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AKUA Pin Press User Manual

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Pin Press
Pin Press User Guide | January 2015

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Summary of Contents for AKUA Pin Press

  • Page 1 Pin Press Pin Press User Guide | January 2015...

  • Page 2: Table Of Contents

    Cleaning up & Storing Press ......35 Drying & Storing Prints ........36-39 5. Troubleshooting ..........40-45 Written by Susan Rostow, Inventor of Akua Inks & Accessories Co-writes and Copy Edits Brittany Kleinschnitz and Christina Pumo Photography and Design Christina Pumo and Brittany Kleinschnitz...

  • Page 3: The Akua

    14 page booklet? Will I be able to help the wide range of personalities who flip these pages looking for the answers on how to pull a successful print with the Pin Press?” Then, I remember that printmakers are problem solvers and will understand that the information in this user guide is intended to be used as a starting point.

  • Page 4: Pin Press

    To check to see if a surface is flat, lay your Pin Press down flat on the press bed. Next, take a sheet of paper and try to insert the paper between the press and the glass surface.
  • Page 5 BEFORE YOU BEGIN Lay the Pin Press down so the roller lays flush to the press bed surface to check for flatness. REGISTRATION For quick and easy registration, place a registration template under the glass. Standard paper sizes were used (5x7, 8x10, 11x14, etc.) to create this template.
  • Page 6 Press bed shown with registration template. 2. Lay your paper onto the plate. 3. Gently place the Pin Press on the center of the paper. 4. Using light pressure, place the palm of your hands on the flat side of the crescent- shaped handles.
  • Page 7 5. Apply more pressure with the roller. Roll completely off the edges of the plate from all directions (horizontally, vertically and diagonally) to ensure even coverage. 6. Lift and check a corner of the print before pulling the paper from the plate. To check the transfer, keep one hand lightly pressing the other half of the paper on the...

  • Page 8: Modifiers

    MATERIALS AND PREPARATION: • Inks • Modifiers • Applicators • Paper • Plates • Pin Press 6 www.AkuaInks.com...
  • Page 9 Mix with Akua Tack Thickener. For Brushwork Akua Intaglio Ink If Akua Intaglio is too thick to brush, add a few drops of Akua Blending Medium to loosen. Akua Liquid Pigment Ink For hand-printing with Akua Liquid Pigment, it may be...
  • Page 10 MODIFIERS Release Agent Use with Akua Liquid Pigment & Akua Intaglio. It has two purposes: 1) Monotype Ghost Prints: After printing a monotype there may be some residue of ink remaining on the plate. Release Agent can be used to print a second lighter version of the first print.
  • Page 11 Extender Use with Akua Liquid Pigment. Use with Akua Liquid Pigment. It thickens Akua Liquid Pigment Extender is used to thin Akua for heavier roll-up applications Liquid Pigment if it becomes for monotype and block printing. too thick. It is not recommended It is medium amber in color for use with Akua Intaglio Inks.
  • Page 12 The Akua Needle Applicator Set offers three styles of interchangable tips that pair with the bellows bottles to create various types of lines and marks with Akua Liquid Pigment. Akua Needle Applicators for Akua Liquid Pigment The small bellows bottle fits in the palm of the hand.
  • Page 13 SELECTING THE PLATE While nearly any smooth, non-porous surface (e.g. acetate, mylar, acrylic, plastic-coated freezer paper, polycarbonate, copper, zinc, glass, wood, rubber, etc.) can serve as a plate, Akua Printmaking Plates are ideal for use with the Pin Press. Specifically designed...
  • Page 14 PAPER For monotype and drypoint printing with the Pin Press, smooth, dampened printmaking paper such as Arnhem 1618 ® recommended. Certain papers can be printed dry depending on their characteristics. DAMPENING THE PAPER IN A WET PACK (Light to Heavyweight Paper) 1.
  • Page 15 SOAKING IN A WATER TRAY (Medium to Heavyweight Paper) Locate a tray/container large enough to fit an entire sheet of paper (lying flat) and fill with water until the paper is completely submerged. On average, soak time can range from 5-20 minutes in the tray, depending upon the weight of the paper.

  • Page 16: Creating The Image

    CREATING IMAGE 14 www.AkuaInks.com...
  • Page 17 The Pin Press was designed specifically for use with all types of monotype printmaking, including additive, subtractive, viscosity, and trace processes. However, it can be used for other printmaking process such as stencils, stamps, and drypoint plates. Any brand of water- or oil-based ink can be used with the Pin Press.

  • Page 18: Additive Monotype

    An additive monotype is created when ink is applied (with a brush, brayer, etc.) directly on a plate, that is then printed onto paper. MATERIALS NEEDED: - Akua Intaglio and/or Akua Liquid Pigment Inks - Printing plate (Akua Printmaking Plate recommended) - Gloves (Nitrile recommended)
  • Page 19 Akua Liquid Pigment requires the addition of Akua Retarder to keep the ink moist. TIP: To avoid bubble of ink at the begining of your line, start on a piece of paper before you draw on plate.

  • Page 20: Subtractive Monotype

    (REDUCTIVE MONOTYPE) The subtractive monotype, also known as the reductive method, or dark field monotype, entails rolling up the plate with ink first, wiping out the darkened field (with tools such as Akua Wiping Fabric, rags, sticks, etc.). MATERIALS NEEDED:...
  • Page 21 STEPS: 1. Roll up Akua Intaglio on a clean plate using a brayer, covering the plate with an even coat. Check for density of color by holding the plate up to light and observe the opacity. If light shows through, add more ink to the plate.

  • Page 22: Viscosity Monotype

    A viscosity monotype is a monotype made with two or more inks more inks with differing viscosities that resist one another when rolled onto a plate. Because of their differing viscosities, Akua Intaglio and Akua Liquid Pigment Inks resist one another on the plate without modification.
  • Page 23 FOR THIN INK Add Akua Blending Medium to Akua Intaglio or use Akua Liquid Pigment straight from the bottle. The ink should be thin enough that it drips off the knife. TIP: Combine Transparent Base and Blending Medium to create a thin, transparent resist.
  • Page 24 2. Roll up the plate with the thicker ink over the marks previously made with the loose ink. 3. Because of the difference in viscosity between the loose and thick ink, they resist one another on the plate. TIP: Some ink may offset onto the roller.
  • Page 25 SAMPLES OF VISCOSITY ROLLS AND RESISTS Experiment with different combinations of thick and thin layers. - Rolled out thin blue ink - Mark made by wiping away the blue ink - Rolled thick yellow ink on top - Rolled out thin yellow ink - Mark made by wiping away the yellow ink - Rolled thick blue ink on top - Offset from roller...

  • Page 26: Trace Monotype

    Two prints can be made, a positive and negative. MATERIALS NEEDED: - Akua Intaglio Ink (should be stiff) - Printing plate (Akua Printmaking Plate recommended) - Gloves (Nitrile recommended)
  • Page 27 DETAIL 5. Negative print: The remaining ink on the plate can be printed with the Pin Press on DAMP paper to create a second image. NOTE: Because trace monotype plates require a thinner application of ink, it...
  • Page 28 For stencils, there are four ways to create both positive and negative images. For stamps, there are two. MATERIALS NEEDED: - Akua Intaglio Ink - Printing plate (Akua Printmaking Plate recommended) - Gloves (Nitrile recommended) - Rubber brayer (Speedball Soft Rubber Brayer recommended) ®...

  • Page 29: Stencils

    Stencils: 1. Block out (negative image) Place the stencil over your plate and roll up Akua Intaglio over the stencil using a brayer. Ink will transfer from the brayer to the open areas on the plate. Block out result after printing with the Pin Press: 2.
  • Page 30 Offset result after rolling directly onto paper: 4. Wipe away (positive image) Roll up Akua Intaglio over a clean plate using a brayer, covering the plate with an even coat. Place the stencil over the inked plate. Using Akua Wiping...
  • Page 31 Stamps: 1. Apply ink to stamp and press (positive image) Roll out Akua Intaglio and load the stamp by pressing it into the ink. Positive result after printing with the Pin Press: 2. Remove ink from plate using a clean stamp (negative...

  • Page 32: Ghost Printing

    Akua Release Agent allows for a denser ghost print. MATERIALS NEEDED: - Akua Intaglio Ink - Akua Release Agent - Printing plate (Akua Printmaking Plate recommended) - Gloves (Nitrile recommended) - Rubber brayer (Speedball Soft Rubber Brayer recommended) ® - Ink knife...
  • Page 33 Let sit for 3-5 minutes before printing. 4. Second Print (ghost print) Print ghost with the Pin Press. In the supporting image, only half of the plate was rolled with Release Agent. The darker...

  • Page 34: Drypoint

    The difference between printing with the Pin Press and an etching press is that the lack of pressure needs to be compensated for by leaving more ink on the plate when printing with the Pin Press. MATERIALS NEEDED: - Akua Intaglio Ink...
  • Page 35 3. To remove the remaining ink on the surface of the plate, use a wiping cloth such as soft tarlatan or Akua Wiping Fabric. Bunch the fabric into a ball and wipe in circular motions over the entire plate until the amount of ink you desire is left.

  • Page 36: After Printing

    AFTER PRINTING 34 www.AkuaInks.com...
  • Page 37 CLEANING UP Pin Press and Akua Inks: Clean the Pin Press with a soft rag. A dry micro fiber rag, moist wipes (baby wipes), or dish soap on a slightly damp, textured cloth works great for cleaning Akua Inks from all surfaces. Always make sure that whatever fabric you use is lint-free.

  • Page 38: Drying & Storing Prints

    - be careful not to apply pressure with the tips of your fingers, which could leave markings. Repeat with another piece of paper as necessary. NOTE: Occasionally Akua Intaglio produces a slight ink rub-off when ink is applied heavily. Some printmakers have had success reducing rub-off by spraying a clear acrylic (non-yellowing) finish over the print.
  • Page 39 Akua Intaglio ink for the foreground color which is then “hand-pulled” using the Pin Press. “The Akua Pin Press is really a great gadget for producing what it is designed for and it is certainly more portable than my etching press. Every printmaker should have one for proofing, experimentation, and producing quality prints.
  • Page 40 To flatten prints, press them between blotters with a heavy board placed on top for weight. Change blotters periodically over 24 hours. “Fantasy of Feathers” 18” x 24” Additive Monotype Printed with Akua Intaglio Inks and the Akua Pin Press by Melody Knight Leary 38 www.AkuaInks.com...
  • Page 41 Storing prints: Don’t be afraid to leave wet prints sandwiched between blotters, glassine, or newsprint paper, as Akua Inks will not harden and stick to another sheet of paper. However, when storing prints we would recommend acid-free paper. “Your Local Traffic Report”...

  • Page 42: Troubleshooting

    TROUBLESHOOTING 40 www.AkuaInks.com...
  • Page 43 Solution: Check press bed [see pgs. 2-3]. To check to see if a surface is flat, lay your Pin Press down flat on the press bed. Next, take a sheet of paper and try to insert the paper between the press and the glass surface. If the paper slips through, there is a dip in the glass.
  • Page 44 NOTE: When printing with an etching press, the ink should sit flush with the surface of the plate. With the Pin Press, the ink should sit slightly above the surface of the plate.
  • Page 45 Lines appear on print. Cause: Lap marks from the edges of the Pin Press. Solution: Do not allow the edge of the Pin Press to roll over the plate. Use plates that have a diagonal that is shorter than the Pin Press. Problem: Texture appears on print (e.g.
  • Page 46 Using an etching press, these pieces of dust are less noticeable because they are pushed into the paper. With the Pin Press, the dust particles show with halos around them because they are higher than the level of the plate, therefore preventing the ink from touching the paper around them.
  • Page 47 Problem: Lines appear on the plate/print. Cause: Offset marks from the brayer hitting the edge of the plate are transferred when rolling up (line can continually offset onto the plate). Solution: Be careful not to roll over the edge of the plate when rolling up.
  • Page 48 Fax: (704) 838.1472 www.AkuaInks.com customerservice@speedballart.com © 2015 by Speedball Art Products, LLC. All rights reserved. This catalog may only be reproduced with the expressed written consent of Speedball Art Products, LLC. Akua Intaglio and Akua Liquid Pigment are trademarks. Channel: Akua Printshop...

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