USING Akua Intaglio

Table of Contents

Ink Consistency
Modifying the ink
Mixing Colors
Wiping the plate
Printmaking Paper
Re-Soaking Prints
Print Drying Times
Cleaning Up
Trouble Shooting

Ink Consistency

Akua Intaglio will never harden or form a skin in the container when left uncovered. It is different from traditional inks in that it has a buttery consistency. The ink consistency varies depending upon the pigment and temperature conditions. The ink will be stiffer when cold and looser when warm.

Separation occurs, therefore mixing is necessary before using.
Place the ink knife directly in the ink container and stir. Mix well from the bottom of the container to the top. It is also very important to stir the ink regularly during the whole printing session.

  • Open the jar and stir the ink thoroughly from bottom to top.
  • Take the amount of ink that you need for about one hour and put it on a glass slab.
  • Stir the ink left out on the slab regularly (about every half hour)

Modifying Akua Intaglio Inks


Akua Oil Converter to Stiffen the Ink

If a stiffer consistency is desired, add Akua Oil Converter.

  • Before mixing, work the Oil Converter with the ink knife until it’s smooth.
    Note: Blending Medium can also be added to Akua Oil Converter if it is too stiff to work.
  • Then add Akua Intaglio Ink into the Oil Converter.
  • Start with small amounts until the desired thickness is achieved.


Akua Oil Converter


Mixing Akua Intaglio into Akua Oil Converter


Blending Medium to Loosen the Ink

The following techniques work best when the ink is loose: silk aquatint, four color intaglio-type and direct painting monotypes.

  • Add drops of Akua Kolor Blending Medium to suit.

Making the Original Formula Similar to the New Formula
Original formula Akua Intaglio ink can be made stiff like the new formula by adding Akua Oil Converter. It can also be made more intense in color by adding Akua Kolor.

  • Add Akua Oil Converter to stiffen
  • A few drops of Akua Kolor will enrich the color

Note: This will make it similar to the new formula but not exactly the same.

Making the New Formula Similar to the Original Formula
New formula Akua Intaglio ink can be made loose like the original by adding Blending Medium. It can also be made more transparent like the original with the addition of Transparent Base.

  • Mix equal parts of new ink and Transparent Base
  • Add about 3 drops Blending Medium per tablespoon to above mixture to loosen ink.

Transparent Base

Akua Transparent Base is a soy based intaglio or relief ink base without the pigment. Add Akua Kolor and create new custom colors.

  • Add Akua Kolor into Transparent Base by the drop.
  • No set amount of color is needed, it depends on the artist for their choice of color intensity or transparency.
  • Cleans up with soap and water

iitb-2inch.jpg
Akua Intaglio Transparent Base

Mixing Colors

With a more extensive range of 25 colors, Akua Kolor can be mixed into  Akua Intaglio inks and/or Transparent Base to create various new colors for intaglio or relief printmaking.

  • Add Akua Kolor in small amounts
  • Akua Kolor will actually create a stiffer consistency

Akua Intaglio inks can also be mixed with one another to create new colors.

Mixing Ink for the Four Color Process

The Four Color Process requires the ink to be transparent and loose.  Suggested colors are: Hansa yellow, Crimson or Scarlet Red, Phthalo Blue and Carbon Black. For printing portraits, select Scarlet Red for best flesh tones. All other images select Crimson Red.

The ink mixture for the 4 Color Process is:

  • Equal amounts of Akua Intaglio Ink and Akua Intaglio Transparent Base
  • Add about 3 drops Blending Medium per tablespoon to loosen ink.


David Jay Reed cards the ink on the plate

Wiping the plate

Akua Intaglio is very soft ink. It applies and wipes off the plate much easier and quicker than oil-based inks. Therefore, at first there may be a tendency to remove too much ink. For best results, use soft tarlatan to wipe the surface of the plate. Roll the tarlatan into a large ball shape. Follow through with a paper wipe if necessary. Be careful not to press your fingers into the inked surface of the plate. Since the ink is soft, it will transfer fingerprint impressions easily.

Printmaking Paper

Most printmaking papers work well with Akua Intaglio inks. Our favorites are Hahnemuhle Copperplate for all types of intaglio plates, Hahnemuhle Monotype paper for monotype with a press and Arches 88 for printing monotypes by hand..

Dry Paper recommended for Monotype & Relief and sometimes intaglio plates
Printing on dry paper offers higher contrast prints. It also eliminates the possibility of paper shrinkage making it ideal for printing multi-registered plates or combining prints with digital ink jet or letterpress images. Increase the pressure of the press and use soft absorbent printmaking paper, such as Arches 88 when printing without a press. If the print results are blotchy or inconsistent it may be necessary to dampen the paper for intaglio plates.

Damp Paper recommended for intaglio
Printing on damp paper may offer greater tonal values and more consistent print results for aquatints. Deeply etched plates require soaking to soften the paper. Soak the paper and blot thoroughly before using.

Re-Soaking Prints

Akua Intaglio ink is permanent. If necessary, prints may be placed in a tray of water immediately after printing. Do not soak prints too long and be careful not to touch the image while wet.

Print Drying Times

Akua Intaglio ink does not contain toxic cobalt dryers. How long the prints take to dry will depend on the type of paper used and how thick the ink was applied. Glossy or coated papers are not reliable. Akua Intaglio Ink dries by absorption unlike traditional oil based inks which dry by evaporation. If heavy applications of ink are used, there are two methods for speeding up the print drying process.

Before Printing
Add Magnesium Carbonate

  • Mix 10% of Magnesium Carbonate into Akua Intaglio ink.  Please note, Magnesium carbonate will cause Akua Intaglio ink to stiffen when left out overnight.

After Printing
Dry Prints Between Blotters
Blotters are heavy absorbent papers. Newsprint paper can be used as an inexpensive alternative. A newsprint pad works great for blotting and storing prints while drying. If ink offsets onto the newsprint paper, sprinkle a little Baby Powder on the newsprint paper to dry the ink.  Be sure to dust off the excess Baby Powder before using the newsprint again.

  • Face print up on a blotter paper
  • Add another blotter paper on top
  • Change blotter paper as necessary.

 

Cleaning Up

First, clean all materials, rollers, and plates with a dry rag, then with liquid dish soap right from the bottle. For final clean-up, water can be used. A rough textured rag works better than a smooth rag. Never add water directly in the inks, water causes the ink to stiffen and makes clean up more difficult.

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TROUBLE SHOOTING

Print dries milky gray instead of black

  • Stir the ink thoroughly from top to bottom in jar before using
  • Stir the ink on the glass slab after each half hour
  • Paper may be too wet (blot before using)

Ink dries too dark on the print

  • Add Transparent Base to the ink to reduce the color intensity.

Print dries too matte

  • Add Akua Oil Converter to the ink

Etched lines bleed on finished print

  • Paper may be too wet (blot before using)
  • Try different papers

Heavily inked prints dry slowly

  • Add Magnesium Carbonate to the ink
  • Dry prints between blotters

Ink wipes out from incised lines

  • Ink may be too loose (stiffen the ink with Akua Oil Converter)

Print lacks plate tone

  • Print on damp paper
  • Wipe with less pressure (plate may be over wiped)

Print has too much plate tone

  • Print on dry paper
  • Wipe more thoroughly

Prints dry blotchy

  • Dampen the paper
  • Avoid touching the inked surface of the plate and transferring fingerprints

 

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