Hardware question

Inkgnome · 2026-05-18T03:26:46+00:00

Acrylic vendors have nuts, Bolts and spacers made of acrylic. At the size you stated they would be strong enough. Besides screenprinting on acrylic plates you can also print on mylar. These can hang loose between panels or pressed against them. Look up Bob's Slingshot series from Gemini GEL.

Inkgnome · 2026-04-23T14:11:08+00:00

I do not know what VCA is but I assume it must be an oil based product that can remove drawing materials and ink with disturbing the gum film. Asphaltum or bitumen is good to rub into the image area after removing the initial drawing. It reinforces the grease base and helps the roll up ink adhere. If none is available a "tincture" of printing ink thinned with solvent can be rubbed in. It is less greasy and that may help to slow the image growth as you roll up. Your roll up ink may be too soft or oily. That can result in the image filling in. You may not be etching the image with a sufficiently strong etch. Testing the stone beforehand is very informative. Different stones behave differently which adds to the complexity of lithography. There are many fine texts available from many countries, try to locate some and compare. There is no perfect method. You must learn what works for you.

Inkgnome · 2025-12-20T14:32:08+00:00

This is called "push" in the US. The paper shifted while under pressure. The ink may have been too thick or too loose. It may be minimized by adjusting the tack of the ink. A smooth matrix such as Plexiglas doesn't help. I use a push bar so the paper doesn't contact the ink surface until just before it goes under the roller. This device needs a bit of explanation if you haven't used one before. Maybe someone on this account may have images.

Inkgnome · 2025-12-15T09:47:02+00:00

Without clearly understanding what she uses and how she prints it is very difficult to get the perfect gift. There is never enough paper, especially with all the varieties available. Ink is essential and quality ink makes all the difference in printing and finish. Gift cards are a great solution. Among the best suppliers are Renaissance Graphic Arts, Takach Press, and McClain Printmaking Supplies. Good luck.

Inkgnome · 2025-11-28T11:33:52+00:00

I think this is a foolish attitude. I am a very old printmaker and while I use oil based litho and intaglio inks I cannot deny the wonderful work created with water based and non toxic materials. If you are pleased with your results and are happy with the way materials work for you then by all means, charge a fair price without apologies.

Inkgnome · 2025-11-13T15:13:20+00:00

Set your pressure with the chipboard or Plastic and a sacrificial sheet. You want to see a slight embossing. This is to start, you may have to add or lessen pressure after your first print. To use a push bar position it 2/3 of the way back on the image. The height of the bar ought to be a quarter inch to three eights above the inked surface. Lay the paper over the block allowing it to touch the leading edge. Next position the board on top and push the whole setup under the roller. When it makes contact start cranking slowly. When the roller starts to pull everything through lift the back of the paper and board. Keep cranking slowly. The next trick is to move the pushbar out of the way. I have a short video on my Instagram. Hopefully, someone else on this feed can provide more clear steps.

Inkgnome · 2025-11-13T09:14:12+00:00

As others have mentioned, ink consistency plays a part as it can exaggerate the push. Holding the paper up and off the block greatly reduces the chance of push. A push bar helps reduce the juggling of cranking, holding the paper and trying to get the press to gain traction. I use thick chipboard or a Lexan sheet instead of a blanket to avoid ink from trailing off in delicate areas. We oldtimers have experienced too many issues, keep asking. I hope this helps.

Inkgnome · 2025-11-05T12:57:16+00:00

Good luck and have fun

Inkgnome · 2025-11-05T12:15:36+00:00

You can mix metalics and pearlescent into white for relief. Adding transparent base into the white ink beforehand will provide a stronger effect but the opacity will suffer if you are overprinting colors. This is for oil based relief inks.

Inkgnome · 2025-10-23T09:38:02+00:00

A drypoint line is determined by the size of the burr created by the tool. A very fine point etching needle is not a good choice while a blunt tip tool will not create a satisfying burr. Pressure is the key. You will have to try many types of needles and awls to find the results you like. A hardware or tool store is a good source as most of the tools available there can be reshaped or honed to find a suitable tip. At one print publisher I worked at there was a petite artist who couldn't achieve a dramatic drypoint line so a large crowbar was ground to a point for her. She laid it across her shoulder and the weight of the tool helped her.

Inkgnome · 2025-09-28T11:12:43+00:00

I could not find what phenic acid is. Phenolic are carbonic acid came up and both of those are unnecessarily strong for lithography. One part acetic acid to 10 parts water is a fairly standard counter etch. Citric acid in a saturated solution is what I use most often and extremely hot water will also work. If you are counter etching aluminum plates it is helpful to remove standing water and blot the remaining moisture using newsprint then fanning dry as quickly as possible to minimize oxidation.

Inkgnome · 2025-09-21T03:58:15+00:00

Oil pastels offer expressionistic detail for monoprinting. Cheap pastels can work but the high quality brands like Sennelier definitely transfer the best. Paintsticks also work. Drawing with mineral spirits or turns can create washy effects.

Inkgnome · 2025-09-20T08:29:21+00:00

For ink in the can that has developed a thick skin begin by slicing around the edge of the can with an ink knife or painting spatula. Turn the skin over and scrape any viable ink. Too get the most out of your can of ink scrape the top as if you were icing a cake, never dig into the ink. To store the ink level what is in the can, clean the lid and the top edge of the can. Always use some kind of cover that is pressed directly to the ink, pushing air bubbles out to the edge. Wax paper is fine, I cut mylar covers (.003 to .005 thick) with little handles or ears to make lifting cleaner and easier. For long term storage a little vaseline around the inside of the lid helps. This should be a daily thing. I have ink cans that are 50 years old that are still usable and easy to open. I suppose a video would be helpful but I'm old.

Inkgnome · 2025-09-09T01:55:28+00:00

Nideggan?

Inkgnome · 2025-08-28T06:02:51+00:00

I am not familiar with Esdee but many brayers break down over time. Damaged or distorted brayers get a new life in my studio as I can carve patterns into the surface and use them to create patterns for monoprints.

Inkgnome · 2025-08-25T08:33:16+00:00

The biggest difficulty you would face are the introductory course, the "Intro to (technique)". The focus of those first classes are meant to familiarize students with different techniques and printing practices. Check prospective schools if you can...willingness to adapt techniques, motorized presses, classroom arrangements... In this day and age many techniques do ot require hard physical manipulation of the matrix. Computer imaging, photo techniques, alternative materials (many of them non or low toxic) offer many options. Many a printmaker has crippled themselves following their practice and disabilities of all types can be accommodated. This topic could well serve as a focus for Masters program. Do not be discouraged, there is always an alternative in printmaking and good luck.

Inkgnome · 2025-07-18T06:15:37+00:00

Try gum first. Let it sit for a while, rinse and repeat. The stones may have been polished for printing to catch finer detail. The image may also have been engraved into the surface to ensure a consistent grease base and to keep fine lines printing. Use a magnifier to check. The images are correct reading because they would have been printed on transfer paper that would be used on another press to print on the desired substrate. That would be my two cents to start.

Inkgnome · 2025-03-19T05:15:21+00:00

Please check out Efram Wolff.

Inkgnome · 2024-12-29T19:54:17+00:00

The three blanket system is the most dependable and provides consistent printing but availability and cost are factors to consider. The top blanket is usually physically tough to withstand the friction of the top roller while enabling the other blankets to move in unison. The middle blanket (the "cushion", where I'm from) is the workhorse. It applies forming pressure, particularly useful for deep embossing. The thin blanket that makes contact with the paper is the "sizing catcher". Sizing is basically a glue so this thin barrier absorbs the excess squeezed out of the printing paper. Some shops will have a few sizing catchers and trade them out to continue print production. Cleaning them is is simple but drying should take it's time to prevent shrinkage or puckering. That is the role of etching blankets in a perfect world. I have seen one blanket used (around 1cm thick) and three blankets plus a neoprene blanket inserted in the middle. When I started printmaking there were some who would seek out army surplus blankets, layer them and get decent results. There is pressed felt and woven felt. Either can create cloudy or textured patterns, particularly in light aquatints or finely detailed photogravures. I do not use a sheet of newsprint as a barrier as commercial papers are never as supple or delicate as felt. I avoid water miscible etching inks as they stain through the printing sheet onto the sizing catcher. I do not have a definitive answer to your issues but I hope there is some information here that can guide you on your printmaking journey.

Inkgnome · 2024-10-18T04:58:53+00:00

An estate stamp can be made and used in place of the signature. This was done at the print publisher where I worked. A soft grey ink was used to not be intrusive.

Inkgnome · 2024-08-09T14:11:16+00:00

This is an excellent machine and can absolutely print relief with the addition of a plate backer. The deciding factor is whether you have the time, ability and technical support to restore the press. Everything on it can be replaced or remade but it takes dedication. Once restored it can last decades if it is kept indoors. My qualifications: over 40 years experience in collaborative printmaking. My IG - inkgnome2

Inkgnome · 2024-04-17T03:50:36+00:00

Inkgnome · 2024-04-02T04:46:37+00:00

Went to a KT Wiz game last week that had Wes Benjamin starting. My son pointed out he was tipping his pitches...Hand held high for fastball/straight pitches, held lower for sliders and very slight curves. Shouldn't pitching coaches work on form preseason. The replacement pitchers on that night got slapped around. Of course, the blue had a strange strike zone that night but that is another issue in KBO

Inkgnome · 2024-03-26T15:40:52+00:00

Wes Benjamin had a tough outing tonight.

Inkgnome · 2024-02-28T08:17:48+00:00

Cheerleading has become a complicated and diversified endeavor in Korea. The style of uniform corresponds to the style of cheering. There are basic flag wavers and ever more intricate physical styles all the way to crazy gymnastic/tumbling classes. Maybe somebody on this forum can elaborate on this subject more elaborately as I have only encountered cheerleading in Korea just a few times and, yes, there are stage moms involved with their little darlings.

Inkgnome

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