating to your surface plus Tack Thickener will lengthen the drying time. Drying time always depends upon how thick the ink application is, surface it is printed on and the humidity conditions. Try placing the piece in a well-ventilated dry location. Consider unprimed canvas or dilute the Gesso with water before priming your next canvas prior to printing.
Subject: Printing Japanese Hanga Woodcuts
When printing Japanese Hanga woodcuts, what kind of paste do you use and what is the balance of water, colors and paste?
Reply: Printing Japanese Hanga Woodcuts
Mix Akua Kolor right on the block with water and wheat paste or methylcellulose. The amount of each depends on the color you want, paper and brush moisture, and the humidity. Paste is optional. Some printmakers prefer the character of Akua Kolor with out the paste.
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Subject: Storing Akua Intaglio Inks
The Akua Intaglio ink goes a longer way than oil based inks. We used less ink than expected in the classroom. As a result we still have opened and unopened jars, so I would like to know how to store the ink over summer vacation?
Reply: Storing Akua Intaglio Inks
Akua Intaglio will never harden or form a skin no matter how long they are stored. They do have a tendency of getting loose in the heat so if possible try to store the inks in a cool location. But don’t worry if they do get exposed to heat over the summer, a few hours in cooler fall temperatures will thicken them up again.
Subject: Transparent Wash for Monotype
In the past, I used Burnt Plate Oil with oil based ink to create a transparent wash for monotype. Which Akua modifier should I use to create the same effect with Akua water-based inks?
Reply: Transparent Wash for Monotype
Blending Medium or Transparent Base can be used for transparent effects. Blending medium is a clear thin liquid that is ideal for brushwork blends. Transparent Base has a creamy thicker consistency with a light golden color. It works best when mixed into the ink and rolled out. Transparent Base can also be thinned for brushwork with the addition of Blending Medium.
Subject: Best tool for Hand Printing
I can’t afford an etching press. My hand gets tired rubbing my large-scale monotype plates with a Baren or wooden spoon. What is the best tool for hand printing monotypes?
Reply: Best tool for Hand Printing
Although the Baren and wooden spoon work well for woodcuts it can be tiresome and prints inconsistently for monotypes. A hard acrylic brayer will work fine for small monotype plates but when printing monotype plates larger than 6 inches the inexpensive hand held PinPress works great.
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Subject: Ink Opacity
Does intense mean opaque, or that it can act as opaque when overprinting. If the inks are all somewhat transparent is there a way to use them in an opaque fashion when overprinting?
Reply: Ink Opacity
White is the only truly opaque color. The other pigments are transparent or semi-transparent, similar to watercolors. Some colors are labeled intense, meaning more powerful, but we do not consider them opaque. In order to produce a truly opaque color, chalk needs to be added. We do not add chalk because it blocks the light, resulting in a duller look.
To get a darker color, use more ink.
To get a lighter color, use less ink.
Avoid adding too much white as it may dull the color.
To achieve a solid coat of ink on the monotype plate, please follow steps for Rolling up the Plate with Akua Kolor.
