Tag Archives: gamblin

Metallic inks put the shine on

Art-making is compromise.  Those who say that you can make whatever you want are simply mistaken. Art making is a compromise between what you have in your imagination, and what you can accomplish with your materials. In reduction printmaking, this compromise has to do with the number of shades, colors or details you would like versus the amount of ink your paper is willing to accept. Apply too much ink, and you are finished.

What is an overzealous printmaker to do? In many of my linocuts, I turn to metallic inks to finish the piece, even if I wasn’t quite finished myself.

silver and gold metallic inks on a carved linoleum block

A blend roll of gold and silver metallic inks are the last layer on my latest cloud linocut.

Why metallic inks are different

Metallic inks are different from other printmaking inks. The pigments are not ground as finely as other colors so they can reflect light. Gold inks are simulated with combinations of copper and zinc (yielding a sort of bronze) and silver inks are made from aluminum. As these inks dry, the metals rise to the surface.

How shiny these pigments appear depends on the surface on which they are printed. On my very absorbent Rives BFK, the inks aren’t too shiny unless they are the last in a series of ink layers. With the above inked block, these inks are going over six other layers of ink, so the paper is nearly sealed. If you printed on a very slick surface, the results would be shinier. If a very reflective result is required, you would need to resort to foil printing — a fascinating technique with which I would love to experiment.

cans of metallic gold and silver printmaking ink

Cans of metallic inks can bring a shine to any situation.

Mixing brands of ink — apologize later

Gamblin –the maker of my other relief printmaking inks — does not make metallic inks. I have had my Handschy gold and Kohl & Madden silver inks for years. Straight out of the can they are very dark and strong, so I mix in some Gamblin Relief Transparent Base and some tack reducer to get the strength I need. So far my mixing of different ink brands has not resulted in a visit from the ink police.  I also use a bit of metallic ink to make an ink less transparent, without adding white — which can lead to too-pastel colors.

I just applied a layer of metallic gold and silver blend roll to my latest cloud linocut, and I think it is finished. It is a diptych, so I am working on just the right way to display it on-line.

In the meantime, consider if a little metallic ink might help you put your shine on.

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Being at the end of your rope

Being overextended — at the end of your rope — is a familiar human condition. Managing internal and external demands can be challenging. I met overextension while working on one of my large cloud linocuts, and the results have been challenging.

blue ink

Transparent ink looks deceivingly cohesive when not rolled out.

When ink isn’t quite so juicy

In many of my cloud linocuts, I begin with very transparent layers because I want to make a smooth transition from the white of the paper. I am working on another 25 x 40 inch cloud linocut, and ran into trouble as I printed the first light blue-grey layer. When I printed the first layer onto some very expensive Somerset paper, a strange chalky dry residue remained on the block. When I rolled ink over the block and printed on the next pristine piece of paper, the residue pattern then printed.

Exasperated, I tried cleaning the block, but the problem reoccurred. I tried adding more tack reducer to some of the ink, burnt plate oil to some more, but neither was successful.

uneven ink on paper

Chalky ink clumped on the block, and then printed strangely on the paper.

Help from the internet

I use relief inks by Gamblin, so I sent a query through their website. Cecilia Hamlin reached out with some suggestions. The first was to clean the block with vegetable oil, and then with mineral spirits. Cleaning a block this size and weight is non-trivial, as it requires hauling the cumbersome block out to the garage. I also tried re-sanding the entire block with 400 grit sandpaper twice. Still no improvement.

I sent Cecilia photos of the ink on the glass and on the paper. Then the problem was made clear. She suggested that I had overextended my ink — using too little pigment in too much tint base. The addition of too much tack reducer also meant that the pigment did not disperse evenly, but rather clumped together and stuck to my linoleum.

Ink has a memory

On my latest layer, I followed Cecilia’s advice:

  1. Start with the tint base needed and then add in color.  Mix thoroughly. (I have a bad habit of not mixing as long as I should.)
  2. Only then should I add the tack reducer, with a maximum of 10% of the total ink volume. I tried to use less.

Layer 4 blue prints unevenly over previous layers providing me with a challenge.

The result seemed to be better. Unfortunately, the ink on the paper now affect how much new ink transfers from the block onto the paper. So you get these strange textures. The next linocut will be the true test of the new ink strategy.

In the meantime, I must use all of my creativity to salvage the current work. I’m already thinking of some radical measures to make all of the variation work for the image.

Patience and perseverance are the words for February in my life. What are your words?

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Houston we have a problem

landscape two layers

Two layers printed of my latest linocut featuring clouds.

Today was one of those studio days that makes you question all of your decisions…and all because of ink. I have been working on my latest linocut, a landscape with broody clouds and dark early spring fields, with a hint to clearing in the middle. Here is the underprinting of lighter colors before the contrast…

(more…)

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Now the possibilities are endless

©Elizabeth Busey_Cantata_for_Eventide

©Elizabeth Busey, Cantata for Eventide. Reduction Linocut on Rives BFK, 18 x 18in image size, $350 unframed.

My latest linocut, Cantata for Eventide, was inspired by a blanket of clouds, and benefits from an entirely new color in my palette. My local art supply store, Pygmalion’s, creates a custom oil color each year. All proceeds go to a local charity, and there is a show in the spring for people to show the artwork they created with the color.

new color in a tube

My yellow relief ink made by Gamblin is definitely on the greenish side, so I was intrigued to use this buttery, warm yellow. Owner and fellow printmaker John Wilson advised me to squeeze out some oil paint on a paper towel and let it sit for several hours. Sure enough, some of the oil soaked into the towel, leaving me with a substance that looks much like my relief inks. Mixed with some transparent base, it is the base for the setting sun in Cantata for Eventide.

I’m thrilled with the results. I haven’t been able to get quite this warm a yellow before. Now it is all I can do to not go and buy lots of Gamblin oil colors with which to experiment. While the number of colors you can make is infinite, the colors you start with make all the difference. 

I wonder what color I will adopt next…

 

 

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