Safer Printmaking with Akua Inks DVD
Printmakers are increasingly becoming more concerned about the health hazards of oil-based inks and solvents. Today with water-based inks such as Akua, we can finally work in a fume-free environment.
This video is filled with valuable and well-demonstrated information for the beginner or advanced printmaker. Susan Rostow and William Jung take you through the steps for creating reductive, additive and viscosity monotypes with and without a press. One-color intaglio printing, four-color photo-intaglio printing and traditional Japanese woodblock techniques are also explored, including additional insight on color mixing.
More About Akua
Water-based Ink for Intaglio & Relief: Akua Intaglio Inks are a printmaker’s dream come true. Originally formulated for intaglio printmaking, you can also apply this ink with a brayer for relief printmaking and monotype, as well as collagraphs. Additionally, it will print from any plastic, wood, linoleum or metal plate. These inks contain no driers, offering a long working time for monotype or wiping the plate.
Made with Soy and Light fast Pigments
Akua Intaglio is a soy based ink made with the same high quality lightfast pigments as Akua Liquid Pigment. It has a thick consistency with minimal water content.
Clean up with soap and water
Akua Intaglio ink cleans up easily with a dry rag, followed by soap and water. You can even use inexpensive liquid dish detergent. Never use toxic solvents again!
You can re-soak Akua prints immediately after printing, if handled carefully. Once the print is dry, Akua Intaglio is permanent.
Never Skins or Hardens in the Jar
Akua Ink will neither skin over, nor harden in the jar or on the ink slab, so no ink is wasted.
Easy to Use
Wiping the plate with Akua Intaglio is easier than wiping oil-based ink. For best results, use this Akua Wiping Fabric.
Wipes nice and clean while the paper picks up the ink efficiently.
Option To Print on Damp or Dry Paper
Print on dry or damp paper. Plates with greater tonal value, deeply bitten or raised surfaces require dampened paper. However, it may not be necessary to dampen paper for shallow bitten plates with high contrast images. Monotypes print best on dry smooth paper.