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Daler-Rowney Adigraf Oil Based Block Printing Ink, Blue - 250ml
+99 PACΟins / piece
Daler-Rowney Adigraf Oil Block Printing Inks are professional-quality, oil-based printmaking inks with a high pigment concentration, specially formulated for linocut, woodcut and other relief printing techniques. They provide rich, vibrant colour, even coverage of the printing block and greater durability than water-soluble block printing inks.Thei + Read More
Daler-Rowney Adigraf Oil Block Printing Inks are professional-quality, oil-based printmaking inks with a high pigment concentration, specially formulated for linocut, woodcut and other relief printing techniques. They provide rich, vibrant colour, even coverage of the printing block and greater durability than water-soluble block printing inks.
Their oil-based formulation provides ample working time for controlled inking and printing and is particularly suitable for paper, card, canvas and primed surfaces. They can also be used on natural fabrics such as cotton and linen when the print is intended for decorative use and not for washing.
- Highly pigmented, oil-based printmaking inks with rich and vibrant colour.
- Suitable for linocut, woodcut and relief printing.
- Ideal for paper, card, canvas and primed surfaces.
- Offer greater durability than water-soluble block printing inks.
- The core range includes 5 colours: Yellow, Red, Blue, Black and White.
- Tools and rollers can be cleaned after use with white spirit or turpentine.
- Made in the United Kingdom.
Directions:
- Place a small amount of ink onto a glass plate or other smooth inking surface and work it with a printing roller until a thin, even layer is achieved.
- Roll the ink over the carved block until the raised areas are evenly covered. Place the paper over the block and apply firm, even pressure using a printing press, baren, clean roller or the back of a spoon.
- For multi-colour prints and successive layers, allow the previous print to dry overnight before overprinting. Actual drying time will vary depending on the thickness of the ink layer, the printing surface and environmental conditions.
Printing on Different Surfaces:
- Paper: use a suitable printmaking paper with an even surface and good absorbency for clean transfer of fine details.
- Canvas: suitable for use on rigid or properly stretched canvas. When printing onto stretched artist canvas, supporting the surface from behind is recommended to ensure even pressure during printing.
- Fabric: suitable for printing onto natural fabrics such as cotton, linen, hemp and bamboo. However, the finished prints are not wash-resistant and the colours will fade if the fabric is laundered. Testing on a small area before use is recommended.
Note: Adigraf Oil Block Printing Inks are intended for artistic printmaking and indoor use.
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Paco code7564026
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Color NameBlue
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No.100
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ManufacturerDaler-Rowney
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Product TypeInks
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Barcode5011386127545
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Color FamilyBlue
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Size250ml
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SKUDALERO-186252100
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DescriptionBlock Printing Ink
Πληροφορίες Χρωστικής
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Pigment NamePW6-Titanium White
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Pigment typeinorganic
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Chemical Nametitanium dioxide
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Chemical FormulaTiO2
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Properties
Titanium White is the most brilliant of the white pigments. It is considered an all purpose oil color useful in all techniques and the best all around white. Its masstone is neither warm nor cool, placing it somewhere between Lead White and Zinc White. It is less prone to cracking and yellowing than Lead White, but it still yellows easily. Titanium White dries slowly in oil form, more slowly than Lead White but more quickly than Zinc White. It is opaque in oil and acrylic forms and semi-opaque in watercolor form. This pigment has good chemical stability, and its tinting strength is superior to both Lead White and Zinc White.
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Permanence
Titanium White has excellent permanence and lightfastness.
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Toxicity
Titanium dioxide is highly stable and is regarded as completely non-toxic. Animal studies do not indicate that it is absorbed biologically, even after long periods of exposure. The primary safety concern is with inhalation of fine pigment dust particles. If inhaled in large amounts over several years, Titanium White may cause benign pneumoconiosis visible on x-rays. The National Institute of Occupational Safety and Health (NIOSH) considers fine titanium dioxide particles, if inhaled, to be a human carcinogen. The primary concern for artists is to avoid exposure to fine particulate dust from raw pigments.
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History
Titanium is the ninth most abundant element in the Earth's crust, however mineral deposits that are economical to mine are less common. Titanium dioxide was first discovered in 1821, although it could not be mass produced until 1919. Widespread use of the pigment began in the 1940s. Since that time, it has become the most commonly used white pigment. The name comes from the Latin word Titan, the name for the elder brother of Kronos and ancestor of the Titans, and from the Greek word tito, meaning day or sun.
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Pigment NamePB29-Ultramarine [Blue]
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Pigment typeinorganic
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Chemical Namecomplex silicate of sodium and aluminum with sulfur
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Chemical FormulaNa8-10Al6Si6O24S2-4 or Na6-8Al6Si6O24S2-4
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Properties
Ultramarine is the standard warm blue, a brilliant blue pigment that has the most purple and least green in its undertone. It has a moderate to high tinting strength and a beautiful transparency. Synthetic Ultramarine is not as vivid a blue as natural Ultramarine. Ultramarine dries slowly in oil and tends to produce clean, though granular, washes in watercolor. French Ultramarine mixes well with Alizarin colors in oil and watercolor form to create a range of purples and violets. It can dull when mixed with white in acrylic form, but mixes well with other colors. The shade varies based on manufacturer. Considered a great color for glazes, it is not suitable for frescoing.
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Permanence
Ultramarine has excellent permanence, although synthetic Ultramarine is not as permanent as natural Ultramarine. It may discolor if exposed to acid because of its sulfuric content.
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Toxicity
Ultramarine has no significant hazards.
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History
The name for this pigment comes from the Middle Latin ultra, meaning beyond, and mare, meaning sea, because it was imported from Asia to Europe by sea. It is a prominent component of lapis lazuli and was used on Asian temples starting in the 6th century. It was one of the most expensive pigments in 16th century Europe, worth twice its weight in gold, and so was used sparingly and when commissions were larger. Ultramarine is currently imitated by a process invented in France in 1826 by Jean Baptiste Guimet, making blue affordable to artists and extending the range of colors on their palettes.
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