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2844Re: [PPLetterpress] ink

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  • Timothy Arthur Brown
    Aug 20, 2004
    • 0 Attachment
      Angela,

      Thank you and I hope you can come back to the lightfastness and
      permanence issues in more detail soon.

      T. A. Brown
      Franconia, New Hampshire USA


      angela wrote:

      >Hi Timothy and Mark,
      >
      >I thought I would reply to both you at the same time as you touch on similar
      >'inky' issues. You also might like to visit www.caligoinks.com as it
      >hopefully will give you a bit more of an insight into how we go about making
      >fine art inks at our factory and what goes into them.
      >
      >On a general point, I like to think of a 'good ink' as being one that 'meets
      >the needs of the printer'. A 'good ink for fine art applications' must
      >therefore be one that 'meets the needs of the fine art printer'. That might
      >sound a bit vague - but it's actually the only place to start when you set
      >out to formulate and make ink - the needs of the printer - and I guess this
      >explains why many commercial inks (designed to maintain maximum efficiency
      >for high speed production) are unlikely to meet the needs of fine art
      >printers.
      >
      >Regarding our ingredients - we make our inks from pure, dry pigment, and so
      >we retain total control over what we put (and don't put!!) into our inks. If
      >we say our inks are have no driers or are wax-free, that's exactly what we
      >mean. Every pigment imposes its own unique character on the final ink and
      >so I like to think we treat our inks like individuals and adjust the formula
      >and method of production to get just the right working properties for each
      >ink and yet retain the inherent 'personality'
      >
      >On the theme of pigments - we probably have a wider selection of black inks
      >to offer than available through commercial ink suppliers, who tend to work
      >with just carbon black. We also use lamp black, bone black and even genuine
      >vine black pigments. The same goes for the colours, I think you might be
      >hard pressed to fine commercial ink made from ultramarine or tradition earth
      >colours like umber and sienna ochre. So again I think we can offer a wider
      >palette of traditional and unique artists colours.
      >
      >As far as mediums are concerned - we use linseed stand oil as our main oil
      >medium. Linseed stand oil (traditionally called copperplate oils or
      >lithographic varnish) has, as I'm sure you know, stood the test of time as a
      >medium for oil-based printing inks and has just the perfect characteristics
      >for traditional printmaking. Depending on the application (etching, litho,
      >letterpress etc) we select the best viscosity we need to get the right
      >working characteristics.
      >
      >Lightfast and permanence issues are of course really important to discuss -
      >and more than I say here so I'll come back to it another time !! For now its
      >worth noting, as I'm sure you appreciate, that permanence is a complex
      >issue and I think you really have to consider the lightfast characteristics
      >of the whole system under specified conditions not just for example rely on
      >the rating of the ink or the pigment used. For example - the acid content
      >of the paper/paper surface/paper absorbency/environment/ type of image/ink
      >thickness/type and amount of pigment and extender/ medium.....all these (
      >and more ) will have an influence. However, I think it is absolutely right
      >that the ink maker makes clear the lightfast rating of the pigments that
      >have been used so the printmaker can at least start to make an informed
      >choice.
      >
      >As for us, we make it our aim to choose pigments with the best lightfast
      >rating we can, ( Blue Wool Scale no less than 6) we keep the pigment
      >concentration as high as we can, limit the addition of extender (which will
      >always tend to reduce the lightfast rating) and we select only the best
      >quality linseed oils. We also have lightfast testing facilities that
      >simulate the exposure of prints to Sunlight and UV and we do this for all
      >our inks.
      >
      >I realise there is so much more to say on this issue - but hopefully this is
      >a start.....
      >
      >Mark - we do have a range of inks that are designed for traditional litho
      >printing (no driers, single pigments, high pigment concentration, no
      >extenders added) The difficulty is getting them to you ! - at the moment we
      >do not have distributor in S Africa. However, Couleurs du Quai Voltaire
      >/Magasin Sennelier based in Paris do have a do mail order service and you
      >can take a look at their site at
      >http://www.magasinsennelier.com/francais/tarifs/tarifcaligo.htm - there is a
      >colour chart of the range of special litho colours we do - hope this helps.
      >
      >On the point you make about ink makers not bothering about small printers -
      >I hope it will encourage you to know that some of us do !! If you know of
      >any major distributors of artists materials in S Africa - do let me know.
      >Can you get hold of Charbonnel inks and if so - where from ?
      >
      >
      >Hope some of this helps .. lots more I can add. I'll send a list of things
      >that effect permanence of a print if you like.
      >
      >
      >Angela (and thanks for the comment about the surname !)
      >
      >www.caligoinks.com
      >
      >
      >
      >Angela Brown
      >-----Original Message-----
      >From: Timothy Arthur Brown [mailto:t.a.brown@...]
      >Sent: 19 August 2004 18:37
      >To: PPLetterpress@yahoogroups.com
      >Subject: Re: [PPLetterpress] ink
      >
      >
      >Hi Angela,
      >
      >So what ingredients go into making the fine art inks that you develop?
      >And, do you have permanence research testing results on these ingredients?
      >
      >Thank you. (Oh, by the way, you've got at great last name.)
      >
      >T. A. Brown
      >Franconia, New Hampshire USA
      >
      >
      >Mark Attwood wrote:
      >
      >
      >
      >>Hi Angela and list,
      >>
      >>Yes, yes, yes. inks. discussion.
      >>
      >>Especially when it comes to lightfastness. I really worry about the
      >>lightfastness of inks that I use on prints, and although I try to always
      >>
      >>
      >buy
      >
      >
      >>the most stable pigment I can get, I still don't feel sure about it, and
      >>don't feel supported by the ink manufacturers who don't seem to think small
      >>printers are worth the bother! (at least in South Africa)
      >>
      >>I am looking for really stable pigments for printing, especially
      >>lithography.
      >>
      >>Any help or advice would be welcome.
      >>
      >>Thanks,
      >>
      >>Mark Attwood
      >>
      >>The Artists' Press
      >>White River
      >>South Africa
      >>
      >>
      >>mark@...
      >>www.artists-press.net
      >>
      >>
      >>
      >>
      >>
      >>
      >>
      >>
      >>>Angela wrote:
      >>>
      >>>Dear fellow PPletterpress members,
      >>>
      >>>As I have recently joined the PPletterpress group I thought I would
      >>>introduce myself to you.
      >>>
      >>>I have just completed an Mphil in Inks for Fine Art Printmaking (at
      >>>the Centre for Fine Print Research, University of the West of England)
      >>>and I now develop and formulate fine art inks for an independent
      >>>manufacturer.
      >>>
      >>>If I can help initiate a dialogue beteen 'ink maker'
      >>>and 'ink user' then that would be great!
      >>>
      >>>I look forward to hearing your thoughts and experience
      >>>with 'ink' over the coming months...
      >>>
      >>>Angela Brown
      >>>
      >>>
      >>>
      >>>
      >>>
      >>>
      >>>
      >>>Yahoo! Groups Links
      >>>
      >>>
      >>>
      >>>
      >>>
      >>>
      >>>
      >>>
      >>>
      >>
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      >>
      >>Yahoo! Groups Links
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