Water Pigment For Oil Printing
If you are looking for a water pigment for printing, then you have come to the right place. Here you will find information on Akua Liquid Pigment, Akua Intaglio and the other products that can be used for your printmaking projects.
Akua Liquid Pigment
If you’re looking for professional quality water-based ink for your oil printing, you’ll want to check out Akua Liquid Pigment. These are non-toxic, clean, and work well with all types of monotype techniques.
Intaglio, moku hanga, and Japanese woodcut are a few of the ways you can use Akua Liquid Pigment. This ink is non-toxic, light-fast, and does not contain fillers or dryers. You can mix it with Akua Transparent Base or use it directly on your plate. It can also be tinted with Lamp Black Liquid Pigment.
Akua Liquid Pigment is made of only the best lightfast pigments and pure gum binders. They have a rich consistency and work well on paper and plates.
Akua Liquid Pigment comes in a 4-ounce squeeze bottle and is sold spill-proof. The liquid pigment can be combined with a brush Needle Applicator, PinPress, or Akua Kolor Pens to print your art.
Akua-Liquid Pigment comes in a variety of colours. Some of the colors are very opaque and will print very well on paper, while others are semi-transparent and are excellent for use with monotype techniques. Semi-transparent colors are generally available in a working day or two.
Akua’s website provides a helpful color index to identify the pigments used in each colour. The names of these pigments may vary from manufacturer to manufacturer, so it’s important to know what to look for when you’re buying a new ink. For example, Akua’s Van Dyke Brown color index is a three-pigment blend.
Another interesting feature of Akua-Liquid Pigment is that it stays wet on the plate. When you’re ready to roll your print, you can dip your block in the ink and roll it onto your paper.
Akua Intaglio is a water based etching ink. It is a non-toxic ink with no fillers or driers. It has a heavy pigment load which helps it to make sharp prints on moistened paper.
When printing relief, the ink is stiff enough to roll well. But Akua Intaglio also prints well on damp or dry paper. This is especially important for printing multi-registered plates.
Akua Intaglio ink is suitable for a variety of intaglio printmaking techniques including monotype, relief, woodcut, and linocut. The ink can also be mixed with a variety of other colors.
In addition to Akua Intaglio, Akua has a range of Liquid Pigments, including Lamp Black, Akua Kolor, and Akua Transparent Base. These liquid inks are made with high quality, lightfast pigments. They are easy to mix and perfect for monotype printmaking.
When using Akua Liquid Pigment, you can easily apply it on top or beneath Akua Intaglio Inks. This allows for perfect registration and a beautiful print on dry or damp paper.
If you are concerned about your prints, Akua has a Release Agent which is applied over metallic ink to help the ink soften and transfer to the paper. You can even use it as a release agent for ghost prints.
Unlike traditional oil-based inks, Akua Intaglio is easy to clean. The ink does not dry on the plate, so it can be wiped off quickly. Moreover, Akua is non-toxic and safe for use without ventilation or exposure to the sun.
Another benefit of Akua Intaglio is its rich consistency and buttery Oil Printing Water Pigment texture. This allows it to print with hand pressure or a brayer.
Compared to oil-based inks, Akua-Intaglio has a high pigment content and wipes off easier. It also offers a smooth and uniform finish that is very similar to a standard intaglio ink.
Crocking of pigment colors on textiles
Among the most common problems encountered in textile printing is the crocking of pigment colors. Depending on the dye and fabric, this may result in a staining effect. However, this can also be an indicator of a less-than-ideal working condition or a health concern.
Various crocking test methods have been developed. These include: AATCC Test Method 8- 1977, AATCC Test Method 8- 2013, and ISO/IEC 1117-1995. Each method tests colorfastness to crocking, washing and perspiration.
The ACT standard, or Color Transfer Test Method, grades the degree of color transfer from 1-5. The mechanical color reading test is a statistical analysis of the smallest of color changes and provides objective results. It also eliminates subjective visual assessment and other potential factors.
During the AATCC Test Method 61-1975, the Launder-Ometer is used to measure the colorfastness of the tested materials to wet crocking. In this test, the white cotton cloth is evaluated for its color change after a 15-minute soaking in DI water.
The AATCC Test Method 8-2013 evaluates colorfastness to crocking in a similar way, but also tests the performance of different dye/fabric combinations to wet crocking. To do this, specimens are cut 50.8 mm wide by 127 mm long and dyed 5 at a time. They are then placed in separate baggies for each fabric.
Wet crocking was conducted on a variety of different fiber reactive dyes and dye/fabric combinations. In general, dark colors were more susceptible to crocking. As a result, the xylindein dye was the most colorfast to both wet and dry crocking.
Several inorganic and phase separation technologies are available to improve dispersing stability of the pigment. Additionally, new printing materials have been developed to produce stable nanoparticles.
Difference between water-based and water-soluble inks
If you are considering the difference between water-based and water-soluble oil printing inks, you have a lot of things to consider. Some of the key differences include how they cure, how they look, how they behave, and how they perform. The difference between them also varies based on the end use.
Water-based inks are generally considered to be more environmentally friendly, especially when compared to solvent-based inks. However, these inks are not without their drawbacks. They may cost more, and require more energy to produce.
Water-based inks are also prone to color shifts. This can be due to press conditions, dye migration, or curing. These shifts can be very noticeable, but they can be easily mitigated.
Several major manufacturers of water-based inks have begun to market them as solutions to this problem. Although their performance capabilities are superior to solvent-based inks, the differences still remain.
Unlike solvent-based inks, water-based inks have less odor, a reduced volatile organic content (VOC), and no flammable emissions. In addition, they can be cured at room temperature, making them easier to wash. But there are many tradeoffs to consider.
Some of the biggest tradeoffs with water-based inks are the amount of time it takes to dry. When you are working with a non-absorbent substrate, such as paper or film, it takes more energy to dry the ink.
Oil-based inks are mainly composed of volatile organic compounds. The dilution of pigments in the oil allows the ink to adhere to a medium. Evaporation of the ink on the printing medium also helps it adhere.
Water-based inks are designed for synthetic fibers, but they are also compatible with all types of elastomer sleeves. Oil Printing Water Pigment That makes them ideal for towel printing, for example.
Issues with the bromoil process
Bromoil printing is a modification of the oil print process. This method of printing allows for soft, textured images that evoke the feel of pastels. It also offers an alternative to the conventional black and white photography. The technique was popular during the first half of the 20th century. In fact, Pictorialists such as George Seeley and Adolph de Meyer were big fans.
A bromoil print is an enlargement of a gelatin silver bromide negative. It is then subjected to several applications of lithographic ink. Unlike traditional chromolithography, the results are not darkened in light. Some areas of the picture are still water soluble. Nonetheless, this is a photographic technique that can be used to produce some of the best pictures on the planet.
Although not widely used today, the bromoil process is still in use in some parts of the world. One of the more lauded practitioners was American photographer Bill Maiofis. He used this technique to create his stunning Bromoil series of works. His prints are collected in a number of museum collections across the globe. Among them are the Museum of Fine Arts, Houston and the Novy Museum in St. Petersburg, Russia.
Although it may have a storied history, the bromoil process is an old-school method that can be just as effective today as it was in the past. For this reason, many contemporary art photographers are looking to return to the oil print process. However, there are more sophisticated processes in which to invest your cash. You’ll need to know which ones are best for your particular project.
As mentioned before, the best of the bromoil processes aren’t for everyone. For instance, the ink used in the process is greasy, making it harder to get a good print. Moreover, the method is time consuming.