M.E.S. A Deep Dive into Black Etching Ink

by Leave a Comment

Here is an article from Melbourne Etching Supplies which may be of interest to members. M.E.S. are offering 20% off oil based etching inks until the 31st July.

The world of black inks, for printmakers, is a bit of a black hole. For some ink ranges, there are so many options it’s overwhelming. But what is the difference? Isn’t black just.. black?! We could write an essay (and maybe one day we will) but for the meantime, join us as we dive into the details of some of our most popular black etching inks at Melbourne Etching Supplies. 

Of course, these are just the thoughts of some of our printmakers at M.E.S and as such, should be considered a guideline only. We highly recommend testing different black inks to find out what will work best for you!
The Great Debate – Charbonnel 55981 vs 55985
Charbonnel are well-known manufacturers of printmaking inks. With an incredible array of colours and an extended range of black inks, they are favoured by printmakers for their high quality and consistency. Over the years at Melbourne Etching Supplies, debating the difference between the 55981 and the 55985 has been a frequent topic of conversation. So, with distinct differences to their formulations and characteristics, let’s have a look at the key components of both.
Charbonnel Black 55981 
Composition: Ivory Black and Carbon Black
Highly viscous, relatively easy to wipe off – soft, universal black. 

We would suggest that the Charbonnel 55981 is arguably the best ink for fine detail work, and areas where a smooth, even application is needed. It’s quick drying time makes it suitable for projects that require a faster turnaround, which could be considered an added bonus.

Charbonnel Black 55985 
Composition: Ivory black, Carbon Black and Prussian Blue
Very viscous, difficult to wipe off – slightly blueish and very deep.

The Charbonnel 55985 truly helps to reinforce other blacks. Our recommendation is that the Charbonnel 55985 is ideal for achieving deep, rich blacks with a velvety finish. It really is perfect for large solid areas (especially aquatint) and works well on various surfaces, providing a uniform and consistent print.Gamblin Etching Inks are designed for printmakers who need a strong line and a great sensitivity to detail. Each black is designed to meet specific needs in both depth of colour and printability.Gamblin acknowledge that not all black pigments are not perfectly neutral in colour. In a mass sense, i.e. in lines or heavy rollouts, the ‘temperature’ of the black is almost imperceptible, but each ink will leave a plate tone that is either warm or cool. These colour differences, while subtle, can affect the overall look and feel of a finished print – especially when paired with a toned paper.

Gamblin Etching Portland Black 
Neutral in colour, the Gamblin Portland Black is formulated for easy wiping, and offers a moderate level of plate tone ideal for creating subtle value shifts. This ink will print drypoint beautifully, whilst also being a go-to choice for those editioning, and for those working in schools that need an ink for general printing techniques.

Conveniently, there is also a cool tinted version, Gamblin Etching Portland Cool Black, available ‘pre-mixed’.

Gamblin Etching Bone Black
The Gamblin Etching Bone Black is a traditional black with a warm tone. It wipes easily and leaves a very light plate tone. The combination of the light plate tone and easy wiping makes it less suited to works that require a subtle value range and ideal for work that requires strong contrasts.

Gamblin Etching Carbon Black
The Gamblin Etching Carbon Black is a silvery, dense black with a heavy plate tone. It is one of the most difficult black inks to wipe but remains a favourite due to the strong, deep blacks it can produce. The Carbon Black tone has a delicate warmth to it. 

Cranfield Traditional Etching Inks have barely changed in generations. Their historic formulations provide high strength results in a range of colours for all types on intaglio printmaking – plus there is something charming about being milled in family run business in the welsh hills. 

Cranfield Traditional Etching Mid Black
A versatile‚ mid-toned Carbon Black (PBk7) ink with low viscosity & low tack. The Cranfield Mid Black works particularly well for line work. It has a soft feel and wipes evenly & easily to give a strong print. 

Cranfield Traditional Etching Aquatint Black
The Cranfield Traditional Etching Aquatint Black works particularly well for images with lots of tone i.e. aquatint. Although this initially ink feels stiffer than the Cranfield Traditional Etching Mid Black you will find this ink wipes quickly & evenly from your plate and gives bright‚ intense prints.

Cranfield Traditional Etching Bone Black 
A strong, warm-toned black made from genuine charred bone black pigment (PBr9) with a high viscosity & a high tack. The Cranfield Traditional Etching Bone Black works well for both line work & tonal work. It is quite a stiff ink. 

PCA Print Bash!

by Leave a Comment

For our Interstate subscribers – but soon, there will be more print fun coming for Sydney!

Join us for an unforgettable afternoon of art and advocacy

at the PCA PRINT BASH 2024!

Show your support for the Print Council of Australia at this exciting fundraising event, hosted by The Art Room, Footscray. Immerse yourself in a celebration of print culture with live performances by The Press Gang and John Ryrie, while enjoying a drink and some nibbles. Engage in the thrill of our silent print auction, featuring treasures from the PCA archives and other exquisite works generously donated by local artists. Don’t miss your chance to scoop up some exclusive merch and win a prize at the raffle, including vouchers and products generously donated by the Firestation Print Studio, Melbourne Etching Supplies and Baldessin Press.

Let’s come together to ensure PCA can continue it’s vital mission of supporting 
Australian Printmaking!

Thea Weiss’s short film wins yet more accolades

by Leave a Comment

Thea Weiss has won more laurels for her short film My Two Lives, a Creative Response to the Holocaust, these from the Barcelona Short Film Festival and the Topaz Film Festival by Women in Film Dallas.

The film highlights her artwork, interpreting the story of her late mother-in-law, Lotte Weiss, as she describes her horrific experiences.

To watch the film please go to Thea’s website: www.theaweiss.com.au

A Message from May Space

by Leave a Comment

In light of the rapidly developing COVID-19 situation, MAY SPACE is taking precautionary measures to keep everyone safe which at this time includes cancelling Gallery events and openings.
 
The well-being of our artists, staff and clients is a priority and we will continue to monitor the situation on a day by day basis and respond accordingly.
 
The Gallery will remain open at this point but with reduced hours, (now closed Sundays {and maybe Tuesdays?} ) and we respectfully request that everyone who visits abides by social distancing recommendations. 
 
On a positive note, we will continue to welcome small groups to the Gallery and instigating new online showings and walk throughs of the upcoming exhibitions, presented by the artists. Please follow us on Facebook and Instagram to stay up to date.
 
We are sorry for the inconvenience and hope we can still look forward to welcoming you to the Gallery in the near future. Stay safe, we are all in this together, BM.
 

Chinese prints at AGNSW

by Leave a Comment

Ruth Burgess organised two outings for Sydney Printmakers to the Art Gallery of New South Wales Study Room to view prints she had collected for the art gallery during her many trips to China. It was a very interesting and rewarding opportunity. Ruth told many stories about her escapades in China and showed us some extraordinary prints.

Ruth would like to remind us that the Study Room is a free service by the Art Gallery. You can book time in the Study room and request specific prints and the work of specific artists to be made available to you.

More information and booking details here.