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Appendix V :Organic Ink Developments.
Making organic screen printing inks
Ingredients
Boiled water 1 lt
Sodium Alginate SH
Coconut oil
Liquid latex
Urea
Pigments for colour
Clove essential oil
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| Ingredient's and equipment for screen printing inks. |
Equipment needed. I chose to do this outside to prevent fumes affecting me.
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| Mixing the seed weed extract. |
Mixing and heating up screen ink. The first batch I made was too thin. When adding the sodium Alginate
You need quite a lot, however it needs to be sprinkled in very slowly for quite a while. I used a coffee whisker to help which I need to put new batteries in.
So it needs a few teaspoons to make it thick, not too sure if I will need to make more even thicker.
Add a drop of clove essence to stop the ink going off, also you need a gram of urea for every 250 ml you make. Adding the liquid latex last. Needing about 50/ 50 of alginate binder to 50 latex. This might change it depends how it prints.
I will add pigment dissolved in hot water 1 teaspoon 50/50 amount. Woad/Indigo pigment.
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| Indigo powder and Woad pigment |
Indigo and Woad pigment for dying and ink making.
Ancient Japanese Lino ink recipe.
Considering health and safety when using natural oigments that can harm skin, eyes and lungs. Wear the right equipment.
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| Equipment and ingredients for ancient Japanese wood block inks |
Equipment and materials
Pigment for colour.
Gin
Natural starch adhesive.
Magnesium Carbinate to thicken
Spatula knife to mix ink.
Gloves, goggles, mask.
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| Dangerous ingredients if inhaled or touching eyes. |
This is used to thicken ink so it spreads better and sticks to lino. In ancient times it wood have been a wood cut that the ink was being applied too.
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| Image of Ink development sketch book: ingredients |
Recipe for Moku Hanga ink. Ancient Japanese ink.
Inks
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| Liquid inks at University Lincoln |
Screen printing inks from the university print room.
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| Image of wood block ink:better to use liquid pigment than power. |
Ink used from print room, this ink is not eco conscious. I have made my base and I am going to replicate the colour by using indigo pigment.
Japanese Moluccan Hanga ink
This ink is an ancient recipe using non toxic ingredients which links to the green approach to designing and making.
It’s very simple to make mixing pigment 50/50 with gin and adding 1/2 teaspoons of Nori paste again an organic glue. Also one teaspoon of magnesium carbonate which is a bit dangerous if it gets on your eyes and also breathing in. Therefore goggles gloves and a mask are best used when mixing. I also worked outside were there was plenty of fresh air.
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| Using natural pigment liquid instead of powder shoul fix texture. |
The texture of this ink needs more development.
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Printed ink.
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| Ingredients and equipment for block printing ink. |
Ingredients for Japanese ancient ink.
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| Local Gin used in Block printing. |
Shopping locally for ingredients helps with the reduction of climate change.
The Japanese ancient ink recipe.
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| More development needed to fix grainy effect of powered pigment. |
This shows the consistency of the ink.
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Lino inked for printing.
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The ink is not sticking to the laminate as it should.
Print using Moku Hanga ink.
Evaluation.
The ink I have made has a good consistency, however when it is rolled onto the man made Lino it isn’t rolling out well. My conclusion is that this isn’t working as well as I would like it too.
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| Powered pigments from art shop |
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| A full range of powered pigments used normally for oil paints can be used for making screen printing ink |
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| Initial screen print test |
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| One pass with the squeegee |
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| Two passes of the squeegee |
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| third pass of squeegee is the past result. |
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Squeezy showing ink consistency.
Mini screen used for fabric swatches for eco ink developments.
Printing Inks Using Organic Materials.
These pigments are natural pigments which I have found in a really nice Art shop on the way up steep Hill towards the Cathedral.
I have already bought my pigment for my inks, however if I wanted any more I would may go to this shop. They give 10% discount for students. I am going to be making Indigo blue and Woad blue which ancient Celts used to use to paint their faces before and during battle. I will be making Lino printing inks and screen printing ink. I will be using a small screen of my own as the screens at the university are large and also expensive so I am better off experimenting onto my own screen.
Testing screen printing inks, the above print was created using my own eco ink. The print has naturally aged faded out areas which are part of the print design to add a vintage feel. I have used a teaspoon of indigo pigment for this initial screen print. I passed the squeezy 3 times. One wasn’t quite enough, however twice was good but for a big area I would pass 3 times across screen.
The following images descend from one pass of ink to 3 passes of ink.
One pass of ink.
Two passes of ink.
Three passes of ink. I am very pleased with how the ink is working. The colour I would like to get a bit darker blue so I will add more indigo. The consistency of the ink is really good. However I might increase the sodium alginate for a new batch just so it’s easier to pick up and put at the top of the screen for a new fload(one pass the the squeezy across screen).
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Ecology Evolution
A brief section taken from my journal to explain some of the project concerns and issues I have been developing as part of my dissemination review.
The eco ink I have been developing needs a bit more developing. On small prints it works great on larger areas it tends to fade in areas. Therefore it’s not as coherent as I would expect. The up side to this is that it may well be a consistency problem which is easily fixed, more seaweed extract when being made. It could do with being less runny, it would make printing easier as well. I have added made two fade as part of the wearing scheme for this product as is the case for indigo denim jeans, wearing and fading is part of the products nature.
Indigo eco ink print ,hand made ink.
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eco ink showing printing errors, rippling of fabric
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Slightly un even, could be that the fabric was a bit creased more weight could have been used. However a thicker consistency of ink may well correct this problem.
The current alternative would be to buy eco printing ink and process designs this way until a better hand made ink is finalised.
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Eco ink purchased on line.
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Eco ink which I have purchased as an alternative currently while I develop my own printing ink to a standard that would work on larger prints.
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Undyed linen sample showing faded out effect of dye.
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3 machine washes, this has faded the most likely due to the weave.
Calico 3 washes has stayed fixed the best out of all the samples.
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Linen Tote bag
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Linen tote bag small with pom poms.
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lining onside panels needs dark pattern extended.
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undyed calico Tote bag.
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Large linen tote bag.
Inside I have printed carbon footprint fabric. The side panels would need to have a longer strip of dark repeat due to the 3d element of the design requiring more repeat so that it follows the same length to create a straight line of print instead of it staggering .
Commercial wall papers.
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Commercial wall papers for promoting the protection of Antarctica.
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Commercial wall paper to create a value in regard to green issues and how to make a difference to protect Antartica by reducing climate change by changing life styles to encourage the reduction in single use plastics and other reducing and saving measures within individual lives.
These wall papers are designed for campaign office for climate change, libraries, schools colleges, universities and retail outlets ie coffee shops and cinemas.
The wall papers could also be used in marketing campaigns to promote eco evo products.
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Carbon footprint wall paper
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