AKUA Pin Press Manuel utilisateur
Pin Press User Guide | January 2015
TM
Pin Press
TABLE OF CONTENTS
The AkuaTM Pin Press ......................................................1
1. Using The Pin Press ................................................2-5
2. Materials & Preparation: Plates, Paper, and Ink.......6-13
Selecting Akua Ink ..............................................7
Modifiers .........................................................8-9
Applicators & Plates ....................................10-11
Paper.............. .............................................12-13
3. Creating the Image ..............................................14-33
Additive Monotype .......................................16-17
Subtractive Monotype ..................................18-19
Viscosity Monotype ......................................20-23
Trace Monotype ...........................................24-25
Stencils .......................................................26-29
Ghost Printing..............................................30-31
Drypoint ......................................................32-33
4. After Printing ......................................................34-39
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
www.AkuaInks.com 1
The Akua Pin Press
It is a common misconception that one needs to make a large
investment in equipment in order to create high quality prints.
The Pin Press offers high performance at a fraction of the cost of
a traditional press and mobility that allows you to create prints
wherever you want to go. The Pin Press’ ergonomic design allows
artists to minimize impact on the body and provides an ideal
storage solution when the Press is not in use.
Less pressure is required when printing the surface of the plate
(e.g. monotype), as opposed to printing the depths of the plate
(e.g. an intaglio/etching) which requires the pressure of an etching
press. Therefore, the Pin Press is an ideal tool for all monotype
techniques. Additionally, great results can also be obtained from
incised plates (e.g. for drypoint printmaking) this is because the
burr of the drypoint holds the ink.
The crescent-shaped
handles swivel and act stand
when not in use.
Rest the palm of your hands
on the flat side of the crescent-
shaped handles when printing.
PREFACE
Writing instructions for a creative thinker is a challenging task. I
wonder, “How can I cover so many printmaking possibilities and
variables in just a 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.
I am certain you will contribute your own innovations and discoveries.
Pick up your Pin Press and roll with it!
-Susan Rostow, Inventor of Akua Inks & Accessories
The Akua Pin Press, received the “Best New Product” Award at the
International Art Materials Trade Association Conference in 2011.
2 www.AkuaInks.com
USING THE
PIN PRESS
Using the Pin Press requires the right balance between the amount of
ink applied to the plate, the character of the paper, and the amount of
pressure applied.
Press Beds
A heavy glass tabletop is recommended for use with the Pin
Press. If one is not available, a tempered glass surface (¼”
thickness or greater) for successful printing is recommended, as
surfaces like wooden tables, laminated surfaces and Plexiglas®
do not always provide a consistently flat surface. 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. Flip the glass over and check again. For
optimum leverage, place the glass on a table slightly lower than
hip level.
www.AkuaInks.com 3
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. Line up your plate with the
appropriately sized outline and then do the same with the paper,
laying it on top of the plate.
When positioning your plate, add a drop or two (depending on the
size of your plate) of water underneath the printing plate. The
water will prevent the plate from moving. Be careful not to add too
much water as it can spread under pressure and possibly stain the
paper margins.
KEEPING YOUR PLATE IN POSITION
BEFORE YOU BEGIN
Lay the Pin Press down so the roller lays flush to the press bed
surface to check for flatness.
4 www.AkuaInks.com
1. Once you have created your
image, place the plate on a
level surface.
NOTE: Tempered glass is
recommended as a press bed.
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. Do not hold
onto the roller itself. Roll back
and forth in small passes a few
times to allow the paper and
plate to stick together.
STEPS:
www.AkuaInks.com 5
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
plate to keep the paper/plate
registration.
7. Apply more pressure with
the roller as needed.
8. After printing, rest the Pin
Press on the flat side of both
handles.
6 www.AkuaInks.com
MATERIALS AND
PREPARATION:
• Inks
• Modifiers
• Applicators
• Paper
• Plates
• Pin Press
www.AkuaInks.com 7
For Rolling Up
Akua IntaglioTM Ink
Akua Intaglio Ink offers strong color density right from
the jar with no modification for roll ups.
Akua Liquid PigmentTM Ink
Akua Liquig Pigment without modification is too thin
to print roll ups by hand. Mix with AkuaTM Tack Thickener.
For Brushwork
Akua Intaglio Ink
If Akua Intaglio is too thick to brush, add a few drops
of AkuaTM Blending Medium to loosen.
Akua Liquid Pigment Ink
For hand-printing with Akua Liquid Pigment, it may be
necessary to add a drop or two of AkuaTM Retarder to the
ink.
For Drypoint
Akua Intaglio Ink is recommended.
SELECTING AKUA INKS
- gum based
- fluid
- soy based
- heavy body
8 www.AkuaInks.com
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.
Roll a thin, even layer of Release Agent on top of
remaining of ink on the plate and print. Wait 3-5
minutes to print.
2) High Shine with Akua Intaglio Metallic Inks:
Roll Akua Release AgentTM over the metallic ink
that was applied to the plate. Wait 3-5 minutes
and print.
Transparent Base
Use with Akua Liquid Pigment & Akua Intaglio.
Transparent Base is Akua Intaglio Ink base
without pigment. Adding Akua Liquid Pigment to
Transparent Base will thicken Akua Liquid Pigment
and create new intaglio or relief colors. Adding
Akua Intaglio ink’s to this base will increase ink
transparency. Transparent Base is light amber in
color.
Akua Mag Mix
(Also called “Akua Ink Stiffener”)
Use with Akua Intaglio. Mix into Akua Intaglio Ink
to add depth and stiffen the ink. It is white in color
with a stiff consistency but dries clear. It is not
suitable for Akua Liquid Pigment.
Table des matières
