When I first started printing, I set up a few experiments for myself - paper, blocks, inks. I tested smoothness, thickness, crumbliness, how well the ink rolled on, how well the ink transferred, whether it carved nicely, etc. Lots of tests. In the end, I narrowed it down to a few tools and materials I liked best and use most often in my printmaking. Like everything, there are pros and cons to each, and I still regularly do tests to see if there are new materials I might like more, but for now, these are a few of (cue Julie Andrews) my favorite things:
Block: EcoKarve by Inovart
I tried every block out there that was sold on Blicks and this block was the clear winner. It is denser than most soft cuts, but not as hard as linoleum or the gray rubber “linoleum” blocks. It is thick enough you can carve both sides, though I do not as I have to glue the back to my registration jig. Cons are you can’t get fine details like linoleum or wood and I don’t know how it would perform with a press as I don’t have a press!
Ink: Cranfield Caligo Safe Wash Relief Inks
Coming from an oil painting background, I already knew I wanted easy, less toxic cleanup. I read about these inks from other printmakers and have loved them ever since. They clean up with soap and water (soap first, then water), and don’t have too strong an odor - though it is good practice to ventilate when working with any inks or paints. They dry fairly quickly, even without drying medium, and much faster than Akua in my limited experience with those, and I can get nice even coverage with them. You can add driers, oils, and extenders as you like to change the opacity, viscosity, and drying times. My preferred palette: Naphthol Red, Diarylide Yellow, Phthalo Blue, Opaque White.
Paper: Arches Hot Press 90 lb
After many tests on many papers, I found that I loved the smoothness of this paper. While I am getting more comfortable with different texture in my inking, I really love smooth even ink transfer with little “peppering,” and I abhor blotchy thick inking (I say that knowing someday I may embrace thick and blotchy inking as a style move and you’ll might call me out on that. I’ll take my chances.) This paper allows me to make multiple ink passes when I want it really even inking, holds up to burnishing directly on the back of the paper through multiple layers, and is a lovely bright, but not cool, white. I have also really enjoyed the few prints I’ve done on Rives, because I don’t have to burnish as hard, but I haven’t had a chance to try their white versions, only cream, which I don’t prefer over white. Cons, the Arches paper creases very easily and permanently if not handled carefully and can sometimes come with some creases already in it. I try to manuver those sections to where ink will be applied as it can hide them.
Brayer: Takach and Speedball
I have two brayer brands. The first is the best brayer you’ll ever by, in my opinion. The rubber is perfect softness and never gets sticky, the weighted handles are so comfortable and inviting to hold, they are multidirectional, so you can hold the handle and roll the ink in different ways, and they are skill crafted in the USA. But quality comes with a price, which is why I only have two small ones, both of which I received as gifts! The other is your basic Speedball brayer. Mass produced, inexpensive, and a perfectly good tool. Cons, none for Takach that I know of yet. For Speedball the cons are the larger ones are often not formed evenly from edge to edge so you have spots that don’t roll up ink and they can get sticky after using them for awhile. This can be remedied by rolling them in cornstarch or other starch after/before use but it’s annoying.
Baren: a metal soup spoon
Yep. A spoon. I tried the Speedball baren but found with the thicker paper I like it wasn’t firm enough or consistent enough across the face of it. I have not tried other store bought barens, though I would love to try a glass baren and a ball bearing baren and see how they perform with the paper I like. Donations and gifts welcome.
Registration Method/Jig: homemade version of Mr.B & Laura Boswell’s jig
Like many block printers, when I was learning to print I followed Laura Boswell’s video and tutorials, and I liked her registration method. So I made a matboard version for myself. I did not realize at the time that her husband, Mr. B made these jigs by hand from wood (or MDF maybe) and they sold them (now made through Hickman Design. Since then, I wrote to them, explaining that I innocently copied their version and made one. They gave me kudos for making my own, and we thought it would be nice to let folks know where I got the idea if people ask. So here is the link for their design. It’s probably much nicer to work with than my matboard ones! There are many other registration methods, this was where I started and stopped, but would be worth trying others at some point I think. The downside is you’d need a different method anyway, I think, for using a press. And they don’t do well for trendy “reveals” because of the framing around your print while working, but they sure make registration a breeze for reduction printing!
Misc Tools/Materials:
Drier: Grumbacher Cobalt Drier - When I need to speed up drying times. A few drops is all you need.
Glue: Elmer’s - To adhere my block to my jig squares.
Palette Knife: My grandmother’s old oil painting one and a couple new ones. I think there are more putty knife style ones other printers use, this is what I had when I learned. The cheaper ones from Blick’s always break or bend, so I don’t have a good recommendation at this time.
Acetate Sheets: Dura-Lar brand, .003 thickness, but other brands work too. I use these for all kinds of things, from masking to overlaying a sketch on a print.
Oil: Cranfield Caligo Safe Wash Oil - I use it to change the viscosity of my inks, especially the thick white ink.
Pencils: Ticonderoga Black #2 Pencils - I like the softness of the graphite and the non-smudge eraser.
Palette: Tempered Glass - My dad found me a square of tempered glass years ago from a refrigerator shelf that has been perfect for rolling inks out on without worry of shattering. I keep it packed in a cardboard sandwich when traveling. If you have a house that isn’t on wheels, probably any thick glass surface would do.
Misc rags and paper towels: Preferably cotton t-shirt rag scraps that don’t leave little fuzzies when I clean up with them, paper towels for final wipe with water on my glass.
Sketchbook: any. I use what I can get. My only preference is cotton rag paper or similar, not anything slick or too thick or textured.
Tracing Paper: any. Crucial to how I transfer my images to the block and scale up/rework my sketches.
Light: Canvas Lamp** - I have this lamp, and use it because it is what I have. I actually don’t love this lamp. Maybe if you have a studio that doesn’t move like mine it would be fine, but I find it to be fiddly and the parts fall off no matter how I pack it. I do like it has 3 light setting options and brightness options. Before we moved I had an awesome magnifier lamp that clamped onto my desk. I don’t remember the brand but it was great for nice, bright carving light, though you couldn’t do videos through it.
Clean up: Dish soap and water!
