2011 Catalog - McClain's Printmaking Supplies

2011 Catalog

McClain's Printmaking Supplies 

Dedicated to the Art and Artists 

of Relief Printmaking 

For over thirty years McClain’s has been importing tools and 

relief printing materials from Japan for artists and students. 

We continue to select merchandise of the highest quality from 

some of the most reputable Japanese manufacturers and dealers, 

many of whom practice crafts that have been handed down in 

their families for centuries. More recently, McClain’s has also 

been supplying linocut, engraving, Solarplate and monotype 

printmakers with materials from around the world. 

McClain's carries some of the finest materials for woodblock 

printmaking, beautifully hand crafted, designed for function 

and durability. Our goal is to help relief printmakers find the 

materials and support they need to reach their printmaking goals. 

About the Cover Artist 

Ningeokuluk Teevee 

Kinngait (Cape Dorset), Canada 

Reproduced with permission from Dorset Fine Arts 

www.dorsetfinearts.com 

Kiviuq Nanuqlu (Kiviuq and the Bear) 

24.25 x 28.25 Stonecut and Stencil 

Kinngait Studios in Kinngait (Cape Dorset), Canada is part of 

the West Baffin Eskimo Co-operative and Dorset Fine Arts is its 

marketing division. Since the late 1950's, Kinngait Studios has 

printed the work of Inuit artists using stone cutting, stencils, 

engraving, serigraphy, lithography, aquatint and etching 

techniques. An annual collection of prints is produced and sold 

through galleries world-wide. Kinngait Studios and Dorset Fine 

Arts provides not only income and employment to Inuit artists 

but also international exposure and recognition. 

According to the Dorset Fine Arts web site, "Ningeokuluk is one of 

the most versatile and intelligent graphic artists to emerge from the 

Kinngait Studios. Her unique approach to interpreting traditional 

legends and stories into her drawings and prints has captivated both 

the traditional and contemporary Inuit art collector....Inuit oral 

tradition is the foundation of much of Ningeokuluk’s work. Inspired 

by stories and legends told by Mialia Jaw to school children in Cape 

Dorset, Ningeokuluk is one of a new generation of Inuit artists who 

are bringing the tales back to life in graphic form." 

In a description of the 2010 Cape Dorset Print Collection, from 

which this print comes, Leslie Boyd Ryan and John Westren write 

"In this print, Kiviuq (a legendary Arctic wanderer) has killed the 

female bear's mate and she is after him.With a sweep of his little 

finger Kiviuq creates the river between them and begins to drink 

from it. He encourages her to do the same and in so doing she 

bloats and dies, releasing a great cloud of mist that obscures the 

land and water. In Inuit folklore, this explains how fog was made." 

The stonecut print, according to 

Dorset Fine Arts, is "unique to 

Canada’s north, and it has been the 

chosen medium of the Kinngait 

Studios for forty five years. It is a 

variation on the age-old medium 

of the woodcut, in which the area 

to appear on the paper is uncut, or 

left in relief, 

while those areas which are not to 

appear in print are cut away, leaving a 

series of raised images on the face of 

the stone. This raised area is inked, and 

a thin sheet of paper, usually mulberry 

paper, is placed over the inked surface. 

A protective sheet is placed over this 

thin sheet, and the paper is then pressed 

gently against the stone by hand with a 

small padded disc (a Baren). Only one 

print can be obtained from each inking 

of the stone. The stencil is made by 

cutting into heavy paper, strengthened 

by candle wax melted onto its surface. 

Ink is then stenciled or brushed onto 

the paper through the cut out design." 

Color versions of these prints can be 

seen at McClain's online Gallery or 

go to www.dorsetfinearts.com to learn 

more about Ningeokuluk Teevee and 

many other Inuit artists. 

(right, top to bottom) 

Curious Bear 

38.4 x 51.5 cm Lithograph 

Sedna's Wonder 

68.5 x 51 cm Lithograph 

Yesterday 

43.5 x 33 cm Stonecut & Stencil 

The Owl and the Boy 

61.3 x 46.2 cm Lithograph 

Timmiqti (Bull Walrus) 

49.7 x 62 cm Stonecut & Stencil 

(below) 

Northern Delicacy 

61.3 x 43.5 cm Lithograph

Dear Friends, 

If you've ever wondered what we do at McClain's, here's a quick 

guided tour. 

First, it's everyone's job to make sure that your orders are on 

their way to you as fast as possible. So the day starts with packing 

boxes of all shapes and sizes, writing up 

orders and getting your supplies on their 

way to you. 

After the orders 

are finished, we 

open boxes of 

new materials and 

restock the shelves. The Japanese orders are 

especially fun since we get to "read" the 

packing material. 

New products arrive every so often and intense testing ensues. 

Here we're trying out visors and nitrile gloves, which proved to 

be surprisingly strong. 

Once a year Shina plywood 

arrives from Japan. This gives 

the guys a chance to drive two 

really big trucks (whoo hoo!) 

from the container yard to our 

warehouse, where a crew of 

eight unloads the wood, three 

sheets at a time. When we're 

done, the warehouse is full to the rafters and the whole place 

smells like Shina. Lucky for us, it's a good smell! 

Workshops, school visits and trade shows 

give us a break from the daily routine as 

well as a chance to say "hi!" to everyone. 

Do we ever party? You bet. 

Hey, we're printmakers too! 

A start-work-at-McClain's 

anniversary, a birthday, or just 

the fact that it's Tuesday. We're there! 

Everyone here at McClain’s wishes you a wonderful year and 

thanks you so very much for your continuing support. Cheers 

and keep in touch! 

Contents 

imcclans.com, pronunciation guide 

and metric conversion 2 

ink comparison chart 3 

blocks 

Shina Plywood 4-5 

Cherry Plywood 6 

Linoleum 7 

Monotype Plates, Solarplates 8 

Solarplate accessories 9 

Scratch Foam, Gomuban (rubber plate), Bench Hooks 10 

QuikWood, Carbon Paper, Polyfilm, Inkjet Transfer Paper 11 

Resingrave Blocks 12 

tools 

Engraving Tools 13 

Tool Carriers and Holders, Stencil Cutters 15 

Japanese Woodcut Tools, Sets and Mallets 16-22 

Honing Blocks, Whetstones, Magnifiers 23-24 

Work Sharp WS3000 25 

brushes, brayers 

Japanese Printing Brushes, Steiner Mixing Brushes 27 

Japanese Printing Brushes, Dragon Skin, Stippling Brushes, 

Brush Rest 28 

Japanese Water & Sizing Brushes 29 

Japanese Brayers, Ink Knives 30 

Takach Hand and Specialty Brayers 31 

inks 

Ink Comparison Chart 32 

Gamblin Dry Pigments, Mortar and Pestle 34 

Bokuju (Sumi ink), Tosai’s Pigment Set, Mica 35 

Akua Kolor Applicators 36 

Akua Kolor Ink 37 

Palette, Cuppers, Rice Paste 38 

Akua Intaglio Ink 40 

Caligo Safe Wash Relief Ink 41 

Gamblin Etching Ink 42 

Gamblin Relief Ink 43 

hand presses 

Baren and accessories 45-47 

Registration Boards 47 

PinPress 48 

paper 

Paper Sample Book, Washi (Japanese Hand-made Paper), 

Western Paper, Washi Cards 50-53 

Cutting Mats, Glassine, Newsprint, Dosa (Sizing) 54 

videos, dvds, books 55-57 

safety, clean up, carry all 58-59 

guarantee, ordering & shipping 60-61 

order form 63 

index inside back cover 

1

Contributing Prints to 

McClain’s Catalog and Gallery 

All of the prints you see in our catalog and on our website were 

sent in by printmakers willing to share their work. 

We accept woodblock prints, linocuts, engravings, Solarplate 

images and monotypes or monoprints. Work is given recognition 

but there is no payment. The copyrights to all images belong to 

their respective artists. McClain’s will not use the submitted 

art for any purpose other than display in our catalog or on our 

website without written permission and we will not release the 

material in whole or part to any person or company. 

Space in the catalog is limited. McClain’s reserves the right to 

decide which prints to accept for publication in our catalog and 

to show in the online gallery. 

To send prints, choose the format easiest for you: 

• Scanned Images: If you send a scanned image, please send .jpg or 

.tiff files at 300dpi minimum, image size approximately 4" x 6" (10 

x 15cm). You can send them by email or by regular mail on CD’s. 

• Slides: Please mark your slides so we know which way the 

image should be viewed. 

• Photocopies: We also accept high-quality photocopies. 

• Prints: Original prints are saved and shown at schools during 

demos, so they are seen by many people. 

We are happy to return slides, CD's and original prints that come 

with a stamped, self-addressed padded envelope or tube. 

IMPORTANT: Please include a note with the title of the print; 

your name and address; the technique and materials used; the 

size of the image; and, if you wish us to publish it, your email or 

website address. 

Thank you very much! 

www.imcclains.com 

You can order supplies through our Online Catalog and see all 

of our products in color. New products and sale items appear 

frequently. Workshops, resources and competitions are listed 

on the Calendar and Links page. Product information sheets can 

be downloaded. All of the prints in this catalog and from the last 

eight catalogs can be seen in full color in the Gallery, plus new 

prints are added throughout the year. And now you can join us on 

Twitter and Facebook. See you there! 

Japanese Pronunciation Guide 

Vowels 

While English has at least eighteen vowel sounds, Japanese has only 

these five: 

a i u e o 

"ah" "ee" "oo" "eh" "oh" 

Although these sounds can be lengthened in duration, or shortened 

until they are almost omitted, the basic sound of each vowel remains 

the same. The best examples of the shortened vowel sound in this 

catalog are the u in komasuki or aisuki. The u in these two words 

almost disappears until it is more just a dip down in tone instead of 

an "oo" sound. So it is "komas-kee" and "ice-kee" not "komas-ookee" 

and "ice-oo-kee." 

Consonants 

The twenty eight Japanese consonant sounds are pronounced pretty 

much the same as English consonants with the exception of r. There 

is no English equivalent for this unique sound which is used in place 

of an English r or l. Try placing the tongue softly just behind the 

teeth, as if you were saying la, and make a sound half way between 

r and l. Do not roll the r as you would in Spanish. It is a lazy sound 

that takes hardly any effort to say and it requires a lot of practice 

for English speakers to say correctly. Baren is a word that uses this 

Japanese sound. 

Metric Conversions 

Japan uses the metric system, so the sizes for most of the supplies 

from that country are metric. All other measurements in the 

catalog are in inches. The two rulers below show inches on top 

and centimeters on the bottom. 

top left: 

Lanterna 

13 x 9.5 Moku Hanga 

Heather Schlag 

Scappoose, OR 

An Almost True Story 

4 x 3 Moku Hanga and 

rubber stamp artist's book 

Alex Prentiss 

Beaverton, OR alex@imcclains.com 

2 

Self Portrait 

7 x 4.5 Moku Hanga and 

colored pencil artist's book 

Maida Cummings 

Newberg, OR 

Owl for Emily 

12 x 22 Moku Hanga 

Brian Lockyear 

Portland, OR 

lockyeardesign.com 

top right: 

Caught Cat Napping 

15.75 x 13 Moku Hanga 

Elaine Chandler 

Sequim, WA

New Products 

Cherry Plywood 

Page 6 

This is not your local lumberyard's plywood. A carpenter and craftsman 

in Maine, who is also a relief printmaker, has been making and using 

this plywood for woodcuts for several years. His experimentation and 

experience have led to cherry blocks that are a pleasure to carve and print. 

The veneer is very thick, much thicker than veneer on commercial 

plywood, plus it is sawn from the plank so you are actually carving on 

plank wood, just like the old Japanese carvers did. The difference is this 

cherry is mounted to Baltic Birch so it won't warp. It is so flat that it can be 

printed either by hand or on a press. As many printmakers know, birch is 

also a good wood for woodcuts, so both sides of these blocks can be carved 

and printed. Available in sizes up to 18 x 24. 

Work Sharp WS3000 Motor Sharpener 

Page 25 

It's hard to believe that sharpening tools can be fun, but with a Work Sharp, 

we have to admit that it is! Fast too. 

Tools are sharpened on sandpaper attached to horizontal wheels. The 

wheels are either thick tempered glass or a special slotted wheel that 

actually lets you see what is happening to the blade as you sharpen it. The 

wheel shown here is an optional leather wheel, perfect for honing. 

Included with the Work Sharp WS3000: 

• 2 tempered plate glass wheels and the following grades of sandpaper for 

these wheels: 2 sheets of 120 grit, 4 sheets of 400 grit, 4 sheets of 1000 

grit, 1 sheet of MicroMesh 3600 

• 1 Edge-Vision wheel and and the following grades of sandpaper for this 

wheel: 1 sheet of 80 grit, 2 sheets of 400 grit, 2 sheets of 1200 grit 

• Sandpaper eraser 

• Instructional DVD and manual written in English, Spanish and French 

Gamblin Etching Ink 

Page 42 

Why is a relief printmaking supply company carrying etching ink? Because 

many of our customers use Solarplates and Resingrave as both relief 

and intaglio plates, and because etching ink is often used in monotype 

printmaking. So we decided to carry the full line of Gamblin printmaking 

inks and modifiers. 

Like their artist's colors and relief inks, Gamblin Etching Inks are 

handcrafted in small batches on a small, three-roller mill, using the highest 

quality linseed oil and pigments. This simple formula leads to permanence, 

intense color and sensitivity to the printmaker's most finely detailed marks. 

Gamblin Etching Ink's high pigment concentration means more prints for 

less cost and the ability to print through gradations from the lightest light to 

the darkest dark. Try using Gamblin professional quality inks and see what 

a difference they make to your process and prints. 

3

Blocks and Plates 

Shina Plywood 

Tilia japonica: a member of the Linden family 

This fine-grained plywood from Hokkaido, the northernmost 

island in Japan, is a long time favorite among Japanese 

printmakers. Shina is harvested selectively and sustainably. The 

plywood is of the highest quality available, free of voids, knots 

or blemishes. It is sanded smooth to an even thickness and ready 

for carving and printing. 

Basswood and Shina are both members of the Linden family. Like 

basswood, Shina feels virtually grainless as you carve it and it is 

soft enough to carve very easily. However unlike basswood, it is 

dense enough to hold sharp edges through many printings. 

There is significantly less swelling, shrinking or warping with 

plywood compared to solid planks. A very thin application 

of glue is used between the Shina plies, so compared to most 

plywoods, these blocks will feel more like solid wood as you 

carve them. Because the glue is thin, your tools will stay sharp 

longer too. 

3/8" Shina Plywood (previously called "All Shina") 

All five plies or layers of 3/8" (9mm) Shina Plywood are Shina. 

3/8" Shina Plywood can be safely carved on both sides. Be 

aware that if you are printing on an etching press and using high 

pressure, carved areas on one side of the block may show up as 

lighter areas when you print the other side. This is not a problem 

when you are printing with a baren or on a letterpress. 

1/4" Shina Plywood 

Like 3/8" Shina Plywood, 1/4" (6mm) Shina Plywood also has 

five plies of Shina; however each inner ply is thinner. Because it is 

only 1/4" thick, we do not recommend carving these blocks on 

both sides because it is possible to carve through areas you want 

to keep on the opposite side. 

Comparing 3/8" and 1/4" Shina Plywood 

• Since it is thicker, 3/8" is less apt to warp 

• 3/8" can be safely carved on both sides 

• If the block is carved on both sides, 3/8" is more economical 

• If the block is carved on just one side, 1/4" is more economical 

• 1/4" is easier to print on an etching press because it is thinner 

Tips 

To prevent warping, store blocks flat in a dry place. Keep them 

away from excessive heat. If you plan to carve both sides of a 

block, tape a heavy sheet of paper on the side not being cut. This 

will protect the underside from dents or scratches. 

Grain 

On standard sizes, the wood grain runs parallel with the longest 

dimension. Custom blocks can be cut with the grain running 

parallel with the short dimension. 

Sizes and Availability 

To maximize the number of blocks from a sheet, reduce waste 

and keep prices as low as possible, we may lose up to the width 

of the saw blade (about 1/8") from the dimensions of a block. 

Exact and custom sizes can be cut for a small additional charge. 

Please allow one week for cutting custom blocks, blocks larger 

than 18 x 24, and large orders. 

5% Volume Discount 

Receive a 5% discount on orders of 12 or more of the same size 

and kind of Shina Plywood. Different sizes and kinds of wood 

cannot be combined for this discount. There are no discounts on 

custom orders. 

4 

Open 10:00 to 5:00 PT, Monday-Friday PHONE 800-832-4264 FAX 503-641-3591 www.imcclains.com

Shipping weight in pounds (lb) is shown next to each 

block size. Block dimensions are given in inches. 


on top of 


GRAB BAG 

Twenty piece mix of 1/4" and 3/8" 

Shina Plywood blocks in varying sizes and 

shapes, none smaller than 2" x 2" or larger 

than 4" x 4" 


(five plies of Shina) 


(five plies of Shina, used to be called 

"All Shina") 

D1260 4 x 6 0.1 lb $1.20 D1240 4 x 6 0.1 lb $1.50 

D1261 6 x 8 0.3 lb $2.35 D1241 6 x 8 0.4 lb $2.90 

D1262 8 x 10 0.5 lb $3.85 D1242 8 x 10 0.7 lb $4.95 

D1263 9 x 12 0.7 lb $5.20 D1243 9 x 12 0.9 lb $6.65 

D1264 12 x 16 1.2 lb $9.20 D1244 12 x 16 1.6 lb $11.75 

D1265 14 x 18 1.8 lb $12.05 D1245 14 x 18 2.1 lb $15.55 

D1266 14 X 20 2.1 lb $13.40 D1246 14 X 20 2.3 lb $17.10 

D1267 16 x 20 2.4 lb $15.30 D1247 16 x 20 2.7 lb $19.65 

D1268 18 x 24 3.0 lb $20.70 D1248 18 x 24 3.6 lb $26.50 

D1269 20 x 24 3.3 lb $22.95 D1249 20 x 24 4.0 lb $29.50 

D1270 20 x 30 4.4 lb $28.75 D1250 20 x 30 5.0 lb $36.75 

D1299 2.25 lb $8.95 

CUSTOM SIZES 

D1296 1/4" Shina, per sq. inch $0.058 

D1294 3/8" Shina, per sq. inch $0.069 

FREE SAMPLES 

If you have not carved Shina before call or 

email and we will send you a free sample. 

*Please Note: UPS packages that are three 

cubic feet or larger are charged at a higher 

rate based on either size or actual weight, 

whichever is greater, and these rates vary 

depending upon your location. Please call or 

email us if you need the know the exact cost 

before we ship your order. 

D1271 22 x 28 4.5 lb $29.50 D1251 22 x 28 5.1 lb $37.90 

D1272 24 x 32* 5.6 lb $36.30 D1252 24 x 32* 6.4 lb $47.35 

D1273 24 x 36* 6.3 lb $40.90 D1253 24 x 36* 7.2 lb $53.30 

D1274 30 x 40* 8.7 lb $56.80 D1254 30 x 40* 10.0 lb $73.70 

D1275 36 x 36* 9.5 lb $61.35 D1255 36 x 36* 10.8 lb $79.35 

D1276 36 x 48* 12.6 lb $81.75 D1256 36 x 48* 14.4 lb $105.80 

"When I started wood relief carving 

just a few years ago, McClain's was 

recommended to me as an excellent 

resource. Since then I have ordered all my 

materials from McClain's, and I wanted to 

thank you for your excellent service, quality 

materials and most of all, patient advice." 

Andrea, Atlanta GA 

Saguaro 

16 x 12 woodblock 

Alex Slotzkin 

Mesa, AZ 

alexslotzkindesign.com 

untitled 

7 x 5 linocut monoprint 

Don Somppi 

Tigard, OR 

don.somppi@comcast.net 

Silent Rock 

9 x 6 four block Moku Hanga 

Linda Mahoney 

Northfield, MA 

lmahoneyprints.com 

Open 10:00 to 5:00 PT, Monday-Friday PHONE 800-832-4264 FAX 503-641-3591 www.imcclains.com 5

Cherry Plywood 

NEW! 

Prunus Serotina mounted on White Baltic Birch 

Solid mountain cherry planks are traditionally used in Japan for 

Moku Hanga (the Japanese style of printmaking). At one time 

skilled craftsmen made cherry blocks for printers, drying the 

wood for many years, joining small pieces to make larger blocks, 

reinforcing the ends so they would not warp and hand-planing 

them to a perfectly smooth surface. But those times are gone 

and so are most of the cherry trees that they used. Regular plank 

cherry has its drawbacks. It likes to warp and sizes are limited by 

the size of the trees still available. 

Made in the U.S.A. 

Enter our new Cherry Plywood blocks. But this isn't just any 

cherry plywood. This plywood is made by a carpenter and 

craftsman in Maine who also happens to be a relief printmaker. 

He has been making these blocks for friends as well as his own 

use for several years and he knows what works. 

This cherry veneer is made from native New England black 

cherry. Because it grows in the cold north, the wood is very 

dense and close-grained, very similar to the mountain cherry 

of Japan. It is milled into 1" planks and air-dried under cover 

outside until it reaches 12% humidity. Then the wood is brought 

indoors to air dry until it reaches 6% - 8% humidity. The wood 

used to make these blocks has been drying for four years. 

A 1/8" thick veneer is cut from the face of the plank. That is 

much thicker than the veneers found on commercially available 

plywood and means almost never carving through to the wood 

beneath. The cherry veneer is applied to 12mm (approximately 

1/2") white baltic birch plywood. The A side of the birch plywood, 

which has fewer splices and a more consistent grain pattern 

than the B side, is on the opposite side of the block so it can be 

carved and printed as well. Plus all of the plies in the baltic birch 

plywood are the same high quality birch. Baltic birch plywood is 

free of any voids; however small knots may occasionally show up 

in the inner plies. Both the birch veneer and the cherry veneer 

are free from knots or blemishes of any kind. 

Tips on Using and Storing Cherry Blocks 

These blocks are very flat and level, so they can be printed either 

by hand or on a press. 

Sizes 4 x 6 through 9 x 12 are made with a solid piece of seamless 

cherry veneer. The 12 x 16 blocks have one seam and the 18 x 24 

blocks either one or two seams. These seams are almost invisible, 

very tight and will not show when printed on a press with oilbased 

ink. We printed a block with a seam using Moku Hanga, 

which requires spraying the block with water before applying 

water-based ink, and could not see the seam on the print. But we 

have not done a long print run yet using this technique. When we 

have a more information about how the seams stand up to water, 

we will post it on our web site. 

Sharp tools are essential for smooth, easy carving on cherry. Very 

fine detail can be cut into these blocks and printed repeatedly 

without the wood breaking down. 

The blocks come planed and sanded to a smooth, printable 

surface. You can sand them even smoother using 400 or 600 grit 

sandpaper. Wrap the sandpaper around a block of wood or use a 

rubber sanding block and always sand parallel to the grain of the 

wood, not across it. 

After printing, store the blocks flat in a dry place and keep them 

away from excessive heat or moisture to avoid warping. 

Grain 

In all cases the grain of the veneer on both sides runs parallel 

to the longest dimension. Unlike wood which has distinctive 

growth rings that are very different in density, such as fir or 

pine, there is virtually no difference in the hardness of the 

growth rings of black cherry. Because of this, cherry is used 

to make prints that do not show grain pattern. Baltic Birch is 

softer and has a straight grain pattern which will show up if 

light applications of ink are used. 



Cherry Plywood blocks. Different sizes cannot be combined for 

this discount. 

Sizes 

The blocks are just under 5/8" thick. Custom sizes are not 

available, however we can cut larger blocks down into smaller 

sizes for you. The price is $0.25 per cut. 

Shipping weight in pounds (lb) is shown next to each block size. 

Block dimensions are given in inches. 

D1320 4 x 6 (no seams) 0.4 lb $5.75 

D1321 6 x 8 (no seams) 0.8 lb $11.50 

D1322 8 x 10 (no seams) 1.3 lb $19.20 

D1323 9 x 12 (no seams) 1.8 lb $25.90 

D1324 12 x 16 (one seam) 3.2 lb $53.75 

D1328 18 x 24 (one to two seams) 7.2 lb $120.95 

Perfect Offering 

8.25 x 7 woodcut 

cut from Cherry Plywood, 

printed on Mulberry Washi 

Brian Keegstra 

Brooksville, ME 

bkeegstra@myfairpoint.net 

6 


ArtPrint Linoleum 

ArtPrint Linoleum is made in the Netherlands specifically for 

printmaking. It lays flat without being mounted or heated and it 

is very easy to carve. At the same time, it is stiff enough to hold 

fine detail. Unmounted linoleum is 3mm thick or just shy of 1/8". 

Carbon paper, permanent felt pens, pencil marks and ink from 

Inkjet Transfer Paper all show up very well on its smooth, 

medium gray surface. 

Linoleum is easily carved with any of McClain's woodblock 

carving tools (pages 16 - 22). Keep a Leather Honing Block (see 

page 23) handy because carving linoleum dulls tools faster than 

carving on wood. 

Free Sample 

If you have not carved ArtPrint Linoleum before call or email and 

we will send you a free sample of unmounted Linoleum. 

Mounted ArtPrint Linoleum 

ArtPrint Linoleum is permanently bonded to a high quality 

wooden substrate chosen for its uniform thickness. The low 

profile and substantial weight of these blocks gives you great 

control while carving or hand burnishing. 

The 5/8" high blocks are easy to use on an etching press and with a 

little shimming, are letterpress friendly too. 

The routed edge keeps ink from transferring to your hands when 

you are handling the block. 

The blocks are unaffected by common solvents like Gamsol (page 

58). If you are cleaning up with soap and water, waterproof the 

base by painting it with varnish. Spar varnish works well. 

To prevent warping, blocks should be cleaned and stored flat in a 

dry place. 



of Mounted ArtPrint Linoleum blocks. Different sizes cannot be 

combined for this discount. 

Shipping weight in pounds (lb) is shown 

next to each block size. Block dimensions 

are given in inches. 

L1610 4 x 6 0.5 lb $2.60 

L1611 6 x 8 1.2 lb $5.20 

L1612 8 x 10 1.7 lb $8.65 

L1613 9 x 12 2.2 lb $11.75 

L1614 12 x 16 3.8 lb $20.85 

L1618 18 x 24 8.6 lb $46.50 

Unmounted ArtPrint Linoleum 

Because it lays flat at room temperature, ArtPrint Linoleum is easy 

to carve unmounted. Or you can mount these pieces yourself. 

You can easily cut linoleum with a utility knife or we can cut 

custom sizes for you for a small additional charge. 

Allow one week for cutting custom blocks and for large orders. 



Unmounted ArtPrint Linoleum blocks. Different sizes cannot be 

combined for this discount. There are no discounts on custom 

size orders. 

Shipping weight in pounds (lb) is shown 

next to each block size. Block dimensions 

are given in inches. 

L1410 4 x 6 0.3 lb $1.30 

L1411 6 x 8 0.4 lb $2.45 

L1412 8 x 10 0.7 lb $4.15 

L1413 9 x 12 0.9 lb $5.55 

L1418 18 x 24 3.3 lb $22.20 

L1425 *36 x 72 21.5 lb $133.20 

CUSTOM SIZE 

L1499 ArtPrint Linoleum, per sq. inch $0.062 

Thara Memory 

8.5 x 8.5 linocut 

Ryan Cheng 

Beaverton, OR 

saxguy27@yahoo.com 

etsy.com/people/ 

InkandFiberArt 

*Please Note: UPS packages that are three cubic feet or larger 

are charged at a higher rate based on either size or actual weight, 

whichever is greater, and these rates vary depending upon your 

location. Please call or email us if you need the know the exact cost 

before we ship your order. 


Monotype Plates 

Water-based inks like Akua Kolor look their most intense 

printed on dry paper, but traditional monotype plates are often 

too thick and dry paper can buckle around the edges of the 

plate as it is run through a press. These polycarbonate plates are 

just 1mm thick (less than 1/32") and will print onto dry paper 

without any problem. 

The plates are thin enough to cut easily to any size with a sharp 

utility knife. Unlike mylar film they are stiff enough to ink up and 

handle without difficulty. 

Crystal clear and smooth, it is easy to copy designs placed under 

the plate. With water-based ink, clean with soap and water 

(SavvySoap® works well) or rub with Bon Ami if the plate becomes 

stained. With oil-based ink, clean with vegetable oil, Gamsol or 

SavvySoap (pages 58 - 59). 



Monotype plates. Different sizes cannot be combined for this discount. 

Solarplates 

Create Printing Plates Using the Sun 

Make relief or intaglio printing plates fast and without toxic 

processing. Solarplates are easy to make and incredibly adaptable. 

Depending on the materials used to create the transparency, 

prints will resemble etchings, lithographs, photogravure, screen 

prints or woodblock prints. There is no need for expensive 

equipment or toxic chemicals in creating these durable plates. 

To make a Solarplate print, a piece of artwork is copied or created 

on transparent film. The film is laid on top of the photopolymer, 

which is both light sensitive and water-soluble. When light from 

the sun (or any UV light source) hits the plate, it hardens. The 

parts of the plate protected from light wash away with tap water. 

Intaglio plates are created from a positive image on the film; 

relief plates are created from negative images. Either oil-based or 

water-based inks can be used to print Solarplates. 

The steel base is 1/32" (.83mm) thick and the photopolymer has a 

relief depth of .023" (.29mm). 

No Flaws 

Before shipping, we inspect each plate carefully, so you can be 

sure the plates you receive from us are flawless. 



1-4 5-19 20+ 

D1900 5 x 7 0.2 lb $9.95 $8.55 $8.00 

D1906 8 x 10 0.5 lb $16.95 $14.75 $14.00 

D1903 12 x 16 1.2 lb $44.95 $40.00 $38.00 

D1904 16 x 20 2.0 lb $71.95 $64.00 $61.00 

Printmaking in the Sun DVD 

Dan Welden demonstrates using 

Solarplates for both intaglio and relief 

prints. For details, see page 55. 

R2650 30 minutes long 0.6 lb $29.95 



D1843 9 x 12 0.4 lb $4.95 

D1848 18 x 24 1.5 lb $16.95 

Relief Solarplate 

and print 

Aquatint Screens for Intaglio Prints 

Aquatint Screens are reusable, high resolution, 80% stochastic 

(indeterminate or random) screens, covered with minute, 

randomly-sized, randomly-spaced opaque dots. They are used to 

prepare Solarplates for intaglio printing. 

Double exposing a Solarplate to both an Aquatint Screen and 

a transparency of the image results in a plate that has enough 

texture or bite to retain ink, give a wide tonal range and preserve 

the quality of drawn marks, brush strokes and fine lines when it 

is printed. Aquatint Screens also help you control the depth of 

the grooves in the plate, create plates for printing extensive black 

areas, and produce stunning photogravure-like effects. 

Unlike regular half-tone screens, Aquatint Screens do not leave a 

discernible pattern on the Solarplate. 

D1920 6 x 8 0.1 lb $14.00 

D1922 8.5 x 11 0.2 lb $27.00 

D1924 12 x 16 0.3 lb $48.00 

D1925 16 x 20 0.4 lb $65.00 

D1928 32 x 42 2.0 lb $272.00 

8 


Solarplate Light Box 

When it comes to exposing Solarplates, your choices used 

to be the sun (very unpredictable) or an exposure unit (very 

expensive). This much more affordable, sturdy Solarplate Light 

Box is made specifically for exposing Solarplates. 

The opening is 101/4" x 14" so it is very easy to expose 5" x 7" 

and 8" x 10" plates. Simply place a piece of glass that is larger 

than the Light Box opening over the Solarplate and transparency 

and place the Light Box right on top. The weight of the box 

gives the right amount of contact between the transparency and 

Solarplate. Larger Solarplates can be exposed by holding the 

Light Box by the handles and slowly moving it over the plate. 

Light Boxes are drop-shipped from the manufacturer on the east 

coast. The cost of shipping varies depending on the destination 

but the average cost in the U.S. is around $35 for UPS Ground. 

D1940 

outside dimensions: 

12" x 15.5" without 

handles 

18 lb $350.00 

Magnetic Vinyl 

Magnetic Vinyl (dark gray in the photograph) holds steel-backed 

Solarplates for you so inking and washing out are a breeze. 

Tape the Magnetic Vinyl to a board with duct tape to hold 

the steel-backed Solarplate steady while you are inking it. No 

more fingerprints! 

Or attach a piece of Magnetic Vinyl to a steel tray or cookie 

sheet with double stick carpet tape to hold the exposed 

Solarplate for washing. 

Magnetic Vinyl is easy to cut to any size with a utility knife and a 

straight edge. 

Enameled Steel Trays 

Very handy for washing out Solarplates. Line the bottom of the 

tray with Magnetic Vinyl to hold the Solarplate in place. 

Or use the tray as a palette for mixing ink or paint. The porcelain 

coated surface cleans easily and thoroughly, and resists staining 

better than plastic. Also useful for soaking small pieces of paper 

before printing or use for marbling and suminagashi (the Japanese 

style of marbling). 

The porcelain edge may be slightly chipped; this is unavoidable 

in the manufacturing process. Simply touch up with nail polish 

to prevent rust. 

D1930 18" x 24" 1.4 lb $8.95 

E5520 13" x 17" 2 lb $13.50 

Ready to Ink Up 

Magnetic Vinyl is taped to a 

board. Newsprint is placed 

between the Solarplate and 

Magnetic Vinyl to keep the 

Vinyl clean while inking. 

Fiski 

7.25 x 11 Solarplate etching 

Larry Davis 

Lexington, Kentucky 

apolkalypso.com/Larry_Davis/ 

pthumbs_5.html 

Resting 

6.75 x 5 reduction woodblock 

Suzann Watkins 

Bandon, OR 

7dfwsue@verizon.net 

Only Foam Was Left 

10 x 7 Shina & Cherry woodcut 

Francesca de Csipkay 

Eugene, OR 

francescadecsipkay. 

wordpress.com 


Scratch Foam 

Make marks on this flat, dense foam sheet with simple objects 

like pencils, ball-point pens or kitchen tools. Safe for kids since 

it eliminates the need for sharp tools or forceful carving. The 

surface is so sensitive that any object can be pressed into it to 

make lines and textures, and tough enough to make remarkably 

sharp, clear prints. 

No special technique is required. Just draw into the surface 

and print. A great first step for beginning printmakers, fun and 

liberating for experienced artists. 

Print with either oil or water-based inks. 

Gomuban 

"Rubber Plate" 

This soft, easy to carve vinyl rubber plate is used extensively in 

Japanese classrooms. Gomuban is imported directly from Japan. 

Compared to white eraser material (Speedy Cut or 

MasterCarve) Gomuban is just as easy to carve, but it is stiffer 

so it holds very fine details and crisp edges even under pressure 

from a press. It is so dense that it can be printed either as a relief 

or as an intaglio print. 

Gomuban can be printed on either side, although the green 

side is smoother. Carbon paper can be used to transfer designs, 

however it can also be rubbed off so be careful as you carve. Or 

draw directly on the surface with a permanent marker. 

D1800 Box of twelve 9” x 12” sheets 0.5 lb $7.95 


Receive a 5% discount on 

orders of 12 or more plates. 

FREE SAMPLES 

If you have not carved 

Gomuban before call or 

email and we will send you 

a free sample. 

D1550 

300 x 400 x 3mm 

(11.75" x 15.75" x 1/8") 

1.3 lb $9.95 

Hanga Sagyodai 

bench hooks 

Keep your hands safe! Bench Hooks hold the block securely so 

you can keep your free hand out of harm's way as you carve. 

The block slides easily on the smooth wood. Bench Hooks also 

protect tabletops from slips of the tool. They are indispensable 

when using a mallet to drive a chisel through the block. 

Bench Hooks are made from 3/8" thick plywood. The end boards 

are both glued and nailed for durability. The top board is open in 

the center so blocks can be placed at any angle for easy carving. 

Vertical Bench Hook 

Horizontal Bench Hook 

Vertical Bench Hook 

E5009 9" x 12" 1.0 lb $10.80 

E5012 12" x 16" 1.5 lb $15.35 

E5014 14" x 20" 2.5 lb $22.40 

E5018 18" x 24" 3.3 lb $34.55 

Horizontal Bench Hook 

E5012H 12" x 16" 1.5 lb $15.35 

E5016H 16" x 20" 3.0 lb $25.60 

Custom Size Bench Hooks 

E5020 Custom Bench Hook, per square inch $0.10 

La Madonna Dei Gatti 

detail of wood engraving on boxwood 

Manuel Vermeire 

Gent, Belgium 

absolutearts.com/portfolios/ 

m/manuelvermeire/ 

Lake Ice 

13 x 8.5 woodcut 

Sara Tabbert 

Fairbanks, AK 

saratabbert.com 

Eclipse 

5.1 x 6.4 woodcut 

Nikkie Wilson 

Sidney, BC Canada 

nikkiewilson.com 

10 


QuikWood 

This is the best putty we have tried for repairing wood blocks 

and linoleum. QuikWood is a strong, fast-setting, hand-mixable, 

non-shrinking epoxy putty. It feels like modeling clay and looks 

like a Tootsie Roll ® , with the base material wrapped around 

a curing agent. After it has cured, it is very similar to wood 

in hardness and density. It carves easily with no chipping and 

accepts Akua and oil-based inks very well. 

Simply cut or twist off a small amount, mix well and press into 

the area you want to repair. Wait about an hour, then sand and 

carve. When you are ready to print, charge the block by making 

three or four proof prints. After that you should not see the repair 

because unlike regular wood putty, which will contract around 

the edges of the repair as it dries, QuikWood does not shrink. 

Because it is epoxy, wear gloves when you are handling 

QuikWood and a mask when you are sanding it. MSDS (Material 

Safety Data Sheet) available upon request. 

left: mending a flaw; final proof next to the inked, mended block 

We recommend testing QuikWood on a scrap of wood before 

using it on a block that you plan to print. 

QuikWood has a shelf life of two years if it is kept at room 

temperature and sealed in its original package. 

E5460 1oz tube 0.2 lb $4.79 

Red Double-Sided Carbon Paper 

Carbon paper is often used to trace images to the block. Red 

carbon paper from Japan gives you an alternative to the black 

carbon paper available in the U.S. 

Because it is double-sided, it is easier to see what has or has not 

been traced as you draw over the transparency of the image. 

E4510 9" x 12.5" sheets, 10 pack 0.5 lb $6.95 

E4511 9" x 12.5" sheets, 100 pack 1.3 lb $66.00 

Polyfilm Tracing Paper 

One side of Polyfilm is matte and the other is smooth and shiny. 

Trace your drawing onto the matte side, which takes and holds 

graphite or ink very well. Flip the Polyfilm over, place it down on 

carbon paper and trace the image onto the block. 

Because one side is matte and the other side is shiny, you won’t 

get confused about which side should be down, especially when 

you are tracing the image onto several blocks. 

Unlike regular tracing paper, Polyfilm is waterproof and it will 

not tear. It is also completely transparent. 

Imported from Japan. 

Ink Jet Transfer Paper 

Images printed on this heavy duty, double-sided waxed paper 

transfer onto wood, linoleum or paper completely and cleanly. 

Scan an image into your computer and print it on a sheet of Ink Jet 

Transfer Paper. The ink stays wet on the Transfer Paper for several 

minutes, giving you plenty of working time. Place the Transfer Paper 

printed-side down on the block. Tape it in place and rub gently with 

a baren or wooden spoon. The image will immediately transfer to the 

block. You can wipe off the Transfer Paper and reuse it several times. 

Ink from Ink Jet printers does not adhere to nonporous plastic 

surfaces such as Resingrave, Gomuban or polycarbonates. Use to 

transfer onto porous, absorbent materials only. 

P7035 18" x 24" 0.1 lb $5.60 

E4515 Pack of 10, 8.5" x 11" 0.4 lb $2.99 

E4516 Pack of 10, 12" x 15" 0.7 lb $5.95 


Resingrave 

These hard, white epoxy resin engraving blocks give the same 

precise, finely detailed and clean edged marks of traditional 

end-grain boxwood but at a fraction of the cost. 

Years of fine tuning has created a material that can be cut with 

perfect control of direction and width. Unlike other plastics 

on the market, gravers will not skid or jerk on Resingrave, nor 

will they leave tailings clinging stubbornly at the ends of cuts. 

Resingrave actually can be carved more smoothly, with less 

chipping and cleaner edges, than most endgrain wood. Of course 

as when carving any material, sharp tools are the key to smooth, 

chip free carving. 

Resingrave also resists bruising and is easy to repair with offthe-shelf 

epoxy glue. Carve with standard wood engraving tools 

(facing page) or rotary bits (such as Dremel® tools). Excessive 

heat can cause Resingrave to become brittle so store blocks flat in 

a dry place at room temperature. 

Two Thicknesses - 13/16" Blocks or 3/16" Plates 

The thinner 3/16" plate is etching press friendly while the thicker 

13/16" block is designed for letterpress. Note to letterpress 

printers: one layer of D1759 Type-High Shim will boost the 13/16" 

block very close to type high. Because the thickness of the block 

can vary slightly you need to shim it the rest of the way. 

Use for Relief or Intaglio Printmaking 

The surface of Resingrave is toothy enough to hold ink for 

relief printing. But by polishing the surface, the blocks can be 

inked and then easily wiped clean for intaglio printmaking. 

Polishing instructions are at imcclains.com, "Techniques and 

How To's>Blocks and Plates>Resingrave Tips" or contact us for 

a hard copy. 

Sizes and Availability 

In addition to the standard sizes listed, custom sizes can be 

created. Special orders may take as long as two weeks to 

manufacture. There are no discounts on special sizes. 

Volume Buying 

Order 12 or more of the same size and kind of Resingrave and 

receive a 5% discount. Thicknesses cannot be mixed for this 

discount. Large orders may take up to two weeks to fill 

Free Sample 

If you have not carved Resingrave before call or email and we 

will send you a free sample. 

3/16" Thin Resingrave Plates 

Shipping weight in pounds (lb) is shown next to each block size. Block 

dimensions are given in inches. 

D1712 2 x 3 0.2 lb $3.00 

D1713 3 x 4 0.3 lb $6.00 

D1714 4 x 5 0.4 lb $10.00 

D1715 4 x 6 0.5 lb $12.00 

D1716 5 x 7 0.6 lb $17.50 

D1717 6 x 8 0.7 lb $24.00 

D1718 8 x 10 1.0 lb $40.00 

D1719 9 x 12 1.4 lb $54.00 

CUSTOM SIZES 

D1767 3/16" Resingrave, per sq. inch $0.50 

13/16" Thick Resingrave Blocks 

Shipping weight in pounds (lb) is shown next to each block size. Block 

dimensions are given in inches. 

D1702 2 x 3 0.4 lb $3.00 

D1703 3 x 4 0.6 lb $6.00 

D1704 4 x 5 0.7 lb $10.00 

D1705 4 x 6 0.8 lb $12.00 

D1706 5 x 7 1.0 lb $17.50 

D1707 6 x 8 1.4 lb $24.00 

D1708 8 x 10 2.3 lb $40.00 

D1709 9 x 12 2.8 lb $54.00 

CUSTOM SIZES 

D1757 13/16" Resingrave, per sq. inch $0.50 

TYPE-HIGH SHIM FOR LETTERPRESS 

D1759 8.5 x 12.5 0.4 lb $1.00 

DVD: Relief and Intaglio Printmaking Methods on 

Resingrave Blocks, with R. Woodman (page 55) 

BOOK: Relief and Intaglio Printmaking Methods on 

Resingrave Blocks, by R. Woodman (page 57) 

Pufferfish 

3 x 6 Resingrave engraving 

Eric Hoffman Providence, RI 

ehoffmanprints.com 

"I used to use boxwood, holly, lemon or pear, but the blocks are so 

expensive now that I'd sit in front of them and be terrified of making 

a mistake! Resingrave is great - really liberating and gives exactly 

the same results." 

Rosalind 

Perignac, France 

12 


Engraving Tools 

These are the tools you need to carve Resingrave and wood 

engraving blocks. 

What the Tools Do 

Angle Tints (English name: tint tools) cut straight lines of 

constant width, to give tone or shading to areas of the print. 

Use Elliptic Tints (spitstickers) to cut fluid lines; it is the 

engraver's basic drawing tool. Multiple Line Tools are all 1/8" 

wide and create several parallel lines with one stroke. Cut bold 

lines or clear areas of the block with the broader round or 

flat gravers (scorpers). Burins (gravers) make lines of varying 

width. The stippling tool is used for raising a burr on copper 

plates as well as making dots on engraving blocks. The thinnest 

marks are made with Size 1 tools; the larger the tool's number, 

the wider the mark the tool makes. 

The blades on the Angle Tints, Elliptic Tints, Flat and Round 

Gravers, and Multiple Line tools are 2.75" long; total length is 

4.6" with the handle. The blade on the Burins is 3.2" long; total 

length is 4.9" with the handle. 

Shipping weight: 0.1 lb each for tools 

Crocker Sharpener 

A precision holder with 

adjustments for both pitch 

and angle, the Crocker 

Sharpener holds tools 

precisely in position on 

the sharpening stone. This 

ensures that the sharpened 

face of the tool will be 

absolutely flat, resulting in 

precise razor-sharp edges, 

Crocker Sharpener 

Stone not included, see page 24 

something that is virtually impossible to achieve holding the tool 

against the stone with your fingers. 

Engraver's Sandbags 

Blocks are traditionally carved by holding the tool steady and 

moving the block under the tool. Placing the block on an 

Engraver's Sandbag makes this easy. Made with smooth cow hide 

or vinyl (stiffer but less expensive) and available in two sizes: 5.5" 

diameter for smaller blocks and 9" diameter for larger ones. Stack 

them to raise the block to a comfortable carving height. 

Angle Tints Elliptic Tints Flat Gravers Six Engraving Tool Set 

C3101 Size: 1 $17.00 C3201 Size: 1 $17.00 C3440 Size: 40 $11.80 C3900 (reg $77.89) $69.95 

Shipping weight: 0.8 lb 

C3102 2 $17.00 C3202 2 $17.00 C3446 46 $11.80 

Includes #4 Angle Tint, #2 Elliptic 

C3103 3 $17.00 C3203 3 $17.00 

Tint, #54 Round Graver, 

#4 Lozenge Burin, #40 Flat 

Graver, #46 Flat Graver 

C3104 4 $17.00 C3204 4 $17.00 Stippling Tool 

C3106 6 $17.00 C3206 6 $17.00 C3401 $9.49 Crocker Sharpener 

C3109 9 $17.00 C3209 9 $17.00 C3500 0.5 lb $48.90 

C3112 12 $17.00 C3212 12 $17.00 Multiple Lines 

C3303 3 lines $34.20 

Sharpening stones are on 

pages 23 and 24. 

Round Gravers Burins C3304 5 lines $34.20 Engraver's Sandbag 

C3652 Size: 52 $11.80 C3702 square 2 $8.15 C3306 7 lines $34.20 C3000 5.5" leather 2lb $21.00 

C3654 54 $11.80 C3704 square 4 $8.15 C3308 10 lines $34.20 C3002 5.5" vinyl 2lb $13.95 

C3656 56 $11.80 C3722 lozenge 2 $8.49 Note: the smaller the size, the narrower 

C3001 9" leather 7lb $28.00 

the mark the tool makes. The 

C3659 59 $11.80 C3724 lozenge 4 $8.49 

larger the size, the wider the mark. 

from left to right: 

Stippling Tool, #4 Angle Tint, 

#4 Elliptic Tint, and Multiple Line Tool 

Enlarged Faces of the Engraving Tools 

Engraver's Sandbags 


Carving Tools 

A Centuries Old Tradition 

Like Japanese swords and carpentry tools, Japanese woodcut 

tools are famous not only for the incredible craftsmanship that 

goes into their creation but also for being among the keenest and 

most durable tools in the world. 

Chokokuto (carving tools) are wonders of design and function. 

Designs, materials and manufacturing methods have been 

refined over centuries of trial and error to create elegant, highly 

functional tools. With proper care and use, these tools will last a 

lifetime and more. 

Master Craftsmen 

A Tokyo firm with several hundred years of experience in metal 

work manufactures all of our chokokuto. They are recognized in 

Japan as master craftsmen and their products are sold in shops 

throughout that country under various brand names. The quality 

of their work is unsurpassed. 

Manufacturing Process 

Most carving tools are made from a single piece of extruded 

metal that is then cut and stamped by machines. 

In contrast, the blades on Futatsu Wari Moku Hanga To, Moku 

Hanga Nomi and Josei Moku Hanga To are hand forged using 

two types of steel. One side, which later becomes the tip, is 

made of high carbon steel capable of taking and holding an edge 

of unsurpassed sharpness. This steel is forged by hand to softer, 

lower carbon steel for support. Hand forging involves heating 

the two kinds of steel in a coke fire and then hammering the two 

layers of red-hot steel together, compressing the steel, welding 

the layers together and introducing more carbon into a smaller 

area. The more carbon, the harder the steel, the better the tool 

cuts and the longer it holds an edge. 

Traditional Japanese carvers prefer hand forged tools because 

the resulting blades combine sharpness and hard density with 

flexibility, creating responsive tools capable of absorbing the 

stresses placed upon them while carving. They hold an incredibly 

sharp edge for a very long time and can be successfully sharpened 

again and again until the blade is worn away. 

Namisei Moku Hanga To are made from the same high quality 

hard and soft steel, but they are forged by an automated factory 

process instead of being hand forged. From that point on the 

craftsmen take over and the process is exactly the same as it is 

for making Futatsu Wari and Josei Moku Hanga To. 

After being forged, the blades are shaped and placed in handles. 

They are then precision sharpened, first on a motorized lap wheel 

to set the bevel and give the edge its initial shape; then by hand 

on Toishi (water stones). The flat sides of the Sho To, Hangi To, Hira 

To, and Aisuki (knives and chisels) are hollow ground to simplify 

future sharpening. The special, shallow bevel on Aisuki, Hira To, 

Komasuki, Maru To and Sankaku To (chisels, u-gouges and v-gouges) 

makes carving on horizontal surfaces much easier. Wooden 

handles are individually fitted onto each blade. 

Chokokuto Uses 

Use these tools for carving wood, linoleum, Gomuban and 

similar materials. If you are carving end-grain wood or 

Resingrave, use Engraving Tools (page 12). 

The Hangi To and Sho To (knives) are used to sharply outline areas to 

be saved and printed. Sankaku To (v-gouges) can also be used for this 

purpose, as well as to carve narrow marks and interesting textures. 

Komasuki and Maru To (u-gouges) are used to outline, create 

texture and clear away wood. Most people find it easier to cut 

curved lines with Komasuki or Maru To than with Sankaku To. 

Aisuki and Hira To (chisels) are used to clear away wood, make 

textural marks and take off the tall, sharp ridges left behind by 

Maru To or Komasuki cuts. 

Every Tool Tested and Ready to Use 

All tools are razor sharp and ready for immediate use. McClain’s 

guarantees this by having an experienced person carve a few marks 

into a piece of wood with each tool before they are sent to you. 

McClain’s is proud to be the exclusive U.S. distributor of these tools. 

14 


To Ire Bukuro 

canvas knife carrier from Japan 

The durable, heavy-duty canvas protects your valuable tools. 

Also handy for storing pens, pencils, watercolor brushes, and 

similar objects. The large carrier holds twenty tools of all sizes, 

and is especially useful for carrying long handled tools and 

Nomi (chisels). The small carrier holds up to seven tools and 

four brushes. 

E4811 Small: 17" long x 9.5" wide 0.3 lb $14.95 

E4812 Large: 21" long x 12" wide 0.3 lb $16.95 

small canvas carrier on 

top of a large one. 

Tools not included 

Leather Tool Carrier 

Made specifically for Tosai Six Tool Sets, the Leather Tool Carrier 

has ten slots for tools. The thick suede leather is tough and 

flexible to give your tools years of protection. A nifty rectangle 

of leather can be used to hone tools so they stay polished and 

sharp. Made in Japan. 

E4813 18.75” long x 9.75” tall 0.5 lb $44.29 


Bamboo Roll-Up 

Elastic slots keep tools (or brushes) in place. If the slots are too 

small for a large tool, you can clip the stitching between them to 

create a larger opening. 

E4815 12" x 12" 0.6 lb $9.00 


NT Stencil Cutter 

Designed for cutting paper stencils and other delicate work, 

these tools can be easily modified for making very fine cuts 

on woodblocks and linoleum. Complete instructions are at 

imcclains.com in the "Techniques and How To's" section. 

The tough steel blades last a surprisingly long time compared to 

similar knives, while the rubber handle is comfortable to hold. 

Comes with ten blades, five at 45 o and five at 30 o angles. Includes 

a futuristic looking protective cap. Imported from Japan. 

C2840 NT Stencil Cutter Set (with 10 blades) 0.7 lb $9.30 

C2841 45 o replacement blades, 40/box 0.6 lb $4.28 

C2842 30 o replacement blades, 40/box 0.6 lb $4.28 

Mt. Tamalpais from Waldo Grade 


Tom Killion 

Pt. Reyes, CA 

tomkillion.com 

Patron Saint of Shrews 

7.5 x 4.5 white line print 

Linda Kelen 

Spring Green, WI 

lindakelen-artings.blogspot.com 

Stone Sentinel 

21.5 x 13.8 Moku Hanga 

Walt Padgett 

Grants Pass, OR 

padgettart.com 


Futatsu Wari Moku Hanga To 

two part woodblock carving tools 

These professionally made, hand-forged tools are designed 

specifically for woodblock printmakers carving on flat surfaces. 

The short length of the Komasuki, Sankaku To and Aisuki allows 

them to be placed at the intersection of the thumb and the 

index finger (instead of in the palm as with Western knives), and 

controlled with the fingers of the free hand. This position takes 

some getting used to, but gives better control once mastered. 

The Hangi To, or knife, is held in different ways depending on 

the cut being made. Sometimes it is gripped in the fist, thumb 

pushing down on the handle's end, with the free hand guiding it 

in the cut. At other times, the Hangi To is held like a pencil, with 

the free hand pushing or pulling it along. 

Compared to Josei and Namisei Maru To, the shape of the Komasuki 

blade forms a deeper U, while compared to the square-tipped 

Josei and Namisei Hira To, the shape of the Aisuki tip is gently 

rounded so it glides through wood easily and smoothly. 

The blades of all of these tools can be repositioned or replaced. 

Slip off the brass ferrule on the Komaskui, Aisuki and Sankaku 

To and the two-part handle will swing open like a fan, revealing 

the blade inside. The Hangi To have one-piece handles and their 

blades may also be removed by slipping off the brass ferrule. 

Blade sizes of the Sankaku To and Komasuki are based on 

measuring across from one side of the top of the V or U to 

the other. The sizes of the Hangi To and Aisuki are found by 

measuring the blade horizontally from side to side. 

All of the tools are approximately 12.5cm (5 inches) in length. 

The handles are kaba (birch) and the ferrules are brass. The 

steel used in these knives is the very best. Each knife is truly 

a unique handcrafted work of art, a fine tool to be used and 

enjoyed for a lifetime. 

See sets of Futatsu Wari tools on page 20. 

Shipping weight: 0.1 lb each 

Hangi To 

knife, right- or left-handed 

Komasuki 

u-gouge 

Aisuki 

bull-nose chisel 

Sankaku to 

v-gouge 

C1811R C1811L 1.5 mm $35.80 C1820 1.0 mm $38.80 C1830 1.0 mm $31.15 C1840 1.0 mm $53.90 






C1827 7.5mm $51.40 C1837 7.5mm $39.85 

C1829 9.0mm $61.95 C1839 9.0mm $45.50 

Tama To (circle cutter) 

Replacement Blades (no handle) 

C1850 6.0 mm $61.15 

see website for details 

Hangi To 

knife replacement blade 

right- or left-handed 

Komasuki 

u-gouge 

replacement blade 

Aisuki 

bull-nose chisel 


Sankaku to 

v-gouge 








C1927 7.5 mm $35.20 C1937 7.5 mm $26.60 

C1939 9.0mm $45.65 C1939 9.0mm $36.70 

16 


Moku Hanga Nomi 

woodblock carving chisels and gouges 

The blades on the Nomi (chisels) are made of the highest quality 

steel, while the handles are lacquered kashi (Japanese oak), the 

strongest and most durable wood growing in Japan. 

The Kento Nomi is used to make registration marks and the handle 

on this tool is designed for use by hand, not for use with a mallet. 

The length is approximately 16.7cm (6 inches). 

The Maru Nomi (u-gouges) and Soai Nomi (chisels), with metal 

ferrules at the end of the handles, are designed for use with a 

kizuchi, or wooden mallet, found on page 22. The metal rings 

prevent the wood handles from splitting when the Nomi are 

tapped with the mallet. Many people also carve by hand with 

these tools. They are all approximately 21cm (8¼") long. 

Maru and Soai Nomi are excellent for clearing large areas on the 

block with speed and efficiency. While they resemble carpentry 

tools in appearance, they have been modified to perform the 

exacting maneuvers necessary for cutting on flat, horizontal surfaces. 

Soai Nomi 

For example, looking at the side of the Soai Nomi, notice that 

the blade and the shank gently taper in one long line towards 

the tip, a design that keeps the tool thin and light yet strong. 

The bevel is shallow, allowing the carver to comfortably push 

the tool through wood that is sitting flat on the table. The Soai 

Nomi has an arced tip or "bull nose" cutting edge unique to the 

Japanese chisel. In the course of creating this arc, the cutting 

edge is curved and the sharp corners that are found on Hira 

To or Western flat chisels are eliminated. The Soai Nomi cuts 

through wood easily without catching. It is a wonderful tool 

for clearing, and for taking off the tall, sharp ridges left by 

Komasuki, Maru To or Maru Nomi. 


Fukagata Maru Nomi 

deep u-gouge 

Asagata Maru Nomi 

shallow u-gouge 

Soai Nomi 

bull nose chisel 

Kento Nomi 

registration mark chisel 

C2062 4.5 mm $60.35 C2074 4.5 mm $49.50 C2089 9.0 mm $121.30 C2056 15.0 mm $75.90 

C2063 6.0 mm $62.50 C2075 6.0 mm $51.30 C2090 10.5 mm $127.45 

C2064 7.5 mm $71.55 C2076 7.5 mm $54.90 C2091 12.0 mm $127.45 

C2065 9.0 mm $76.75 C2077 9.0 mm $60.35 C2092 15.0 mm $139.60 

C2066 10.5 mm $97.10 C2078 10.5 mm $69.75 C2093 18.0 mm $155.60 

C2067 12.0 mm $97.10 C2079 12.0 mm $69.75 C2094 21.0 mm $168.10 

Kento Nomi mark 

C2068 15.0 mm $102.50 C2080 15.0 mm $74.90 C2095 24.0 mm $186.75 

C2096 27.0 mm $192.90 

C2097 30.0 mm $199.00 

Actual size marks from the tools listed above 

4.5mm 

4.5mm 

9.0mm 

6.0mm 

7.5mm 

6.0mm 

7.5mm 

10.5mm 

12.0mm 

15.0mm 

9.0mm 

9.0mm 

18.0mm 

10.5mm 

10.5mm 

21.0mm 

12.0mm 

12.0mm 

24.0mm 

27.0mm 

15.00mm 

15.00mm 

30.0mm 

Fukagata Nomi Asagata Nomi Soai Nomi 

4.5mm –15.0mm 4.5mm – 15.0mm 9.0mm – 30.0mm 

left to right: 

Fukagata Maru Nomi, Asagata 

Maru Nomi, Soai Nomi, Kento Nomi 


Josei Moku Hanga To 

superior quality woodblock carving tools 

Josei Moku Hanga To are the tools for those who prefer a simple 

honoki (silver magnolia) handle with a superior quality handforged 

blade. These tools come in the widest range of shapes and 

sizes. They are identical in appearance to Namisei Moku Hanga To 

(standard quality tools, see next page). The difference is they are 

made with hand-forged instead of machine-forged steel blades, so 

Josei Moku Hanga To hold an edge for a very long time. 

Many carvers cut down the handles so the tools fit comfortably 

in their hand (see the next page). The oval shape is comfortable to 

hold, won't roll off the table and helps you quickly find the correct 

position for carving. 

For hand use only; do not use with a mallet. Total length is 

approximately 21cm (8¼"). 


Sho To 

knife 

right-handed left-handed 

Maru To 

u-gouge 

Hira To 

chisel 

Sankaku to 

v-gouge 









C2609R C2609L 10.5mm $27.65 C2649 10.5mm $28.65 C2719 10.5mm $25.70 C2759 10.5mm $80.00 



C2612R C2612L 18.0mm $44.95 C2652 18.0mm $46.45 C2722 18.0mm $43.35 

C2613R C2613L 21.0mm $58.95 C2653 21.0mm $60.55 C2723 21.0mm $57.00 

C2614R C2614L 24.0mm $69.60 C2654 24.0mm $71.45 C2724 24.0mm $67.30 

Magari tools are made to be held like a pencil or in a clenched 

fist, a real help to people who cannot hold tools in the traditional 

way. They can be used to deeply dig out wood. 

Use the Ryo Ba as a knife or chisel. 

Special Order Only 

Allow eight to twelve weeks for tools to arrive from Japan. 

Magari Sho To 

bent neck knife 

Magari Maru To 

bent neck u-gouge 

Magari Hira To 

bent neck chisel 

Ryo Ba 

double edged knife 

C2621 1.0 mm $19.50 C2661 1.0 mm $19.65 C2731 1.0 mm $18.45 C2774 3.0 mm $17.45 

C2622 1.5 mm $18.05 C2662 1.5 mm $18.20 C2732 1.5 mm $17.30 C2775 4.5 mm $18.45 

C2623 2.0 mm $18.05 C2663 2.0 mm $18.20 C2733 2.0 mm $17.30 C2776 6.0 mm $20.30 

C2624 3.0 mm $18.05 C2664 3.0 mm $18.20 C2734 3.0 mm $17.30 C2777 7.5 mm $23.20 

C2625 4.5 mm $18.75 C2665 4.5 mm $18.90 C2735 4.5 mm $18.05 C2778 9.0 mm $25.25 

C2626 6.0 mm $20.00 C2666 6.0 mm $20.20 C2736 6.0 mm $18.75 C2779 10.5mm $27.90 

C2627 7.5 mm $23.55 C2667 7.5 mm $23.75 C2737 7.5 mm $21.60 C2780 12.0mm $30.55 

C2628 9.0 mm $25.65 C2668 9.0 mm $25.85 C2738 9.0 mm $23.55 C2781 15.0mm $31.90 

C2629 10.5mm $29.90 C2669 10.5mm $30.20 C2739 10.5mm $27.35 C2782 18.0mm $33.20 

C2630 12.0mm $32.65 C2670 12.0mm $32.95 C2740 12.0mm $29.20 

C2631 15.0mm $41.35 C2671 15.0mm $41.75 C2741 15.0mm $35.95 

C2632 18.0mm $47.90 C2672 18.0mm $51.85 C2742 18.0mm $45.05 

C2633 21.0mm $61.85 C2673 21.0mm $62.45 C2743 21.0mm $59.05 

C2634 24.0mm $72.85 C2674 24.0mm $73.50 C2744 24.0mm $69.60 

"Over the years, I've sent a number 

of people your way and we're all of 

the same opinion - you run a really 

good company with excellent products 

and great service. Thanks again." 

Craig, Frog Hollow Press 

Victoria, BC Canada 

18 


Namisei Moku Hanga To 

standard quality woodblock carving tools 

These are very good quality and reasonably priced tools. Namisei 

tools are made with machine-forged, high quality steel that is 

ultra sharp and easily re-sharpened. The manufacturer tells us the 

blades may need sharpening more often and they may not be as 

highly polished or symmetrically shaped as the professional and 

superior tools found on pages 16-18. 

Standard quality and superior quality cutting tools look identical, 

except the end of the handle on Namisei tools are marked with a 

"C" to distinguish them from Josei (superior) tools. 

The handles are honoki (silver magnolia). The oval shape is 

comfortable to hold, will not roll off the table and helps you 

quickly find the correct position for carving. 


Total length is approximately 21cm (8¼"). 

Many carvers cut down the handles so the 

tools fit comfortably in their hand. Measure 

from the tip of your longest finger to the web 

between the index finger and thumb, and cut 

the handle so the whole tool is this length. 

Cut a little long; you can always cut the 

handle shorter if need be. 

Made for hand cutting, not for use with a mallet. 

5% or 10% Volume Discount 

Receive a 5% discount when you purchase 4 or 5 Namisei Moku 

Hanga To or a 10% discount when you purchase 6 or more. Tools 

must be purchased at the same time for this discount. 

Sho To 

knife 

Maru To 

u-gouge 

Hira To 

chisel 

Sankaku to 

v-gouge 

C2801 1.5 mm $13.35 C2811 1.5 mm $13.35 C2821 1.5 mm $13.35 C2831 1.5 mm $16.70 

C2802 3.0 mm $13.35 C2812 3.0 mm $13.35 C2822 3.0 mm $13.35 C2832 3.0 mm $16.70 

C2803 4.5 mm $13.35 C2813 4.5 mm $13.35 C2823 4.5 mm $13.35 C2833 4.5 mm $17.55 

C2804 6.0 mm $14.75 C2814 6.0 mm $14.75 C2824 6.0 mm $14.75 C2834 6.0 mm $22.40 

C2805 7.5 mm $18.55 C2815 7.5 mm $18.55 C2825 7.5 mm $18.55 C2835 7.5 mm $27.65 

C2806 9.0 mm $21.40 C2816 9.0 mm $21.40 C2826 9.0 mm $21.40 C2836 9.0 mm $35.70 

C2807 12.0 mm $22.85 C2817 12.0 mm $22.85 C2827 12.0 mm $22.85 

C2808 15.0 mm $26.65 C2818 15.0 mm $26.65 C2828 15.0 mm $26.65 

See sets of Namisei tools 

on pages 20-21 

Actual Marks from Tools 

15mm 

12mm 

9.0mm 

7.5mm 

6.0mm 

4.5mm 

3.0mm 

1.5mm 

9.0mm 

7.5mm 

6.0mm 

4.5mm 

3.0mm 

1.5mm 

15mm 

12mm 

9.0mm 

7.5mm 

6.0mm 

4.5mm 

3.0mm 

1.5mm 

Namisei Sho To, Sankaku To, Maru To and Hira To 

Hira To Sankaku To Maru To 

15.0mm – 1.5mm 9.0mm – 1.5mm 15.0mm – 1.5mm 

Night Descends on the Mountain 

36 x 24 linocut 

Hannah Skoonberg 

Georgia 

skoonberg.com 

Mt Hood Revisited 

6 x 4.25 Moku Hanga 

Barbara Mason 

Aloha, OR 

barbaramasonart.com 

The Man with the Golden Horn 

5 x 4 reduction linocut 

Richard Kushinsky 

Toms River, NJ 

richardkushinskyfineartandprints.com 


Tosai's Seven Tool Set 

A combination of large and small hand forged professional 

quality tools that is an excellent foundation set for anyone serious 

about woodblock printmaking. Use the 15mm Hira To to carve 

Kento registration marks and smooth down cleared areas. The 

18mm Maru To is ideal for clearing wood from large areas. Carve 

details, create texture or clear small areas with the smaller tools. 

Available with either a left- or right-handed Hangi To (knife). 

10% Discount 

If purchased individually, the price would be $352.64. 

Sorry, no substitutions. 



C2894R Right-Handed $317.35 

C2894L Left-Handed $317.35 

Josei Moku Hanga To: 15mm Hira To, 

18mm Maru To 

Futatsu Wari Moku Hanga To: 6mm Hangi To, 

6mm Aisuki, 3mm, 6mm and 9mm Komasuki 

Professional Six Tool Set 

The professional quality tools in this set are all the basic tools 

you need for carving smaller blocks or carving details on 

larger blocks. These hand-forged Japanese tools have been 

professionally sharpened and meticulously honed and are ready 

for immediate use. 

Available with either a left- or right-handed Hangi To (knife). 

5% Discount 

If purchased individually, the price would be $242.15. 



SAVE 

10% 


15mm Hira To (chisel) and 18mm Maru To (u-gouge) Josei Moku 

Hanga To. 6mm Hangi To (knife), 6mm Aisuki (bull-nose chisel), 3mm, 

6mm and 9mm Komasuki (u-gouges), all Futatsu Wari Moku Hanga To 


1.5mm, 3.0mm and 6.0mm Komasuki (u-gouges) 

4.5mm Aisuki (bull-nose chisel), 3.0mm Sankaku To (vgouge), 

4.5mm Hangi To (knife, right-handed shown) 

The seven tools come in 

an 18.5” x 9.5” leather tool 

carrier for protection. The 

dark patch is a handy piece 

of leather meant for honing 

the tools. 




SAVE 

5% 

1.5mm Komasuki 



4.5mm Aisuki 

3.0mm Sankaku To 

4.5mm Hangi To 

Namisei Six Tool Set 

A great set with all the tools the beginning carver or anyone on a 

budget needs to get started. 

The left-handed set comes with a Josei Sho To (superior knife). 

10% Discount 

If purchased individually, the price would be $92.35 for righthanded, 

$96.00 for left-handed. 






SAVE 

10% 


1.5mm, 4.5mm and 9.0mm Maru To (u-gouges) 

4.5mm Sankaku To (v-gouge) 

4.5mm Hira To (chisel) 

4.5mm Sho To (knife), right-handed knife shown. 

The six tools come in a 2.75" x 6.5" 

(68 x 162mm) metal box for protection, 

perfect size for traveling. 

1.5 mm Maru To 4.5 mm Sankaku To 

4.5 mm Maru To 4.5 mm Sho To 

9.0 mm Maru To 4.5 mm Hira To 

20 


Namisei Four Tool Sets 

Many western style printmakers use only v- and u-gouges to 

carve blocks, while Moku Hanga (Japanese style) printmakers are 

trained to use a knife, chisel and u-gouges. We offer a set for each. 

The Original Four Tool Set would cost $61.95 if the tools were 

purchased individually and the Traditional Four Tool Set would 

cost $57.60 for right-handed or $61.30 for left-handed Sets. 

Both Namisei Four 

Tool Sets come with a 

bamboo carrier 


Original Four Tool Set 

C2891 $58.85 

3.0 mm Maru To 



3.0 mm Sankaku To 

Comes wrapped in a bamboo carrier 

SAVE 

5% 

Original Four Tool Set 

3.0mm, 4.5mm and 7.5mm 

Maru To (u-gouges) 

3.0mm Sankaku To 

(v-gouge) 


Traditional Four Tool Set 



6.0 mm Sho To 



6.0 mm Hira To 

Comes wrapped in a bamboo carrier 

SAVE 

5% 

Traditional Four Tool Set 

3.0mm and 6.0mm Maru 

To (u-gouges) 

6.0mm Hira To (chisel), 

6.0mm Sho To (knife) 

Make Up Your Own Set of Namisei Tools 

and Save 5% - 10% 

Purchase any 4 or 5 tools for a 5% discount 

Purchase 6 or more tools for a 10% discount 

Discount applies to Namisei Moku Hanga To on page 19 only. To 

qualify for the discounted price, all tools must be purchased at the 

same time. 

Japanese Woodblock Printmaking Kit 

Start out with all the supplies you need in one convenient 

package, or share your enjoyment of Moku Hanga 

printmaking with a friend. This kit contains all of the unique 

supplies needed to create black and white woodblock 

images using the Japanese style of relief printmaking. 

Includes: 3mm Sankaku To (v-gouge), 4.5mm Maru To (u-gouge), 

18mm Surikomi Bake (brush), 2oz Bokuju (black ink), 100gm Nori 

(rice paste), 12mm Baren (printing disc), Camellia Oil, two 4" x 

6" All Shina wood blocks, five Washi (handmade paper) Postcards, 

and complete instructions. 

E5900 Printmaking Kit 1.8 lb $72.45 


Ko Dogu 

small sculpting carving tools 

For carvers who prefer a longer handle so they can hold the tool 

with both hands, this group of sculpting tools has sturdy, short, 

narrow necks and long, cylindrical handles. They are made for 

handwork, not for use with a mallet. The handles are honoki 

(silver magnolia). The tools range in length from about 8.5" to 

10" long, depending on the size. 


Allow eight to twelve weeks for these tools to arrive from Japan. 

Prices range from the high-$40's to mid-$150's. Please call for 

current information on sizes and price. 

Kibori Nomi 

large sculpting chisels 

Kibori Nomi are similar in size and appearance to the Moku Hanga 

Nomi, except the shanks are shorter and narrower in the neck, 

while the handles are longer to facilitate the moves necessary 

in relief sculpting. These heavy-duty tools may be used with 

a kizuchi (wooden mallet), or as hand tools. They are around 

20.3cm (8") long. The blades are made of the highest quality 

steel, while the handles are lacquered kashi (Japanese oak), the 

strongest and most durable wood growing in Japan. Metal rings 

have been added to prevent the handle from splitting when it is 

tapped with a mallet. 


Allow eight to twelve weeks for these tools to arrive from Japan. 

Prices range from $100 to over $200. Please call for current 

information on sizes and price. 

Kizuchi 

wooden mallets 

Handcrafted from kashi (Japanese oak), these wooden mallets 

are used with the metal-ringed Nomi (chisels) shown on page 17 

and above. The distinctive "clack" as a mallet strikes the Nomi 

handle is one of the most pleasant sounds in cutting a block. 

These mallets are well balanced and have a hole in the handle for 

hanging. The deluxe model has a wooden wedge inserted in the 

part of the handle that extends beyond the mallet head to ensure 

a tight fit, and the craftsmanship is generally superior. 

top to bottom: Maru Nomi (u-gouge), Magari Maru Nomi (bent neck u-gouge), 

Hira Nomi (flat chisel) and Magari Hira Nomi (bent neck flat chisel) 

left to right: Maru Nomi 

(u-gouge), Hira Nomi 

(flat chisel), Ju No 

(heavy-duty flat scoop) 

and Sankaku Nomi 

(v-gouge) 

M4011 Deluxe, large, 3.5" x 2.5" x 12.8" 0.7 lb $61.40 

M4012 Deluxe, small, 3" x 2" x 12.5" 0.3 lb $38.95 

M4021 Standard, large, 4.75" x 1.75" x 13" 0.4 lb $18.80 

M4022 Standard, small, 3.8" x 1.4" x 12" 0.3 lb $12.70 

Deluxe Mallets 

Standard Mallets 

ComArt Plug 

40 x 84 hand-printed woodcut 

Dusty Herbig 

Syracuse, NY 

www.dustyherbig.com 

Brooding 

6 x 8 woodcut 

Liv Rainey-Smith 

Portland, OR 

LivRaineySmith.com 

22 


Honing Block & Honing Compound 

A few quick strokes on leather keeps your tools in top form 

without changing the bevel. Many people find they rarely need to 

sharpen their tools on a whetstone if they hone them frequently. 

Honing blocks are made of leather mounted to a wood base for 

stability. They are a handy size to keep beside you while you are 

carving. Both work well but horse hide is tougher than cow hide 

so generally it will last longer. 

Honing Compound rubbed vigorously into the leather before 

honing helps polish and put an amazingly sharp edge on a blade 

very quickly. The micro fine particles in this compound will not 

damage the metal or change the bevel on the blade. 

Toishi 

whetstones 

Maintaining sharp, mirror-like edges on tools is essential for 

smooth and precise carving. Hand sharpening is done using 

either natural sedimentary or ceramic Japanese water stones. 

These stones must be lubricated with water, never oil. 

Natural Toishi 

Each Natural Toishi is unique. Natural 

stones are cut from native fine-grained 

mudstone, and within one stone the 

texture may vary slightly from fine 

to extra fine. It takes a little time to 

understand and use natural stones well, 

but with practice these stones provide 

an extremely sharp edge. They also 

create their own creamy lubricating 

paste very readily, so using a Nagura 

Stone (see below) is not necessary. 

S3002 size varies; approximately 2.25" x 6.25" 1 lb $48.95 

Nagura Stone 

A soft, natural chalk stone. Rub the 

Nagura Stone on any ceramic toishi to 

create a creamy lubricating paste that 

improves sharpening action and gives a 

high polish to the tool. 

S3800 rough cut stone, shape and size vary 0.3 lb $27.50 

S3423 4" x 6" Horse Hide Honing Block 0.2 lb $14.75 

S3424 4" x 6" Cow Hide Honing Block 0.2 lb $10.00 

S3425 Honing Compound, full stick: 1" x 5" 0.5 lb $6.85 

Patience and practice will teach you the correct way to keep your 

tools in top condition. Download detailed instructions from our 

web site or call or email for sharpening information sheets. 

Shiageto, Chudo, Arato Toishi 

Shiageto, Chudo Molded Toishi 

Ceramic Toishi 

Ceramic stones are very uniform all the way through and put 

an edge on blades very quickly. They are always lubricated with 

water, never oil. 

Flat Ceramic Toishi 

Flat Ceramic stones (left photo) come in three grits: shiageto 

(fine), chudo (medium), and arato (coarse). Use the shiageto stone 

regularly to keep tools in top condition and the chudo stone 

occasionally when the tool is noticeably dull. The arato stone is 

reserved for grinding out nicks. 

S3210 Shiageto (fine: 6000 grit) 2.5" x 7.25" 1 lb $43.95 

S3211 Chudo (medium: 1000 grit) 2" x 6" 1 lb $21.50 

S3212 Arato (coarse: 240 grit) 2" x 8.25" 1.2 lb $21.50 

Molded Ceramic Toishi 

Molded Ceramic Toishi (right photo) are available in two grits 

and feature conveniently formed grooves and ridges to aid in 

sharpening u-gouges. The back can be used as a flat stone for 

knives and chisels so long as the molded side is well supported. 

Beware of the Yellow Brick Road 


Bob Sercl 

Bellingham, WA 

S3421 

S3422 

Molded, Shiageto (fine: 2000 grit) 

2.25" x 6" 

Molded, Chudo (medium: 1000 grit) 

2.25" x 6" 

1 lb $58.75 

1.4 lb $49.00 


Oil Stones 

Tools can be sharpened on either water or oil stones. Most 

people prefer water stones because they are softer and will put 

an edge on a blade faster than oil stones. We recommend water 

stones for sharpening Japanese woodblock tools. 

However the faces of engraving tools are small and very hard. 

They will wear deep grooves into water stones quickly and the 

stones will have to be replaced more frequently. For this reason, 

most engravers use the harder oil stones to sharpen these tools. 

The round India Combination Stone has a coarse 150 grit side 

and a fine 400 grit side. The coarse side is great for repairs and 

the fine side will put a very sharp edge back on the tool. 

To maintain the edge or give the tool face a polished, mirror-like 

finish, use the hard 1000+ grit Arkansas Natural Stone, quarried 

in the Ozarks. 

Ceramic Slipstones 

Slipstones are the right size and 

shape for removing the burr that 

forms inside v-gouges or u-gouges 

after the bevel has been sharpened. 

They are medium grit and about 

4" long. Use with water or oil. 

S3631 Prism, 6 mm 0.1 lb $10.55 

S3633 Cylinder, 3 mm 0.1 lb $16.60 

S3636 Cylinder, 6.4 mm 0.1 lb $13.75 

S3639 Cylinder, 8.0 mm 0.1 lb $16.90 

S3643 Set of 3: S3631, -33, -36 Save 10% 0.3 lb $36.80 

S3644 Set of 4: one of each Save 10% 0.4 lb $52.00 

Professional tool sharpening in Japan 

is available for all of McClain's woodcut tools 

Any Japanese woodcut tool purchased from McClain’s can be 

returned to the Japanese manufacturer for professional sharpening. 

To hold down shipping and handling costs, tools are returned at 

the same time that an order for more tool inventory is placed; then 

all of the tools, new and re-sharpened, are shipped to the U.S. 

together. Tool orders are placed five to six times a year; please check 

the website or call for the approximate date of the next order. The 

price for sharpening including shipping to and from Japan is only 

$6.00 per tool, plus shipping from McClain's back to you. 

India Combination Stone (round) 

Hard Arkansas Natural Stone (rectangular) 

Use a Crocker Sharpener to 

hold engraving tools steady on 

the stone. See page 13. 

S3450 India Combination Stone, 4" x 1" 1.5 lb $22.45 

S3453 Hard Arkansas Natural Stone, 3" x 1" 0.2 lb $25.20 

Magnifiers 

Useful to examine prints 

and essential when you are 

sharpening tools. 

With a magnifier you can 

clearly see the tip of the 

blade and the shape of 

the bevel. Problems like 

multiple angles on the 

bevel, an off-axis twist to 

a v-gouge or the tiny chips 

left by a coarse or medium stone that still need to be polished 

away all become immediately apparent. 

The Round Magnifying Glass (on the left) has a lens size of 2.5" 

(6.3cm) and is a 2.5x magnifier. Because the lens is large, a 

greater area is in focus. Great for general use. 

The Pocket Loupe (on the right) has two lenses that are 1.25" 

(3.2cm) across. The power of each lens is 4x so you can use 

them individually or stack them up to get 8x magnification. The 

area in focus is small, but this magnifier gets you up close so you 

can see the tiniest details, perfect for checking blade tips while 

sharpening. Small and easy to carry around safely since the lenses 

slip into their own protective case. 

E1027 Round Magnifying Glass 0.3 lb $9.95 

E1029 Pocket Loupe 0.2 lb $6.95 

untitled 

woodcut 

Carl Keck 

Middletown, CT 

carltoday@aol.com 

Bird Bath 


Lynita Shimizu 

Pomfret, CT 

shimizuwoodcuts.com 

24 

Open 10:00 to 5:00 PT, Monday-Friday PHONE 800-832-4264 FAX 503-641-3591 www.imcclains.com 

Still-life with Crow 

Sculpture 

woodcut 

Trudi Smith 

Saratoga Springs, NY 

fineartamerica.com/profiles/ 

trudi-smith.html

Work Sharp WS3000 ® 

NEW! 

The Work Sharp WS3000 is a small, tough, motorized sharpener. 

Tools are sharpened on pressure sensitive adhesive-backed 

sandpaper attached to either a solid glass wheel or a special 

Edge-Vision slotted wheel. The Work Sharp can be used to 

sharpen and hone carving tools, lathe tools, scrapers, putty knives 

and plane blades quickly and easily. Compared to whetstones, 

sharpening carving tools with Work Sharp is very fast and easy. 

The WS3000 offers three ways to sharpen tools: 

Top Side Sharpening Wheel 

(Light colored disc in top photo.) Adhesive sandpaper discs are 

mounted on thick, tempered plate glass wheels and quickly 

attached to the sharpener using a threaded knob. Work Sharp 

comes with two 3/8" thick plate glass wheels and sandpaper discs 

in 4 grits: 120, 400, 1000 and 3600 (from coarse to extra-fine). 

So you can have 4 grits on the 2 glass wheels that come with 

the sharpener, one grit per wheel surface. It only takes 15 to 20 

seconds to change the wheels. 

An adjustable tool rest (the bar on the top left side) makes it easy 

to hold the blade steady while you sharpen it. 

Edge-Vision Port Sharpening Wheel 

(Second photo.) See exactly what you are doing as you sharpen 

your gouges! Place the tool on the underside of the wheel, and as 

the wheel spins, you can actually see through it so you are looking 

at the cutting edge of tool while you sharpen it. This makes the 

sharpening of u-gouges and v-gouges much easier than sharpening 

them on stones. Work Sharp comes with slotted abrasives in 3 

grits; 80, 400 and 1200. Only one slotted Edge-Vision wheel is 

included with Work Sharp, but you can purchase extras if you 

would like to keep one grit of sandpaper on each wheel. 

When you are using the Top Side and Edge-Vision wheels, 

sharpen for just a few seconds, then pull the blade away. Touch it 

and if it feels hot, stop and wait for it to cool down or dip it in a 

glass of cool water before continuing. 

Chisel and Plane Iron Port 

(Under the sharpening wheel in the top photo.) The Work Sharp 

sharpens long necked chisels and plane blades up to 2" wide to 

a perfect 20°, 25°, 30° or 35° bevel angle. Designed for dry 

sharpening, routed airflow from the motor and a special heat-sink 

design keeps tools from overheating. That means you don't have to 

worry about ruining the temper of your tools. 

The chisel sharpening port uses a ceramic oxide lapping abrasive 

to remove the burr when you pull the blade out of the port, 

making sharpening even faster. 

Note: Except for the Kento Nomi, the blades on the chisels that 

McClain's sells are too short to be sharpened using the port. The 

handles hit the bottom of the fixture before the blades reach the 

sharpening disc. Great for sharpening traditional woodworking 

chisels or plane blades. 

Specifications 

Motor: Work Sharp has a quiet 1/5 HP motor that produces a high 

torque maximum wheel speed of 580 rpm. This low-rpm wheel 

maintains speed while sharpening. 

Size: 6.5" wide by 10.25" long by 9" tall, small enough to keep 

close by and use while you are carving. 

Weight: With one glass wheel in place, 10.4 lbs. 

The Work Sharp WS3000 

comes with: 

• 2 tempered plate glass 

wheels and the following 

grades of sandpaper for 

these wheels: 

2 sheets of 120 grit 



1 sheet of Micro-Mesh 

3600 

• 1 Edge-Vision wheel and 

the following grades of 

sandpaper for this wheel: 

1 sheet of 80 grit 



• Sandpaper eraser made 

of latex 

• Instructional DVD and 

manual written in English, 

Spanish and French 

Add a Leather Honing Kit to put the final mirror-like finish on 

the blades and to keep them in top condition between sharpening 

sessions. Keep the Leather Honing Wheel on your Work Sharp 

and use it frequently while you carve. Your tools will stay razor 

sharp and glide through the surface you are carving. 

S4500 Work Sharp WS3000: includes 16.8 lb $199.95 

machine, 2 Glass Wheels, 1 Slotted 

Wheel, and Adhesive Sandpaper as 

listed above. 

S4509 Leather Honing Kit 

1.5 lb $29.95 

includes Tempered Glass Wheel, 

Leather Strop Disk, Honing 

Compound and Leather Conditioner 

S4511 Glass Wheel 1.5 lb $19.95 

Abrasive Kits for Glass Wheels: 

S4513 MicroMesh Honing Abrasive Kit : 0.2 lb $14.95 

includes 1 - 3600 and 1 - 6000 

Mico-Mesh Adhesive Disks 

S4514 Fine Abrasive Kit: includes 4 - 400, 0.3 lb $14.95 

6 - 1000 and 2 - 400 grit Adhesive 

Sandpaper Disks 

S4515 Coarse Abrasive Kit: includes 2 - 0.2 lb $14.95 

80, 2 - 120, 3 - 220 and 2 - 400 grit 

Adhesive Sandpaper Disks 

S4510 Edge-Vision Slotted Wheel 0.4 lb $19.95 

Abrasive Kits for Slotted Wheels: 

S4512 Slotted Wheel Abrasive Kit: includes 

1 - 80, 2 - 400, 2 - 1200, 1 - 6000 

grit Slotted Adhesive Sandpaper 

0.2 lb $14.95 


Brushes and Brayers 

Japanese Brushes: Uses and Materials 

Made entirely by hand, all of these lovely, functional brushes are 

works of art themselves. As with many traditional Japanese crafts, 

fewer people are making these special printmaking brushes. 

Hanga Bake, Maru Bake and Surikomi Bake are all used to mix and 

spread the ink and nori (rice paste) evenly on the block. The ideal 

brush is flexible, somewhat springy and not too soft. Maru Bake 

and Hanga Bake, made from horse and hog hair respectively, are 

used by most professional printmakers in Japan; but the mixed 

deer and hog hair of Surikomi Bake, or stenciling brush, offer 

many of the same virtues while being less expensive and available 

in a wider range of sizes. 

Hanga Bake and Surikomi Bake both have bamboo handles and 

are measured across the widest side to describe the size of the 

brush. The Hanga Bake are rounder in shape so they are about one 

third larger in total area than a similarly sized oval Surikomi Bake. 

Soak Before Using 

All of these brushes are very dense and it has been our experience 

that they all shed to some degree. To keep shedding to a 

minimum, soak the brushes in clean water for five to ten minutes 

before each day's use. Put brushes with handles in a jar with 

enough water to cover the entire cluster of bristles. The wood 

handle on the Maru Bake absorbs water more slowly than the 

bamboo handles on Hanga or Surikomi Bake, and a larger brush 

needs more time to soak up water than a smaller one, so adjust 

the soaking time appropriately. Press the brush gently in a towel 

to squeeze out excess moisture before using it. 

Cleaning and Drying 

After use, gently but thoroughly wash the brushes out using a 

mild soap, then rinse. Repeat until the water runs clear. Shake off 

excess water or press the bristles gently in a soft towel, then 

hang the brushes with the bristles pointing down to dry. If you 

cannot hang the brushes, place them at the edge of a table with 

the bristles hanging off the end, so there is good air circulation 

around all of the bristles. Dry thoroughly before storing to 

prevent mold, which ruins a brush very quickly. 

Brayers 

Brayers are used to apply oil-based ink to blocks or plates. 

Some water-based inks can be modified for use with brayers. 

Brayers come in many sizes and hardnesses. For best results, 

the roller should be slightly wider than the printing area of the 

block. You can make do with smaller brayers, but then you will 

need to roll on ink several times and it is more difficult to get 

an even coat across the entire block. 

A larger diameter roller covers more area in fewer rolls, again 

resulting in more even coverage of ink. 

Hardness is a personal choice and many printmakers have both 

soft and hard brayers in their studios. Soft rollers are generally 

preferred. Because they are more flexible, it is easier to ink up 

the block evenly, even if the block itself is slightly uneven. On 

the down side, if the design has very fine lines, the amount of 

ink being applied must be carefully controlled or details tend 

to fill in. 

Harder rollers tend to ride across the top of the block without 

dipping down over the edges of cut areas. Grain can be 

emphasized by using a small amount of ink and a hard roller. 

But it is more difficult to ink the block evenly with a hard 

brayer, especially if the block is uneven. 

The frame holding the roller should be metal so the roller runs 

smoothly and does not sway. It is also helpful if the roller can 

be taken out of the frame periodically so the frame itself can be 

thoroughly cleaned. 

26 


Hanga Bake 

printmaking brush 

Made entirely from hog hair, which is both flexible and very strong, 

these brushes will take hard use as you vigorously press and push 

the ink around on the block. The handles are hand-carved from 

one piece of bamboo and hand sewn onto the cluster of bristles. 

Splitting the ends of the bristles on these brushes is optional. 


B4201 #1, 9 mm (.35") $22.30 

B4202 #2, 15 mm (.59") $25.00 

B4203 #3, 24 mm (.94") $39.50 

B4204 #4, 30 mm (1.18") $57.25 

B4205 #5, 45 mm (1.77") $66.10 

9mm, 15mm, 24mm, 30mm, 45mm and 60mm 

B4206 #6, 60 mm (2.36") $98.00 

Surikomi Bake 

rubbing brush 

Traditionally made for stenciling fabric, Surikomi Bake also work 

very well for printmaking and they are less expensive than Hanga 

Bake. The brush makers use either deer hair, or deer hair added 

to hog hair. Deer hair is very absorbent, while hog hair adds 

stiffness. Our brushes are the stiffer kind since these work best 

for Moku Hanga. 

The handles are hand-carved from bamboo and hand-sewn onto 

the cluster of bristles. Soak in water for about five minutes before 

using to help reduce shedding. A beautiful and economical brush. 


B4221 #1, 3 mm (.12") $2.95 

B4222 #2, 6 mm (.23") $4.25 

B4223 #3, 9 mm (.35") $6.15 

B4224 #4, 12 mm (.47") $8.95 

B4225 #5, 15 mm (.59") $11.40 

top row: 

24mm 

30mm 

45mm 

60mm 

bottom row: 

3mm 

6mm 

9mm 

12mm 

15mm 

18mm 

B4226 #6, 18 mm (.71") $13.95 

B4228 #8, 24 mm (.94") $19.75 

B4230 #10, 30 mm (1.18") $25.95 

B4232 #15, 45 mm (1.77") $47.20 

B4234 #20, 60 mm (2.36") $62.75 

Steiner Mixing Brushes 

These handmade brushes from Japan are specifically designed 

for mixing and transferring water-based ink from a palette or jar 

onto the block. 

The hair is a mix of sheep and horse, both of which are very 

absorbent, so they hold a lot of ink without dripping. The short 

handle on Steiner Mixing Brushes means they stay inside the jar, 

plus they have a nicely balanced feel when held. 

The supplier suggests using flat brushes for bokuju (liquid sumi 

ink) or dark colors and round brushes for lighter colors. The 

reason is that bokuju is hard to clean out of brushes completely. 

So if you reserve that shape for bokuju and round brushes for 

light colors, the colors you are using will stay true and not be 

contaminated by ink accidentally left in the brush. 

Design patented by Richard Steiner. 


B4520 Large #20 Flat 10.6mm (5/8” across x 5" long) $10.28 

B4521 Large #20 Round 10mm (3/8” diameter x 5" long) $10.28 

B4515 Small #15 Flat 10.2mm (1/2” across x 5.5" long) $9.50 

B4516 Small #15 Round 8mm (5/16” diameter x 5.5" long) $9.50 


Maru Bake 

round cornered brush 

Looking like small shoe brushes, these traditional Japanese 

printmaking brushes are beautifully crafted from black horse tail 

hair set into a wooden back. The bristles of these brushes must be 

shaped and split by singeing and then rubbing them on a rough 

surface (see Dragon Skin, below). Complete instructions are at 

imcclains.com in the "Techniques and How To's" section. Be sure 

to soak the entire brush, including the handle, in water for about 

ten minutes before each use to help prevent shedding. 


B4211 #1, 4.0 cm x 5.5 cm (1.6" x 2.2") $33.30 

B4212 #2, 4.9 cm x 6.2 cm (1.9" x 2.4") $35.15 

B4213 #3, 5.2 cm x 7.6 cm (2" x 3") $43.30 

B4214 #4, 6.0 cm x 9.1 cm (2.4" x 3.6") $55.60 

B4215 #5, 6.0 cm x 10.7 cm (2.4" x 4.2") $70.65 

top row: 6 x 10.7cm, 6 x 9.1cm and 5.2 x 7.6cm 

bottom row: 4 x 5.5cm, 4.9 x 6.2cm 

Dragon Skin 

Dragon Skin is used to efficiently split and soften the tips of the 

bristles on Maru Bake and Hanga Bake. Traditionally, shark skin is 

used, but we prefer to let the sharks swim in peace. 

The super-hardened steel sheet is perforated with 5-prong burred 

holes which cut equally well in all directions. The dragon skin 

comes attached to a plywood base and is ready to use. 

The long size allows full extension of the arm while rubbing, 

which is comfortable and makes the job go faster. 

Complete instructions are included. 

E5213 7.5" x 17" 1.2 lb $15.95 

Airebrush Stippling Brushes 

The perfect stiffness for either taking away or adding ink to 

monotype plates (but not stiff enough for Moku Hanga). Add 

texture, blend colors or use with a stencil. The varnished 

marbled wood handle and bristles are easy to clean with mild 

soap and water. 


OUT OF STOCK 

NOLONGER AVAILABLE 

top: #4 Stippling Brush. bottom: #8 Stippling Brush. 

Dragon Brush Rest 

Add some class to your work bench with this black, cast iron 

brush rest from Japan. Its ridged back keeps brushes from rolling 

around and it holds their tips up so your work area stays clean. 

Also handy as a paper weight or for holding down paper so it 

will flatten out after it has been rolled. 

E5220 5" long x 1.25" tall 0.5 lb $9.49 

28 


Mizu Bake and Dosa Bake 

water brush and sizing brush 

Also called ebake or hira bake. These brushes are ideal for 

applying sizing, dampening paper, or painting large areas with 

sumi ink or watercolors. 

Professional Japanese brushes are all-around top quality brushes 

from Japan. They reflect an elegant combination of superb 

craftsmanship and function, and will serve you very well for 

many years to come. 

Economy brushes are made in China. The quality is good, and 

they work well, but they do not reach the high standards of the 

professionally made brushes from Japan. 

Professional Japanese Mizu Bake 

water brush 

This elegant, very dense brush 

holds a great deal of water, so it 

is fast and easy to dampen paper 

or apply washes. Unlike a wood 

handle, the synthetic handle cannot 

split, so this brush will last for a 

very long time. It feels balanced 

and very comfortable in the hand. 

The bristles are thick tufts of luxurious, soft, white Chinese 

sheep hair. A joy to use. Total length: 17.3cm (6¾"). 


B4480 15 cm (5.9" wide) $60.00 

B4481 18 cm (7" wide) $75.00 

B4482 21 cm (8.3" wide) $98.00 

Economy Mizu Bake 

water brush 

A well-made Chinese brush, 

made in the style of the 

traditional Japanese mizu bake. 

The handle is wood, with a hole 

for hanging the brush to dry. 

The bristles are very thick tufts 

of soft, white Chinese sheep 

hair. Total length: 20.5cm (8"). 


B4485 17.5 cm (6.9" wide) $39.55 

B4486 20.5 cm (8.1" wide) $46.25 

B4487 23.5 cm (9.25" wide) $52.25 

Magari Mizu Bake 

bent-handle water brush 

A smaller water brush, made in China, where 

they are also used for painting. Use to add 

just a touch of water to a block or to paper. 

The handle is cedar, with a hole for hanging 

the brush to dry. The bristles are very thick 

tufts of soft, white Chinese sheep hair. 

Length: from 19 to 21cm (7½" to 8¾"). 


B4493 30 mm (1.2" wide) $3.45 

Professional Japanese Dosa Bake 

sizing brush 

Beautiful brushes made by the same 

craftsman who creates the Professional 

Mizu Bake. The light, fine-grained 

wood handle is protected with a 

water-proof coating applied next to 

the dense, highest quality sheep hair. 

A truly fine blending of traditional 

craftsmanship and modern design, 

made to outlast any other Dosa Bake 

available today. Total length: 31.5cm (12½"). 


B4403 30 mm (1.125" wide) $22.15 

B4406 60 mm (2.35" wide) $48.50 

B4409 90 mm (3.5" wide) $77.00 

Economy Dosa Bake 

sizing brush 

Made in China, with a metal ferrule that 

is nailed onto a lacquered wood handle. 

The bristles are from sheep hair. These 

brushes do tend to shed but soaking 

them in clear water for a few minutes 

before using them helps. 


B4450 2.5 cm x 17.2 cm (1" wide x 6.8" long) $1.80 

B4451 3.5 cm x 18.4 cm (1.4" wide x 7.2" long) $2.10 



B4454 8.5 cm x 26 cm (3.3" wide x 10.3" long) $4.20 



Don't Shoot 

9 x 17 woodblock and 

linoleum 

Holly Meade 

Sedgwick, ME 

reachroadgallery.com 

B4494 40 mm (1.6" wide) $4.19 

B4495 50 mm (2" wide) $4.89 

B4496 60 mm (2.35" wide) $5.85 

B4497 70 mm (2.75" wide) $7.65 


Japanese Brayers 

Ideal for relief printmaking, these sturdy brayers are made of 

tough Nitrile rubber formed on a hard plastic core, held in a 

metal frame with a wood or plastic handle. The 45mm diameter 

rollers roll out 51/2" of ink without a lap mark; 50mm rollers roll 

out 61/8" of ink. Replacement rollers are available for all sizes 

except the 11/8" brayer, which does not come apart. 

The rollers come in 28 or 60 durometer hardness (Speedball® 

brayers are 35). Most printmakers prefer the softer rubber 

because its flexibility makes it easy to ink the block evenly. The 

harder rubber brayer is less apt to dip into carved areas and can 

be useful in emphasizing grain patterns in wood blocks. The softer 

rollers are dark grey while the harder 60 durometer rollers are 

red, so it is very easy to tell which is which. 

Use with oil-based or water-based inks. To keep the rubber from 

drying out, wash with a mild soap (like SavvySoap®, page 59) and 

water, especially after cleaning with solvents. 

The rubber rollers on these brayers will not deform or flatten, 

no matter how long they sit. We let one sit for three months and 

the rubber held its shape perfectly. 

20 durometer (soft) 

Japanese Brayers with 

wooden handles 

60 durometer (hard) 

Japanese Brayers with 

plastic handles 

Japanese Brayers are easy to 

take apart to clean the frame or 

replace the roller 

Brayer (Roller plus Handle) 

28 dur. 

(soft) 

60 dur. 

(hard) 

width x diameter 

B4800 B4800H 30 x 45 mm (1⅛" x 1¾") 0.4 lb $33.65 

B4801 B4801H 100 x 45 mm (313/16" x 1¾") 0.8 lb $52.60 

B4802 B4802H 165 x 45 mm (6½" x 1¾") 1.2 lb $63.00 

B4803 B4803H 210 x 50 mm (8¼" x 17/8") 1.8 lb $69.65 

B4804 B4804H 240 x 50 mm (9½" x 17/8") 2.0 lb $77.00 

Ink Knives 

These steel-bladed Ink Knives have just the right amount of flex 

to mix oil-based ink easily and just the right amount of stiffness 

to mix it fast. The rosewood handles are riveted onto the steel 

blade for durability. A handy metal-lined hole at the top of the 

handle makes them easy to hang up out of the way when not in 

use. Very sturdy and made to last a lifetime. 

If you are cleaning these knives with soap and water, wash and 

dry thoroughly or clean with rubbing alcohol to prevent rust. 

Made in the U.S.A. 

Replacement Roller ONLY (No Handle) 

28 dur. 

(soft) 

60 dur. 

(hard) 

width x diameter 

(Replacement Roller not available for the 30mm x 45mm brayer) 

B4811 B4811H 100 x 45 mm (33/16" x 1¾") 0.4 lb $30.60 

B4812 B4812H 165 x 45 mm (6½" x 1¾") 0.6 lb $37.60 

B4813 B4813H 210 x 50 mm (8¼" x 17/8") 0.8 lb $47.00 

B4814 B4814H 240 x 50 mm (9½" x 17/8") 1.0 lb $52.40 

E4500 1 ¼" wide Ink Knife, 7 ¼" long 0.3 lb $11.35 

E4501 1 ½" wide Ink Knife, 7 ¼" long 0.3 lb $11.65 

E4502 2" wide Ink Knife, 7 ¼" long 0.3 lb $12.25 

Touch-Up 

8 x 6 linocut 

Leena Nevalainen-Smith 

Shaker Heights, OH 

jsmitharts.com 

Winter View 

12 x 18 four block linocut 

Daryl Storrs 

Huntington, VT 

darylstorrs.com 

Printed Butterfly Pattern I 


Printed Totem Pattern I & II 

72 x 24, woodblock, hand sewn thread 

Kristin Gentry 

Stillwater, OK 

kristingentry.com 

30 


Takach Brayers 

Takach Hand Brayers 

When the people at Takach, manufacturers of the finest litho 

and etching presses, turn their attention, design abilities, high 

manufacturing standards and considerable knowledge to brayers, 

you know the results will be amazing. And that is the correct 

word for these brayers. They are the finest brayers made today. 

Bushings are installed in the aluminum, powder-coated, wide 

metal frame to insure smooth operation. The rubber is a blend of 

natural rubber and Buna Nitrite. This durable blend has a longer 

life span than other materials and stays a consistent hardness. 

The rubber is wrapped on the aluminum roller core, cured, 

ground and polished; a superior technique to the cast surface 

applications found on less expensive brayers. The ends of the 

roller have been beveled to avoid leaving ink lines along the 

edges. If the rubber is damaged, it can be reground or replaced 

if necessary. 

The metal frame forms the stand for the brayer; flip the brayer 

over and you are ready to ink up. The big 2½" diameter roller 

will roll out 7¾" of ink without a lap mark. They feel well 

balanced and are very comfortable to use. Try holding the handle 

upright, perpendicular to the printing block. The pressure from 

the weight of the brayer will help apply the ink with very little 

effort. 

The 12" wide Jumbo Brayer fills the gap between small hand 

brayers and hand-inking rollers. The brayer has a large 3½" 

diameter and rolls out 11" of ink, providing an 11" x 12" square 

of ink without a lap mark. It uses the same high quality rubber 

and frame materials as the smaller hand brayers. 

Softer 20 durometer brayers, the most versatile rubber hardness, 

are in stock. Please allow two weeks for delivery of the harder 

60 durometer brayers. 

Takach Specialty 

Brayers 

Excellent for monotype printmaking 

or for inking up small areas. 

Specialty Brayers are made with 35 

durometer (medium hard) rubber 

wrapped on an aluminum core. 

They are 1¾" in diameter and will 

roll out 5½" of ink without a lap 

mark. The roller is placed into a sturdy metal frame with a selflubricating 

bearing for extended service. 

Takach 6" Hand Brayer 

B4904 20 Durometer, 4" wide 2.0 lb $158.00 




B4912 

30 Durometer, 12" wide Jumbo 

Brayer (20 or 60 Durometer available 

by special order) 


6.5 lb $268.00 





B4922 ¼" wide 0.4 lb $47.00 

B4924 ½" wide 0.5 lb $48.00 

B4926 ¾" wide 0.6 lb $49.00 

B4928 1" wide 0.7 lb $50.00 

B4929 

Set of 4 Specialty Brayers: ¼", ½", 2.0 lb $175.00 

¾" and 1" 

10% discount. $194.00 if sold individually 

Wings 

Moku Hanga Kite 

Scott Skinner 

Monument, CO 

scottrskinner.com 

Indiana Dragon 

20 x 9 linoleum reduction 

Elizabeth Busey 

Bloomington, IN 

elizabethbusey.com 

The Tiger Said... 


Mary Sweet 

Tijeras, NM 

mfsweet.com/WoodblockPrints.htm 


Ink Comparison Chart 

Ingredients 

Water-Based Inks 

Gamblin Dry 

Pigments 

page 34 

Bokuju 

(sumi) 

page 35 

Tosai’s 

Pigment Set 

(gouache) 

page 35 

Akua Kolor Ink 

page 37 

pure, lightfast dry 

pigments with no 

additives 

vegetable oil soot 

and water 

lightfast pigments, 

gum arabic. No 

opaquing agent 


water and gum base 

Recommended 

Printmaking Uses 

Moku Hanga,can be 

added to other inks 

to increase color 

intensity 

Moku Hanga 

Moku Hanga 

Moku Hanga, 

Monotype 

Thicken for 

Woodcut, Linocut 

Use to tint Akua 

Intaglio Ink 

Characteristics 

rich, intense, matte colors. Some pigments 

are water soluble, others require addition of 

alcohol to dissolve in water 

Caution: use mask and gloves while dry 

rich, matte black. Add water to lighten to 

shades of gray and for more transparency 

very runny 

water soluble (dissolves easily in water) 

rich, matte colors 

thick consistency. Add water to thin and for 

more transparency 

water soluble 

rich, matte colors. Add Extender for more 

transparency 

runny. Roll up thin layers or apply with 

brushes or applicators 

long working time 

water soluble 

Typical 

Drying 

Time 

fast 

fast 

fast 

normal 

(2-6 days) 

Paper 

Handling 

print on 

paper from 

damp pack 

print on 

paper from 

damp pack 

print on 

paper from 

damp pack 

prints very 

well on dry 

paper 

print on 

paper from 

damp pack 

for Moku 

Hanga 

Clean Up 

soap and 

water 

soap and 

water 

soap and 

water 

soap and 

water 

Oil-Based Inks 

Akua Intaglio 

Ink 

page 40 

Caligo Safe 

Wash Relief 

Ink 

page 41 

Gamblin 

Etching Ink 

page 42 

Gamblin Relief 

Ink 

page 43 


water and soy oil 

base 


linseed oil, 

emulsifier and


Traditional Water-Based Ink 

In Asia, water-based inks have been used for printmaking for 

centuries. The traditional liquid black ink for Moku Hanga is 

Bokuju. It is popularly called sumi, which is actually the name of the 

same ink in a dry stick form. This carbon-based black ink is used for 

calligraphy, painting and printmaking. Its distinctive intense black 

and velvety greys are a hallmark of Japanese prints. 

Japanese printers create colored inks by mixing dry pigments with 

water and sometimes a little alcohol and/or nikawa (animal skin 

glue). Nori , which is mixed with the ink on the block, adds body 

so the ink covers the block evenly. Some dry pigments are very 

dangerous to breathe and all can be irritating, so be sure to wear 

a particulate respirator mask if you decide to make your own ink 

(page 58). 

Modern Water-Based Ink 

These days, many Japanese printmakers use watercolors or gouache 

for printmaking instead of making their own ink. Tosai's Pigment 

Set contains both gouache and Bokuju for this reason. Akua Kolor 

inks, which were developed for monotype printmakers, are also 

excellent for Moku Hanga. The highly pigmented ink covers well; 

they have a long working time, which is especially helpful when 

spreading ink over a large block; and they have so much body that 

nori is often unnecessary. 

Printing with Water-Based Ink 

Water-based inks are spread across the block with stiff brushes since 

they do not have enough body to stick easily to a brayer. However, 

never say never to a printmaker. By adding large amounts of nori 

or Akua Kolor Tack Thickener to water-based ink, or in the case of 

Akua Kolor, allowing it to air dry for a few days, it is possible to 

roll out water-based ink with a brayer. Just be aware that it will 

take time, practice and experimentation to find the right balance of 

thickener and ink before this will work satisfactorily. 

Probably the biggest frustration for people using water-based ink 

the first time is getting solid coverage. Printing with water-based 

ink is all about moisture control. The block and paper have to be 

dampened just the right amount. Too wet and the ink will bleed or 

look washed out, too dry and the paper will stick to the block. The 

ink and nori need to be the right thickness. Humidity, or lack of it, 

changes all of these variables significantly. 

Some artists embrace the fact that water-based ink can give a 

textured look and use Washi (Japanese handmade paper) designed 

to enhance the effect. Kizuki Hanga (page 50) is an excellent paper 

for getting this look. For even coverage, one of the best Washi is 

Echizen Kozo. It's handmade, quite thick and very smooth on the 

surface. Nishinouchi and Gampi also work very well. 

To get solid, intense color, overprinting is the key. This may mean 

printing the same block three or more times, so paper that will 

accept that much ink and a registration method that allows the 

paper to be placed down on the block repeatedly in exactly the 

same place are essential. The Japanese developed a very simple way 

to register called kento which makes this process easy. For more 

information about kento registration, go to imcclains.com and click 

on "Techniques and How To's>Kento: Japanese Registration" and 

check out the Registration Boards on page 47. 

Sanding the block using fine sand paper wrapped around a block of 

wood or placed in a rubber sanding block before printing can also 

help. Be sure to sand with the grain of the wood instead of across 

it. While it is not used traditionally, a coating of shellac followed by 

sanding with very fine sand paper will also close up the grain of the 

wood and give a smoother surface from which to print. 

The other tip is practice, practice, practice. The more you print, 

the more you learn about moisture levels, the amount of nori and 

ink to use, how long and how much to dampen the paper, how 

different papers react and even on which days it is best to print. 

Printing with water-based ink in a hot, dry climate is challenging. 

Most people who print with water-based ink prefer cool, damp or 

rainy days. 


Dry Pigments 

Traditionally Japanese printers 

make their own ink from dry, 

powdered pigments mixed with 

water and sometimes alcohol, 

nikawa (animal skin glue) or 

gum arabic. The resulting colors 

are very intense and strong. 

The Gamblin company uses 

pure, lightfast pigments to make their high quality Artist Grade 

Oil Colors and printing inks. There are no fillers, extenders 

or adulterants, so each color retains the unique characteristics 

of that pigment, including absorption rate, tinting strength and 

texture. The pigments are all Lightfast 1 and finely ground. 

These pigments are truly as good as they get. 

Use great care when working with dry pigments. Wear gloves 

and a respirator approved for use with dry, toxic substances (see 

3M Particulate Respirator, page 58). Do not mix pigments and 

liquids near food, drink, pets or children. Do not reuse containers 

pigments have been in. Once dry pigments are mixed with water, 

take the same precautions you would using any paint or ink. 

We have found that the safest way to add liquid to these pigments 

is to mix together 1 part water and 1 part pure alcohol (vodka 

works well), then add about 1.5oz (3 tablespoons or 44ml) 

of this mixture very slowly and carefully into a 4oz jar of dry 

pigment while wearing a mask and gloves. Cap the jar tightly 

and shake it to mix the liquid into the pigment. (Some pigments 

will mix readily with water but others require the alcohol, and 

in either case, alcohol will act as a preservative to prevent mold.) 

When you are sure all of the dry pigment has been thoroughly 

mixed into the water, it is safe to open the jar. 

All colors available in 4oz jars. Six pigments also available in 1lb 

jars. Pigments are sold by weight. The contents in the jars will 

settle. Our Dry Pigment Color Chart is made using the pigments 

themselves so you can see the true colors. The colors can also be 

seen on our website. 

Mortar and Pestle 

Grinding wet pigments in a mortar removes lumps and ensures 

that any additions are thoroughly mixed into the pigment. 

It also breaks the pigment down into finer particles for a 

smoother texture. 

4oz (119ml) jars 

Shipping weight: 0.6 lb each (See color samples on our website) 

K7500 Mars Black PBk11, Opaque, 88gm $5.99 

K7501 Ivory Black PBk9, Semi-transparent, 46gm $5.99 

K7503 Cobalt Blue PB28, Semi-transparent, 54gm $20.55 

K7504 Prussian Blue PB27:1, Semi-transparent, 36gm $8.99 

K7505 Ultramarine Blue PB29, Transparent, 42gm $7.45 

K7508 Viridian PG18, Transparent, 42gm $15.98 

K7510 Mars Orange, 44gm $5.99 

K7512 Cadmium Red Medium PR 108, Opaque, 73gm $20.55 

K7515 Indian Red PR101, Opaque, 90gm $5.99 

K7517 Manganese Violet PV16, Semi-transparent, 44gm $9.69 

K7520 Titanium Dioxide White PW6, PW4, Opaque, 76gm $6.70 

K7524 Cadmium Yellow PY37, Opaque. 50gm $15.99 

K7526 Yellow Ochre PY43, Semi-transparent, 37gm $5.99 

K7527 Raw Umber PBr7, Semi-transparent, 47gm $5.99 

K7528 Raw Sienna PBr7, Semi-transparent, 46gm $5.99 

K7529 Burnt Sienna PBr7, Semi-transparent, 55gm $5.99 

K7530 Burnt Umber PBr7, Semi-transparent, 43gm $5.99 

1lb (500ml) jars 


K7500LB Mars Black PBk11, Opaque, 374gm $10.25 

K7501LB Ivory Black PBk9, Semi-transparent, 185gm $10.25 

K7505LB Ultramarine Blue PB29, Transparent, 168gm $17.55 

K7515LB Indian Red PR101, Opaque, 400gm $10.25 

K7520LB Titanium Dioxide White PW6, PW4, Opaque, 304gm $11.80 

K7526LB Yellow Ochre PY43, Semi-transparent, 148gm $10.25 

K7590 Dry Pigments Color Chart, sh wt 0.1 lb $2.50 

We tried using a mortar with a lip but found it was not needed 

and it was difficult to clean, so these large 8oz mortars have a 

smooth rim. Made of glass for stain resistance and easy cleaning. K7580 


8oz, 4.25" diameter x 3.4" high 

(248ml, 8.5cm diameter x 10.5cm high) 

$18.95 

Who's There 

9 x 7 reduction linocut 

John Brisson 

Big Bear Lake, CA 

downstairscreations.com 

Montauk Dawn 

6.4 x 10.4 woodblock 

Ted Shaine 

New York, NY 

tedshaine@gmail.com 

Atacado por los Pescados 


Juan de Dios Mora 

San Antonio, TX 

flickr.com/photos/cocoles/ 

34 


Yasutomo Bokuju (Sumi) 

liquid black ink, popularly called "sumi" 

A carbon black ink formulated for calligraphy, sumi-e painting 

and printmaking. Thinning with water creates a wide range of 

gray tones, from the deepest dark grays to silvery washes. After 

use, be sure to wash out your brushes very thoroughly to avoid 

mold and permanent damage. 

The ink can also be used in technical pens. Just be sure to wash 

them thoroughly after each use. After drawing, a damp brush can be 

used to re-activate the ink and soften drawn lines or create washes. 

Bokuju is non-toxic and is a labeled, approved product 

conforming to ASTM D 4236. 

K7270 2 fl oz (70 ml) 0.2 lb $4.80 

K7271 6 fl oz (177.4 ml) 0.9 lb $8.00 

K7273 12 fl oz (354.9 ml) 1.0 lb $15.00 

Tosai's Pigment Set 

This set of Japanese gouache and Bokuju (see above) provide all 

of the rich, brilliant colors needed for a Japanese Moku Hanga 

palette in one convenient package and at a reasonable price. 

The high quality matte gouache, made by Holbein in Japan, 

contains pigments chosen for high density saturation and light 

fastness. Ten colors in 10ml (.34fl oz) tubes include Carmine 

Red, Permanent Yellow Orange, Lemon Yellow, Leaf Green, 

Permanent Green Deep, Aqua Blue, Ultramarine Deep, 

Iris, Yellow Ochre, and Burnt Umber. 4 fl oz of rich, black 

Bokuju completes the set. This is a labeled, approved product 


Konaunmo 

powdered mica 

Powdered mica adds a 

shimmering elegance to your 

work and has been popular with 

printmakers and painters in Japan 

for centuries. It is more subtle 

than western metallic inks. 

Sprinkle or brush Konaunmo 

over freshly printed, wet paint, ink or Nori (rice paste). A stencil 

can be used to confine the mica to a specific area. Wait for the 

area to dry somewhat before shaking off the excess, then store 

this surplus mica for future use. 

left: Bokuju in three sizes 

above: Red Sumi 

RED SUMI 

Red Sumi ink is ideal for printing your hanko, or seal, cut into the 

block. The color is an intensely brilliant orange-red. 

Red Sumi is non-toxic and is a labeled, approved product 


K7274 2 fl oz (70 ml) 0.2 lb $7.75 

K8000 10 gouache colors + black bokuju 1.0 lb $66.45 

For a very subtle effect, mica can be mixed into the ink before 

printing. It is especially effective mixed with bokuju. 


E5611 Fine (looks like powdered sugar), 50gm $7.50 

E5612 Medium, 50gm $7.50 

E5613 Coarse (looks like regular sugar), 50gm $7.50 

E5614 Rough (looks like very fine glitter), 50gm $7.50 

E5617 Medium Gold, 50gm $9.98 

E5618 Medium Pewter-Silver, 50gm $9.98 

Brambles Again 

12 x 9 color reduction linocut 

Rebecca Reynolds 

Tuscaloosa, Alabama 

rebeccareynoldsart.com 

Hive Mind: US Politics 

7.5 x 9.5 multi-block linocut 

Erin K. Nolan 

DeKalb, IL 

erinknolan.com 

Geese in the Grapevines 

3 x 4 engraving on Resingrave 

Rosalind Lindsay 

Perignac, France 

lesros@free.fr 


Akua Kolor Applicators 

Akua Kolor Pen 

with optional 

Adaptor Cap and 

Wide Needle Tip 

Needle Washer 

Bottle 

Use to clean 

Akua Kolor Pen 

tips too 

Bellows Bottle with cap, 3 Angled Tips, Flexible Plastic Tip & Plastic Tapered Cone Tip 

Akua Kolor Needle Applicators 

Needle applicators are ideal for drawing fine lines either on 

monotype plates or directly on paper. The small bellows bottles 

fit comfortably into the palm of your hand. The lines produced 

by the tips are similar to those from technical pens. Stainless steel 

flow-through needles withstand repeated use and will not clog. 

Steel Needle Tips are rigid and angled at 45° for drawing precise 

lines. Flexible Plastic Needle Tips create ultra-fine lines and 

Plastic Tapered Cone Tips make bold, wide lines. They are tough 

and great for kids to use. 

For use with Akua Kolor ink only; Akua Intaglio is too thick. 

Shipping weight: 0.3 lb for sets, 0.1 lb for replacement parts 

Variety Needle Applicator Set 

K7940 

5 refillable Bellows Bottles with stems and 

caps; plus 3 Angled Steel Needle Tips, 

(fine, medium and wide); 1 Straight Plastic 

Flexible Tip and 1 Straight Plastic Tapered 

Cone Tip 

$29.50 

K7963 Needle Washer Bottle (squeezable, 8fl oz) $6.60 

Introductory Applicator Set (Needles and Pens) 

K7941 

1 Pen with cap; 1 Bellows Bottle with stem 

and cap; 1 Adaptor Cap; 1 Angled Steel 

Needle Tip, 1 Straight Plastic Flexible Tip 

and 3 Pen Tips (pencil, brush and chisel) 

$26.00 

Akua Kolor Pen Sets 

Use Akua Kolor Pens to draw on monotype plates, touch up 

prints or paint directly on paper. 

Akua Kolor Pens have a unique valve design that allows the user 

to control the flow of ink and helps prevent puddling and blobs 

of ink on the plate. Pens hold up to 2oz of Akua Kolor and are 

easy to fill through the wide mouth. They will not leak, making 

them safe to carry to workshops, use and store. 

Choose from 3 interchangeable tips that can be removed for 

cleaning or replacement. Or add an Adaptor Cap and use the 

Needle Tips instead. 

The pencil tip also works very well with plain water to soften 

paper before tearing to create a feathered edge. 

For use with Akua Kolor ink only; Akua Intaglio is too thick. 

Shipping weight: 0.3 lb for sets, 0.1 lb for replacement parts 

Pen Sets 

K7973 

K7979 

K7975 

Variety Set. Includes 3 Akua Kolor Pens 

with one each pencil, chisel and brush tips 

Set of 18 tips: 6 each of Pencil, Chisel and 

Brush 

Pack of Three Adaptor Caps for Pens 

(to use Needle Tips on Pen bodies) 

$22.00 

$12.00 

$12.00 

Life Line 

22 x 17.5 woodcut 

Jason Moore 

Fargo, ND 

carvingwonderland 

@gmail.com 

Training Session II 

68 x 33 woodcut 

Joel Feldman 

Lexington, KY 

joelfeldman.us 

Big Gal 


Jane Banquer 

Peaks Island, ME 

banquerj@myfairpoint.com 

36 


Akua Kolor Ink 

Developed for monotype printmaking, Akua Kolor also works 

very well for spreading ink across wood blocks with brushes in 

the Japanese style of printmaking. To roll out with a brayer, add 

Tack Thickener or allow the ink to air-dry overnight on the slab. 

This slow drying water-based ink has a long working time on the 

plate or block and an exceptionally rich working consistency. 

Prints dry to a velvety matte finish with brilliant, luminous color. 

Akua Kolor is the perfect choice for printing multi-layered blocks. 

Akua Kolor is made with the highest quality, light-fast pigments, 

pure gum binders and honey. No chalk, fillers, polymers or 

resins are added to this heavily pigmented ink. Cleans up quickly 

with soap and water. 

Bottles contain 4oz (119ml) of ink or modifier 


K7800 Lamp Black, semi-transparent PBLK7 $11.75 

K7801 Jet Black, intense PBLK7 $11.75 

K7802 Phthalo Blue Green, intense PB15:3 $12.80 

K7803 Phthalo Blue, intense PB15 $12.80 

K7805 Ultramarine Blue, transparent PB29 $12.80 

K7806 Phthalo Green Yellow, semi-transparent PG36 $12.80 

K7808 Phthalo Green Blue, intense PG7 $13.45 

K7811 Perylene Vermilion, transparent PR123 $14.85 

K7812 Scarlet Red, intense PR166 $13.95 

K7813 Crimson Red, intense PR170 $14.65 

K7814 Quinacridone Red, intense PV19 $16.60 

K7815 Red Oxide, semi-transparent PR101 $11.20 

K7816 Quinacridone Violet, intense PV19 $16.60 

K7820 Titanium Dioxide White, semi-transparent PW6 $11.95 

K7821 Pyrrole Orange, intense PO73 $16.95 

K7822 Hansa Yellow, intense PY74 $12.95 

K7823 Lemon Yellow, semi-transparent PY3 $11.50 

K7824 Diarylide Yellow, intense PY83 $13.95 

K7826 Yellow Ochre, intense PY42 $11.20 

K7828 Burnt Sienna, semi-transparent PBR7 $11.20 

K7829 Brown Oxide, semi-transparent PBR6 $11.20 

K7830 Burnt Umber, semi-transparent PBR7 $11.20 

K7831 Raw Umber, semi-transparent PBR7 $11.20 

Modifiers 

K7890 Retarder (acts as a release, slows drying rate) $9.45 

K7891 Blending Medium (wash effects or use as resist) $9.45 

K7892 Tack Thickener (thickens ink for use with brayer) $9.45 

K7893 

Extender (reconstitutes air thickened ink, works 

as a transparent base) 

$9.45 

Five modifiers can be used to change the ink for specific uses. 

Retarder slows drying time for even longer working time on 

monotype plates. Blending Medium separates the ink from the 

base giving wash effects on monotype plates. It can also be used 

as a resist with viscosity prints. Tack Thickener thickens the ink 

for denser roll-ups on monotype plates and for applying the ink 

with a brayer to a block. Extender thins Akua ink if it gets too 

thick. Release Agent aids in releasing brushwork from the plate 

and can be rolled over a ghost image so more ink will release 

onto the paper when it is printed. 

Akua Kolor is a labeled, approved product conforming to 

ASTM D 4236. 

Akua Kolor Process Color Set 


K7895 

4 colors that mix well for the widest possible 

range of colors 

1.6 lb $49.95 

Jet Black Phthalo Blue Green Quinacridone Red Lemon Yellow 

Akua Kolor Woodblock and Linocut Set 


K7897 4 colors and 1 modifier 2.0 lb $58.50 

Jet Black Phthalo Blue Crimson Red 

Hansa Yellow Tack Thickener 

Akua Kolor Introductory Set 


K7896 10 colors and 2 modifiers 7.5 lb $131.85 

Lamp Black Tit. Diox. White Ultramarine Blue 

Phthalo Blue Scarlet Red Crimson Red 

Hansa Yellow Yellow Ochre Burnt Sienna 

Raw Umber Retarder Blending Medium 

(OK to substitute Tack Thickener or Extender for Modifiers shown) 

Akua Kolor Professional Set 


K7898 24 colors and 5 modifiers 18.0 lb $327.55 

Includes all of the colors and modifiers listed to the left 

Akua Kolor High Quantity Discount 

Save 10% Please allow 2 weeks to fill your order 

Order Akua Kolor in packs of 8 of the same color and save 10% 

K7888 

Release Agent, 8oz jar (release for monotype 

prints and ghost prints) 

Color Chart 

$15.65 

K7980 Akua Kolor ink applied at full strength 1 oz $2.50 

Apply Akua Kolor with brayers, brushes, needle applicators and pens 


Robert E. Wood Palette 

This palette is great for mixing and storing Akua Kolor inks. 

The high-walled compartments hold plenty of ink and minimize 

spilling or intermixing. In addition to the 24 wells in the palette, 

the cover has four extra-large deep mixing wells. The cover also 

keeps dust and other contaminants out of the ink. 

Akua Kolor ink stored in this palette will stay moist and 

workable for weeks. Add a few drops of Akua-Kolor Extender if 

it becomes too thick. 

Made from durable, stain resistant white plastic. 

Cuppers 

Imported from Japan, these are great storage containers for small 

items and perfect for ink. 

Their broad, flat base makes them very stable. They are airtight, 

tough, stackable and clear so you can see what is inside at a 

glance. Cuppers clean easily and are highly resistant to staining. 

If they do stain, the color will not transfer. Steiner Mixing Brushes 

(page 27) will sit in Cuppers without falling out. 

Order 12 or more for a 5% discount. You can mix sizes to reach 

the discount. 

Nori 

rice paste 

Nori is very important to the Japanese style of printmaking. 

It works as a dispersing agent and gives the ink body so it will 

spread evenly over the block. Ink without nori can look speckled 

when it is printed, often an unwanted effect, while ink mixed 

with nori prints more uniformly. Traditionally, nori is also used 

to paste the original drawing to the key block. 

In addition Nori can be used for chine collé, book repair, and 

everyday paper pasting jobs. It is smooth, has a pleasant scent 

and will not stain. Water reversible, Nori is acid free, strong and 

does not spoil. 

PURE DRY RICE STARCH 

For those who prefer to mix their own nori, this pure glutinous 

dry rice starch is archival, with a neutral pH. No cooking is 

required. Paste recipe is included. 

K7301 Robert E. Wood Palette 1.5 lb $19.98 


E5510 Small (about ¼ cup capacity) $2.50 

E5511 Medium (about 1 cup capacity) $2.95 

E5512 Large (about 1 ¼ cup capacity) $3.35 

Nori 

E5414 100 gram jar (less than ½ cup) 0.3 lb $3.75 

E5415 220 gram tube (about 1 cup) 0.5 lb $6.40 

E5416 220 gram jar 0.5 lb $6.40 

E5420 1 kilogram jar (about 2 pints) 2.6 lb $23.50 

Pure Dry Rice Starch 

E5440 4 oz bag 0.4 lb $3.95 

E5445 16 oz bag (10% savings) 1.2 lb $14.25 

Owl 


Andrea Miller 

Atlanta, GA 

amilleratl@yahoo.com 

Retired 

10.25 x 14 woodcut 

Joe Durrett 

Darien, GA 

Pickup at Square One 


Charles Coates 

Jacksonville, FL 

workingpa.squarespace.com 

38 


Oil-Based Inks 

Oil-based ink is the ink traditionally used by western-style 

printmakers. It is made by adding pigment to soy oil or 

linseed oil that has been boiled to the desired consistency 

for a particular printmaking process. Relief inks need 

to spread out on the block evenly while still being stiff 

enough to hold fine details. The tackiness of the ink has 

to be low so the paper releases easily from the block 

without picking. Etching ink, on the other hand, has to be 

soft enough to wipe away readily yet tacky enough that it 

cannot be pulled out of the incised lines on the plate. 

Modifiers can be added to adjust the viscosity of an ink so it will 

print well in any situation. But you will get the best results from 

an ink that has been made for a specific printmaking technique 

Gamblin Relief and Etching Ink 

Gamblin Artists Colors in Portland, Oregon is world famous 

for their professional quality oil colors. In 1980 Robert 

Gamblin began formulating traditional, pure, linseed oil-based 

artists colors for artists and conservators. He designed new 

production machinery that allowed the incorporation of an 

extraordinary amount of pigment into the base, improving 

texture and creating luscious, intense, rich colors. This same 

skill and attention to quality was applied to creating Gamblin 

Etching Inks and Gamblin Relief Inks. 

For Gamblin Artists Colors, permanence is measured in 

centuries and every product they develop must meet that goal. 

Only the finest quality Burnt Plate Oil and lightfast pigments are 

used. Nothing has been added that could possibly compromise 

the archival quality of this ink. Gamblin Artists Colors believes 

this simple formula is what leads to permanence. 

McClain's worked closely with Robert Gamblin and Gamblin 

Artists Colors in developing Gamblin Relief Ink. We are very 

pleased and excited to offer you this classic relief ink. 

At the request of customers and schools, this year we added the 

full line of Gamblin Etching Ink. This is the ink of choice for 

creating intaglio prints from Resingrave or Solarplates as well 

as other intaglio techniques. In addition, Etching Ink can be 

used for monotype printmaking. With ten intensely pigmented 

inks and five blacks plus Graphite, Gamblin offers intaglio 

printmakers a broad range of color choices. 

Caligo Safe Wash Relief Ink 

Caligo, which is located in Wales, has been serving printers for 

over thirty years and offers an extensive line of high quality 

artists printmaking inks. 

Caligo Safe Wash Relief Ink are formulated for all types of 

relief printing, including woodcut, linocut, wood engraving, 

monotype and photopolymer plates including Solarplates. They 

give excellent coverage and work right out of the tube or can 

without modification. 

Their Safe Wash line gives printmakers a linseed oil-based ink 

that can be cleaned up with soap and water instead of solvents. 

Emulsifiers added into the ink make this possible. At the same 

time, these inks handle and print like any high-quality traditional 

oil-based ink. They retain all of the characteristics traditionally 

associated with oil-based ink (intensity, clarity, covering power) 

but without the need to use solvents or ventilation systems at 

cleanup, providing a genuine breakthrough in the search for 

greener ways to run a studio. 

In 1999, Caligo Inks was recognized as the Welsh Small 

Environmental Company of the Year for the development of 

their environmentally friendly Safe Wash Inks. 

Of the oil-based/soap and water clean up inks we have tried, 

this one stands out for its consistent working properties and 

excellent coverage. 

Akua Intaglio Ink 

This unusual ink is water and soy oil-based instead of linseed 

oil-based. The biggest difference is how the two kinds of oil dry. 

Linseed oil dries by oxidation (exposure to air); soy oil dries by 

absorption into the paper. Because of this, using a thin layer of 

ink and absorbent paper is necessary when this ink is used for 

relief printmaking. Like Akua Kolor, Akua Intaglio is made with 

the highest quality pigments and is very easy to clean up with 

soap and water. 

All of these inks are labeled, approved products conforming to 

ASTM D 4236. MSDS are available upon request. 


Akua Intaglio Ink 

Formulated for intaglio printmaking, this water and soy-based 

ink can also be applied with a brayer for printing woodcuts, 

linocuts, monotypes, and collagraphs. It will print from any 

plastic, wood, linoleum or metal plate. 

NOTE: Akua Intaglio dries by absorption into the paper. It does 

not dry on hard, smooth surfaces or heavily sized papers. So for 

relief printmaking, use thin layers of ink and absorbent, toothy 

papers like Hosho or Rives BFK (page 52 - 53). 

Akua Intaglio is made using pure mineral water in a thick soy oil 

base that is strongly pigmented with light fast pigments. It is water 

fast after it dries, but will counter-proof well while fresh. Akua 

Intaglio will never skin over or harden in the jar. Akua Kolor inks 

can be used to tint Akua Intaglio inks or Transparent Base without 

effecting their consistency. 


K7900 Lamp Black, semi-transparent PBLK7 $15.95 

K7934 Carbon Black (warm shade) PBk7 $15.50 

K7903 Phthalo Blue PB15 $18.25 

K7905 Ultramarine Blue PB29 $16.95 

K7908 Phthalo Green Blue PG7 $18.25 

K7911 Pyrrole Orange PO11 $22.75 

K7912 Scarlet Red PR166 $19.30 

K7913 Crimson Red PR170 $19.85 

K7915 Red Oxide PR101 $16.95 

K7917 Carbazole Violet V23 $22.75 

K7920 Titanium Dioxide White PW6 $17.95 

K7922 Hansa Yellow, intense PY74 $18.75 

K7924 Diarylide Yellow PY83 $19.35 

K7926 Yellow Ochre PY42 $16.90 

K7928 Burnt Sienna PBR7 $16.90 

K7930 Burnt Umber PBR7 $16.90 

K7931 Raw Umber PBR7 $16.90 

K7932 Van Dyke Brown PR101PV19 $18.95 

K7936 Metallic Gold $18.75 

K7937 Metallic Silver $18.75 

K7935 Transparent Base $15.15 

Modifiers 

K7990 Ink Stiffener (formerly Oil Converter) $15.15 

K7891 Blending Medium (4oz bottle), loosens ink $9.45 

On intaglio plates, the ink 

wipes off cleanly while plenty 

of ink remains in the grooves, 

resulting in sharp, high contrast 

prints. Tarlatans can be washed 

and reused, or use inexpensive 

cheesecloth or Dyna Cloths 

instead; since soy oil is less tacky 

compared to linseed oil, they 

work just as well. 

Akua Intaglio prints beautifully on dry paper, eliminating the 

possibility of paper shrinkage and making it ideal for printing 

multi-registered plates or combining prints with digital inkjet or 

letterpress images. 

Like Akua Kolor, non-toxic Akua Intaglio cleans up easily with 

soap and water. There is no need for expensive ventilation 

systems, fireproof containers, or solvents. While the ink can be 

used on acid etched copper intaglio plates, for a completely safe, 

non-toxic intaglio studio, try using it with Solarplates (page 8). 

Each jar contains 8 fl oz (237ml) of ink. A set of eight inks, the 

Akua Intaglio Trial Set, are also available in 2 fl oz (59ml) jars. 

New Akua Intaglio Colors Coming Soon 

The new colors will include Paynes Gray, Graphite, Mars Black, 

Bone Black, Quinacridone Magenta and a new blue. There is also 

a new woodblock monoprint video with Catherine Kernan in 

development. Please check our web site for further information. 

Akua Intaglio Trial Set, 2oz Jars 

K7998 

Akua Intaglio Introductory Set 


K7995 

Lamp Black Phthalo Blue 

Crimson Red Hansa Yellow 

Akua Intaglio Professional Set 


K7996 

Carbon Black, Phthalo Blue and Green Blue, 

Crimson Red, Red Oxide, T.D. White, Hansa 

Yellow, Yellow Ochre 

18 colors, Transparent Base and 2 Modifiers 

listed to the left. Does not include metallic ink. 

Akua Intaglio High Quantity Discount 

Save 10% Please allow 2 weeks to fill your order 

2.0 lb $64.59 

3.0 lb $69.00 

8.0 lb $365.85 

Order Akua Intaglio in packs of 8 of the same color and save 10% 

Rise and Slide 

hand-colored woodcut 

Blue Butterfield 

Portland, ME 

bluebutterfield.com 

Calm Wind 

3.5 x 5 Moku Hanga 

Ray Heus 

Orleans, MA 

maretsen@earthlink.net 

Swimmin' Pig 

multi-block woodcut 

Pete Russo 

Portland, OR 

40 



• Linseed oil base, cleans up with soap and water - no solvents 

• Lightfast pigments (Blue Wool Scale 6 or higher) 

• Excellent for any studio where solvents cannot be used 

These inks are heavily pigmented so a little goes a long way. In 

addition to linseed oil, pigment and a small amount of dryer (less 

than 1%), Caligo inks contain an emulsifier that attracts moisture 

so they clean up with just soap and water. 

They can be mixed with traditional oil-based ink but depending 

on how much traditional ink is added, the ability to clean up 

without using solvents may be lost. 

To make the ink more transparent, add Caligo Safe Wash Relief 

Ink Extender (Transparent Base). To thin the ink, add Caligo Safe 

Wash Oil, which contains the same emulsifier used in the Caligo 

Safe Wash colors. 

Skin Papers (see below) help keep ink in cans from skinning over. 

Replace the paper after removing ink. Because Extender is much 

looser than ink with pigment, skin papers are not needed. If a 

new can of Extender has a skin paper that has sunk into the ink, 

remove the ink that is on top before trying to remove the paper. 

Ink is sold by weight rather than volume so the can size may vary. 

Available in 150ml tubes (5 fluid ounces) and 500gm cans (just 

over 1lb). Colors can be seen on our website. 

500gm Cans 


K7600LB Black, opaque PBk 7 $27.50 

K7602LB Process Blue (Cyan), Transparent, PB 15:3 $30.15 

K7603LB Phthalo Blue, Transparent, PB 15:3 $33.40 

K7604LB Prussian Blue, Semi-Transparent, PB 27 $31.50 

K7605LB Ultramarine Blue, Transparent, PB 29 

(not available in tubes because the pigment can 

expand and cause the tube to burst.) 

$31.50 

K7606LB Phthalo Green, Transparent, PG 7 $40.60 

K7610LB Light Orange, Semi-opaque, PY47, PY12, PO34 $37.40 

K7611LB Rubine Red, Semi-Transparent, PR 57:1 $33.40 

K7612LB Napthol Red, Transparent, PR 112 $40.60 

K7613LB Process Red (Magenta), Transparent, PV 19 $43.25 

K7620LB Opaque White, Opaque, PW 4 $28.65 

K7622LB Arylide Yellow (Cool), Semi-Transparent, PY 3 $37.40 

K7623LB Process Yellow, Transparent, PY 3 $35.85 

K7624LB Diarylide Yellow (Warm), Semi-Transparent, PY 3 $37.40 

K7626LB Yellow Ochre, Opaque, PY 42 $37.40 

K7628LB Burnt Sienna, Semi-opaque, PY3, PR112, PBK7 $38.70 

K7631LB Raw Umber, Semi-opaque, PBr 7 $28.65 

K7635LB Extender (Transparent Base) $27.50 

Modifiers and Skin Papers 

K7636 Oil (Thinner), 250ml can 0.7 lb $11.75 

K7738 Gamblin Magnesium Carbonate 0.3 lb 

(white powder that adds body), 100gm 

Can be irritating if breathed in; use a mask (page 58) 

$12.95 

K7790 500 - 4" Skin Papers for 500gm Cans, 1.0 lb $9.95 

150ml tubes 


K7600 Black, Opaque PBk 7 $14.25 

K7602 Process Blue (Cyan), Transparent, PB 15:3 $15.20 

K7603 Phthalo Blue, Transparent, PB 15:3 $16.70 

K7604 Prussian Blue, Semi-Transparent, PB 27 $15.75 

K7606 Phthalo Green, Transparent, PG 7 $19.35 

K7610 Light Orange, Semi-opaque, PY47, PY12, PO34 $17.99 

K7611 Rubine Red, Semi-Transparent, PR 57:1 $16.70 

K7612 Napthol Red, Transparent, PR 112 $19.35 

K7613 Process Red (Magenta), Transparent, PV 19 $20.50 

K7620 Opaque White, Opaque, PW 4 $14.60 

K7622 Arylide Yellow (Cool), Semi-Transparent, PY 3 $17.99 

K7623 Process Yellow, Transparent, PY 3 $17.50 

K7624 Diarylide Yellow (Warm), Semi-Transparent, PY 3 $17.99 

K7626 Yellow Ochre, Opaque, PY 42 $17.99 

K7628 Burnt Sienna, Semi-opaque, PY3, PR112, PBK7 $18.60 

K7631 Raw Umber, Semi-opaque, PBr 7 $14.60 

K7635 Extender (Transparent Base) $14.60 

Caligo Safe Wash Ink Trial Set 

K7690 

75ml (1/3 cup) Tube Set includes Black, 

Light Orange and Phthalo Blue 

0.8 lb $28.15 

Caligo Safe Wash Relief Ink Process Color Sets 

K7695 

4.0 lb $91.80 

K7695LB 

150ml Tube Set includes Process Blue 

(Cyan), Process Red (Magenta), Process 

Yellow, Black, Opaque White, Extender 


500gm Can Set includes Process Blue 

(Cyan), Process Red (Magenta), Process 

Yellow, Black, Opaque White, Extender 


8.0 lb $183.25 

Caligo Safe Wash Relief Ink Professional Sets 

K7698 

12.0 lb $271.25 

K7698LB 

150ml Tube Set includes all 16 colors, 

Extender and Oil 


500gm Can Set includes all 17 colors, 

Extender, Oil and 500 Skin Papers 


25.5 lb $578.30 


Gamblin Etching Ink 

NEW! 

• Archival, lightfast pigments in pure burnt linseed plate oil 

• No fillers, additives or modifiers 

• High pigment load 

• Intense colors, brilliant undertones 

• Formulated specifically for intaglio printmaking 

Robert Gamblin formulated these etching inks at the request 

of printmakers in the Pacific Northwest who wanted strong, 

reliable inks for edition printing. Because of their high pigment 

load, Gamblin Etching Inks are a much better value than lower 

priced etching inks filled with extenders. 

These high tack, buttery inks wipe easily and print with intensity, 

purity of color and brilliant undertones. White is the only 

opaque pigment. The other pigments are bright and transparent 

or semi-transparent. All of the pigments are lightfast and will not 

change or fade over time. 

When it comes to cleaning up, most of the ink can be easily 

wiped away with a dry cloth. Any residue can then be removed 

with a small amount of Gamsol Odorless Mineral Spirits. 

Five Black Choices 

In addition to ten colors and transparent base, five black etching 

inks plus graphite are available, each with its unique color 

qualities and working characteristics. 

Color Wiping Plate Tone 

Portland Black Neutral Easy Moderate 

Portland Cool Cool Easy Moderate 

Black 

Portland Stiff Neutral Moderate Moderate 

Black 

Bone Black Warm Easy Light 

Carbon Black Warm Hard Heavy 

Graphite Gray Easy Heavy 

• Portland Black: Highly recommended for etching, drypoint, 

aquatint, mezzotint and engraving processes. 

• Portland Cool Black: Highly recommended for etching, drypoint, 


• Portland Stiff Black: Recommended for etching, drypoint, aquatint. 

Highly recommended for mezzotint and engraving. 

• Bone Black: Highly recommended for etching, drypoint, aquatint, 

mezzotint and engraving processes. 

• Carbon Black: Needs additives to work well for etching, drypoint, 


• Graphite: Recommended for etching, drypoint, aquatint, mezzotint. 

Needs additives for engraving. 

Modifiers 

Depending on the technique, temperature, humidity, paper 

and type of plate, all inks may need slight adjustments to print 

perfectly. #2 Burnt Plate Oil lowers viscosity so the ink spreads 

more easily. Add sparingly; details may be lost if the ink becomes 

too fluid. Tack Reducer is a transparent gel made from a very 

light drying oil. Small amounts added to the ink will reduce 

tack so it spreads out readily and evenly. Magnesium Carbonate 

stiffens ink and reduces the ink's gloss level. Usually very little is 

needed; add small amounts and mix well before adding more. 

300ml cans 


K7750 Portland Black, PBk 9, PB 29 $17.95 

K7751 Portland Cool Black, PBk 7, PBk 9, PB 29 $17.95 

K7752 Portland Stiff Black, PBk 9, PBk 29 $17.95 

K7753 Bone Black, PBk 9 $17.95 

K7754 Carbon Black, PBk 9 $17.95 

K7756 Graphite, natural graphite $21.95 

K7762 Prussian Blue, Semi-transparent, PB 27:1 $21.95 

K7765 Ultramarine Blue, Transparent, PB 29 $21.95 


K7772 Napthol Red, Semi-transparent, PR 112 $21.95 

K7774 Quinacridone Red, Transparent, PV19 $26.95 

K7777 Dioxazine Purple, PV23 $26.95 

K7780 Etching White, Opaque, PW 6, PW 4 $17.95 

K7784 Hansa Yellow Light, Semi-transparent, PY 3 $26.95 

K7785 Yellow Ochre, PY43 $17.95 

K7788 Sepia, Semi-Transparent, PR 101 $21.95 


Gamblin Etching Ink Basic Color Set 

K7795 

Modifiers (use with any oil-based ink) 

K7737 Gamblin #2 Burnt Plate Oil (thinner), 8oz 0.8 lb $8.95 

K7739 Gamblin Tack Reducer 150ml (5 fl oz) 0.6 lb $12.95 

K7738 Gamblin Magnesium Carbonate, 100gm 0.3 lb 


Includes Portland Black, Prussian Blue, 

Quinacridone Red, Hansa Yellow Light, 

Transparent Base. 


Gamblin Etching Ink Black Set 

K7796 

Includes Portland Black, Cool Black, Stiff Black, 

Bone Black and Carbon Black. 


5.0 lb $106.15 

5.0 lb $80.75 

Gamblin Etching Ink Professional Set 

K7798 

19.0 lb $174.90 

Includes all 16 colors, Transparent Base, 

000# Burnt Plate Oil, Tack Reducer, Magnesium 

Carbonate and Skin Papers 


$12.95 

Skin Papers 

K7799 500 - 4" Skin Papers for Gamblin 300ml cans 1.0 lb $9.95 

Gamblin Ink High Quantity Discount 

Save 15% Please allow one week to fill your order 

Order over $600 of Gamblin Inks and Modifiers and save 15% plus 

get Free Freight! Shipped directly from Gamblin. No internet orders; 

please phone or fax orders to one of the numbers below. 

42 


Gamblin Relief Ink 

• Archival, lightfast pigments in pure burnt linseed plate oil 

• No fillers or additives 

• High pigment load 

• Intense colors, brilliant undertones 

• Formulated specifically for relief printmaking 

Gamblin Relief Ink gives relief printmakers the professional 

quality ink they need to print with confidence that their work 

will last for decades, even centuries. 

These inks feel buttery smooth under the ink knife. While stiff 

enough to hold fine detail, this low tack ink is formulated to 

spread out smoothly and evenly on the block without the use of 

additives. The high pigment load translates to complete coverage 

from very thin layers of ink, eliminating over-inked, blurry 

prints and preserving fine details. 

Gamblin Relief Inks print with intensity, purity of color and 

brilliant undertones. White is the only opaque pigment. The 

other pigments are bright and transparent or semi-transparent, 

making these inks ideal for overprinting. All of the pigments are 

lightfast and will not change or fade over time. Because of their 

very high pigment load Gamblin Relief Inks are a much better 

value than lower priced inks filled with extenders. 

A small amount of dryer has been added to the ink. Depending 

on the paper, the amount of ink used and environmental 

conditions, drying time takes two to six days. 

Modifiers 

Depending on the technique, temperature, humidity, paper 

and type of plate, all inks may need slight adjustments to print 

perfectly. #000 Burnt Plate Oil lowers viscosity so the ink 

spreads more easily; it is less viscous than #2 Burnt Plate Oil, 

which is generally used with etching ink. Add sparingly; details 

may be lost if the ink becomes too fluid. For descriptions of the 

other ink modifiers, see "Modifiers" under Gamblin Etching Ink 

on the facing page. 

Because Gamblin Relief Inks do not contain fillers or modifiers 

they are less tacky than most oil-based inks, so when it comes 

to clean up, most of the ink can be easily wiped away with a 

dry cloth. Remove any residue with a small amount of Gamsol 

Odorless Mineral Spirits. 

Free color swatches and a mixing chart are available online at 


Gamsol 

We strongly recommend cleaning up 

traditional oil-based inks with the safest 

solvent available, Gamsol Odorless Mineral 

Spirits. For more information, see page 58 

or imcclains.com in the "Techniques and 

How To's>Ink" section. 

Tarlatan 

Use to hand wipe intaglio plates. Tarlatan is a 

starched open-weave cotton fabric. Soften or 

remove excess starch by rubbing or washing. 

E3004 36" wide by 1 yard long 0.3 lb $1.95 

E3005 36" wide by 10 yards long 3.0 lb $18.95 

175ml jars 


K7700 Portland Intense Black, Semi-trans, PBk 7, PB 27:1 $12.95 

K7702 Prussian Blue, Semi-transparent, PB 27:1 $15.95 

K7705 Ultramarine Blue, Transparent, PB 29 $15.95 


K7712 Napthol Scarlet, Semi-transparent, PR 188 $19.95 

K7714 Quinacridone Red, Transparent, PV19 $15.95 

K7720 Titanium White, Opaque, PW 6, PW 4 $12.95 

K7726 Hansa Yellow Light, Semi-transparent, PY 3 $19.95 

K7732 Sepia, Semi-Transparent, PR 101 $15.95 


Modifiers (use with any oil-based ink) 

K7736 Gamblin #000 Burnt Plate Oil, 8oz 0.8 lb $8.95 

K7739 Gamblin Tack Reducer 150ml (5 fl oz) 0.6 lb $12.95 

K7738 Gamblin Magnesium Carbonate, 100gm 0.3 lb 


Skin Papers 

$12.95 

K7799 500 - 2" Skin Papers for Gamblin 175ml jars 0.8 lb $6.95 

Gamblin Relief Ink Basic Color Set 

K7795 

Includes Black, Prussian Blue, Quinacridone Red, 

Hansa Yellow Light, Titanium White, Transparent 

Base. 


Gamblin Relief Ink Earth Color Set 

K7796 

Includes Black, Sepia, Hansa Yellow Light and 

Napthol Scarlet plus mixing chart for creating 

Yellow Ochre, Burnt Sienna, Burnt Umber and 

Raw Umber. 


Gamblin Relief Ink Professional Set 

K7798 

Includes all 9 colors, Transparent Base, 

000# Burnt Plate Oil Tack Reducer, Magnesium 

Carbonate and Skin Papers 


6.5 lb $86.15 

5.0 lb $65.35 

11.5 lb $183.85 

Gamblin Ink High Quantity Discount 

Save 15% Please allow one week to fill your order 

Order over $600 Gamblin Inks and Modifiers and save 15% plus 

get Free Freight! Shipped directly from Gamblin. No internet orders; 

please phone or fax orders to one of the numbers below. 


Baren 

hand held printing press 

A traditional baren is a lightweight, hand-held disk made with 

an ategawa or stiff backing piece; a shin, which is a coiled pad of 

twisted fiber; and a barengawa (cover) made from a takenokawa 

(bamboo sheath). The baren is used to rub the back of the 

printing paper, causing the ink to be forced up into the paper. 

Benefits of Using a Baren 

Although a baren is quite simple in appearance, it possesses all 

of the qualities necessary to obtain an ideal impression from a 

woodblock. A well-made baren has many raised points in the 

shin that make contact with the printing paper simultaneously, 

so that one stroke will print a wide area. The subtly convex shape 

of the ategawa places the pressure from the printer's arm most 

strongly in the center of the baren, so it moves smoothly across 

the paper. The disc shape of the baren keeps it from falling off 

the edges of the carved areas of the block, which can strain the 

paper and allow it to pick up ink below the carved line. Instead, 

the baren rides across the top of the block, bridging the cut areas 

and enabling the printer to obtain clean-edged impressions from 

the block. 

While baren are available in every price range, there is a wide 

difference in how they perform. More expensive baren take time 

and effort to make, are more efficient and do a much better job of 

drawing ink off the block and into the paper. 

Sizes and Kinds of Baren 

No one size or type of Baren does it all. Different sizes and 

kinds of baren are used by printmakers depending on the area 

to be printed and the effect they want to achieve. 

Baren come in several sizes, but the standard size is about 5" 

(13cm) in diameter. This size is large enough to keep the baren 

from dipping into cut areas on the block, making clean, even 

and rapid printing possible. Many artists also keep a small baren 

handy to print smaller areas. 

The material used to make the coiled pad and the way that 

material is twisted affect the baren's performance and use. 

Basically, a thicker shin made with more strands of material 

delivers stronger pressure which is useful for printing large areas. 

A baren with a thinner shin is used for printing fine lines. 

Today baren made with ball bearings or from plastic are available 

to printmakers. Many of these new baren work very well and 

have gained wide acceptance in the printmaking community. 

How to Use a Baren 

The proper way to hold a baren is to slip the tips of your four 

fingers under the handle with the thumb at the end of the 

handle, making a loose fist with the palm towards the baren. 

Press hard from the heel of the hand, transmitting strength and 

power from the shoulder and upper body. 

Care of Baren 

For even wear the ategawa should be rotated inside the 

barengawa every time you pick up the baren. 

A very light coating of Camellia Oil (page 47) keeps the 

bamboo cover supple. Many artists, including the Hon Baren 

craftsman, insist that Camellia Oil is best because it is the 

vegetable oil closest to our natural face and hair oils (which are 

also highly recommended for using on the barengawa!). The 

Japanese craftsman who makes Hon Baren recommends using 

oil only once every month or two because too much oil can 

cause the barengawa to stretch and deteriorate. In between, 

he suggests rubbing the barengawa before use with a camellia 

seed, which contains a very small amount of oil. If you cannot 

find a camellia seed, use Camellia Oil but very sparingly. Every 

baren from McClain's comes with a small vial of camellia oil to 

get you started. 

Allow your baren to dry thoroughly after printing on damp or 

wet paper and store it wrapped in paper or in a box, never in 

plastic bags. 

Protecting the Baren 

Many printmakers place a thin, translucent sheet of smooth 

paper between the baren and the paper being printed. This 

barrier protects the printing paper from traces of oil on the 

baren, saves the barengawa by giving the baren a smooth surface 

to ride on, and at the same time allows the artist to see what is 

happening on the printing paper. Tracing paper is one option, 

but becomes wet and useless rather quickly. A special paper 

from Japan called Ategami (page 47) is ideal for this purpose. 

44 


Premium Hon Baren 

A Hon ("genuine" or "real") Baren is the ultimate tool for the 

serious printmaker. Versatile, responsive, durable and made with 

exquisite craftsmanship, Hon Baren allow the work of printing to 

go easily and smoothly. The qualities of a Hon Baren are subtle, but 

once experienced these baren are clearly superior. Each baren takes 

up to a year of intensive labor to create, requiring the skill of a true 

master craftsman. Keep in mind that they are still less expensive 

and take up much less space than a western printing press. 

The 8-ko (strand) baren is the most versatile, although 12-ko and 

16-ko baren are also available. Traditionally, 12 and 16-ko baren are 

used for printing large areas with thick pigment. 

8-ko baren are available in three basic textures: coarse, medium, and 

fine. The coarse baren is useful for printing broad, flat areas in large 

prints, especially when using heavy papers. The medium baren is 

probably the most versatile and is adaptable to many printing styles. 

Murasaki Baren 

If you would like to use a professional baren but do not have the 

budget for a Hon Baren, this less expensive version was created 

with affordability in mind. It is produced in the studio of a Tokyo 

baren maker who also makes Hon Baren. 

The core of this baren is a hard, hand-twisted synthetic cord that 

easily transfers pressure to the block. The medium baren is designed 

for printing detailed carving on softer, lighter weight papers; while 

the coarse baren is designed for printing large areas on thicker, 

heavier papers. 

We have had very positive feedback about the Murasaki Baren from 

professional printmakers who feel the performance is very close to 

that of their Hon Baren. Highly recommended. 

Ball Bearing Baren 

These baren require only a minimum amount of pressure to pull a 

print, a definite plus if you print large runs or if you are suffering 

from arthritis or a repetitive stress injury to your hand or arm. 

Matte black, rubberized leather backs a cork disc with a perforated 

metal plate containing the ball bearings. The thick, twisted leather 

handle is very comfortable to hold. 

A5901 and A5902 approximate a 16-ko Hon Baren or a coarse 

Murasaki Baren and are designed for printing large, flat color areas. 

A5903 and A5904 approximate an 8-ko Hon Baren or a medium 

Murasaki Baren, and are designed for printing fine lines and 

detailed areas. We have discovered that they also print large areas 

very well and feel that they are the most versatile. 

The cushioning in A5902 and A5904 is a light, thin plastic disc 

that prevents the ball bearings from rattling when the baren is 

picked up or while it is being used, so they are quieter compared 

to uncushioned baren. The price difference between cushioned and 

uncushioned Baren is $10. 

A very light coating of Camellia Oil before and after each use keeps 

the ball bearings running smoothing and prevents rust. 

I just wanted to let you know that I LOVE the ball bearing baren! It 

makes awesome prints and I have NO PAIN! I am one very happy 

printmaker. Many thanks to you! Best wishes, 

Caren 

Oradell, NJ 

The fine baren requires a lighter touch and is for printing fine lines 

or small areas on thin papers. 

SPECIAL ORDER ONLY. At the exchange rate when this catalog 

was printed, prices start at around $985. Please call or email for 

current prices. After you place your order, our price is guaranteed. 


A5904 with 612 ball bearings 

A5904 is kept is stock. The others are SPECIAL ORDER ONLY. 

Allow four to six weeks for delivery. At the exchange rate when 

this catalog was printed, prices start at around $265. Please call or 

email for the current prices. After you place your order, our price 

is guaranteed. 


the shin in an 8-ko Hon Baren 

Comes with a free sample of Camellia Oil 

A6026 12.0 cm medium; general use, detail $159.50 

A6027 12.0 cm coarse; large areas $159.50 

A5902 with 378 ball bearings 


A5901 378 ball bearings (large areas) special order 

A5902 378 ball bearings, (large areas, cushioned) special order 

A5903 612 ball bearings (most versatile) special order 

A5904 612 ball bearings (most versatile, cushioned) varies 


Disk Baren 

This high tech plastic baren was designed by the famous 

Japanese printmaker Akira Kurosaki. The replaceable disc has 

many small bumps on the surface similar to the points on a Hon 

Baren shin (coiled pad), that apply pressure evenly across the 

paper as you print. 

For those who dread the thought of replacing the barengawa 

(bamboo baren cover), this baren doesn't have one! Instead, 

when the bumps on the disk wear down, just remove the old 

disc and press on a new one. 

Comes with a free sample of Camellia Oil, which is applied to 

the baren face so it will glide easily across the printing paper. 

Cleans up with soap and water. Perfect in classrooms! 

close up of bumps on the disk face 

A6035 Disk Baren, 13cm (5 3 / 16") wide 0.6 lb $36.25 

A6035R Replacement Disk 0.2 lb $18.00 

Standard Quality Baren 

These baren are constructed of lacquered cardboard disks with 

bamboo sheath covers. The texture is fine to medium and they 

are designed for general printmaking. 

Many printmakers start with a Medium Baren (A6208). 

However, a Large Baren (A6209) is more versatile, since it 

is wide enough to resist dipping into cleared spaces on the 

block, plus the cotton twine coil inside applies pressure more 

efficiently than the softer paper coil used in the Medium Baren. 

This makes more even and rapid printing possible. 

Medium Baren and 

paper coil 

(upper right) 


Large Baren and 

twine coil (left) 


A6208 Medium: 11.0 cm (4.3"), twisted paper coil $8.95 

A6209 Large: 13 cm (5.1"), synthetic twine coil $32.45 

Takenokawa 

bamboo sheath 

Eventually the barengawa (bamboo sheath) on a baren will wear 

out. Because traditional takenokawa have the ability to glide 

smoothly over damp paper, you want to recover your baren 

using the same material. 

Our Takenokawa are imported directly from Japan and are 

strong, smooth textured and free from blemish. Each one is 

carefully examined before shipping. 

Store at a constant humidity; too damp and they mold, too dry 

and they become brittle and crack. Complete instructions for 

recovering your baren are at imcclains.com in the "Techniques 

and How To's" section or in David Bull's eBook, on page 55. 

Shipping weight: because we take extra care packaging takenokawa, please figure 

a minimum shipping weight of 1 lb per order. 

A6450 at least 13.5 cm x 50 cm (19.7" x 5.3") $4.65 

Outlook 


Mary Brodbeck 

Kalamazoo, MI 

marybrodbeck.com 

Animals of the Earth 

7 x 3 each, linocuts with 

watercolor 

Jill Bergman 

Steamboat Springs, CO 

jillbergman.com 

Angkor Wat Buddhas 

5.5 x 7 multicolor 

woodblock 

Alan Medak 

Graham, WA 

amedak@msn.com 

46 


Tsubaki Abura 

camellia oil 

Camellia oil is applied to the barengawa to keep it supple. The oil 

may be applied with a pad, cotton ball, or the palm of your hand. 

Rub just a drop or two of oil into the sheath, paying attention to 

the sides as well as the face of the barengawa. Our Camellia Oil 

is cosmetic grade, so it is also good for your skin. 

The oil also protects steel cutting tools from rust. Apply a small 

amount to the blade, especially after sharpening on water stones 

or before storing them for long periods of time. A6660 2.0 fl oz 0.2 lb $8.00 

Baren Wata 

literally "baren cotton wool" 

Traditionally, printmakers in Japan place the baren on a cotton 

or wool pad between uses. This elegant version made by the 

Japanese Hon Baren craftsman consists of a black base with feet, 

topped with a thick synthetic wool pad. 

After printing, do not store your baren on the Baren Wata, since 

long contact with the oil that accumulates on the pad from the 

baren can make the barengawa too soft. 

A6455 6" x 6" 0.6 lb $22.95 

Ategami 

back paper 

This thin, water-proof paper creates a barrier between the baren 

and the damp printing paper, protecting them from one another 

and allowing the baren to move freely. 

Unlike tracing paper, Ategami will withstand many long printing 

sessions without wrinkling or tearing and it can be used again 

and again. It is translucent so you can see how the image is 

progressing as you print. 

Fair warning: once you try it, you will never want to use 

anything else. 

A6550 11.75" x 32' (full roll) 0.9 lb $30.00 

A6551 11.75" x 16' (half roll) 0.5 lb $16.00 

Registration Boards 

Eliminates having to carve Kento (registration marks) into 

every block. Carve the marks into the "L" or use tape to make 

temporary registration marks. Place the inked block firmly into 

the corner of the "L" and use the marks to accurately position 

the printing paper on the block. Works best with blocks up to 

12" x 16" in size and 3/8" in height. Complete instructions are at 


The inner edges of the "L" are beveled to keep ink from 

transferring from the block to the "L." Available with the corner 

of the "L" on the left or right side. 

If you would like a different size Registration Board, we will be 

happy to make it for you. Please allow one week for us to make 

custom Registration Boards. 

Registration board with 

"L" on left 

Registration board with 

"L" on right 

E4900L "L" on left, 14" x 18" base board (left above) 2.0 lb $19.85 

E4900R "L" on right, 14" x 18" base board 2.0 lb $19.85 

CUSTOM SIZE 

E4901 Custom Registration Board, per sq. inch varies $0.10 


PinPress 

Monotype printmakers no longer need to purchase a huge 

heavy press, especially when they are printing with water-based 

inks, like Akua Kolor and Akua Intaglio (pages 37 and 40). With 

the PinPress you have the high performance roller from a press, 

but for a fraction of the cost of the full machine. Plus you are no 

longer tied to your studio. The PinPress is light enough to take 

wherever you want to go. 

Don’t mistake the PinPress for the rolling pin in your kitchen 

drawer. This pin is machined to an incredibly even and smooth 

surface, much smoother than any rolling pin, for uniform 

contact between the PinPress, paper and plate. 

Likewise, don’t mistake the PinPress for an etching press. No 

matter how hard you press, you cannot exert the same force that 

an etching press can. That means not as much ink will transfer 

from the plate to the paper. So compared to prints pulled using 

an etching press, prints pulled with a PinPress may look softer or 

show some texture, depending on the paper you use. 

For best results, use a piece of tempered plate glass as a press 

bed. The PinPress works best taking impressions from very flat 

surfaces such as Scratch Foam (page 10), mylar, thin acrylic or 

polycarbonate Monotype Plates (page 8). Wood and linoleum 

blocks may look flat but actually they are not uniform enough 

for printing with a PinPress. 

The PinPress performs very well for monotype printmaking with 

Akua inks on dry or wet paper. When using other watercolors or 

tempera, lightly coat the printing plate with gum arabic or 

Akua Release Agent first to help the pigments transfer to the 

damp paper. If you are using oil-based inks, try adding Burnt 

Plate Oil or Tack Reducer (pages 41-43) to the ink to reduce the 

tack so you get a good release. 

Our PinPress is the professional model, all metal, with bronze 

bushings and rounded edges to avoid tearing or embossing the 

paper. The crescent handles swivel to create a stand when the 

press is not in use. The result is a very smooth, comfortable, 

gliding action as you power the PinPress across the plate. 

Professional PinPress with Crescent Handles 

A6714 2" x 20" (22" long with handles) 8.2 lb $225.00 

DVD - Painterly Printmaking with Monotype 

Monotype prints in this DVD are pulled with a PinPress. For a 

full description, turn to page 56. 

R2620 DVD, 1 hour 44 minutes 0.6 lb $39.95 

top left 

Pasture in Woodland 

21 x 15 monotype 

Yuanwei Zheng 

Zhongshan, Guangdong, China 

nextscene@163.com 

Woodcuts by Yuanwei Zheng's 

Middle School Students 

top row, left to right 

Cute Panda by Qiao Li 

Lake by Yunyi Deng 

Good Friend by Yao Li 

second row, left to right 

Win by Liying Tan 

Galloping Horse by Jianbin Ruan 

Memorial Hall by Haitong Liang 

thrid row, left to right 

Riverside by Yulu Lin 

Lotus by Lingkang Deng 

48 


Washi 

Japanese handmade paper 

Washi Defined 

Washi is paper that is made entirely by hand, using traditional 

methods, in small isolated villages in Japan. More handmade 

paper is made in Japan than in all the rest of the world combined. 

However production is slow and labor intensive, so the amount of 

Washi available is small, making it relatively expensive compared 

to modern commercial art paper. This expense is more than made 

up for by the quality, beauty and performance of the paper. 

Consistency of color and thickness makes Washi an excellent 

handmade paper for printmaking. This consistency is due to the 

remarkable skill of the papermakers, who follow traditional recipes 

and methods passed down through generations of craftsmen. 

Raw Materials 

Fibers from either gampi, kozo (mulberry) or mitsumata (edgeworthia) 

plants are the traditional materials used to make Washi. 

Of the three fibers, gampi has been used to make paper the 

longest, but the plant is now very scarce because it cannot be 

cultivated and only grows wild, threatening the production of 

these distinctive papers. 

Kozo is by far the most common fiber used. Kozo is a light golden 

color that is sometimes bleached white. It is very strong and 

absorbent, making it an ideal choice for woodblock printmaking. 

Mitsumata is the new kid on the block, having been used in paper 

making for only the last 300 years or so. Like Gampi and Kozo, 

Mitsumata also absorbs ink very readily. 

Sometimes buffered, non-acidic wood pulp is mixed with the 

plant fibers. It adds absorbency, softness and bulk to the paper. 

Many printmakers knowingly order their personal Washi made 

with a percentage of wood pulp to attain printing results that are 

only possible with this combination. 

Please note that the term "rice paper" is an inappropriate 

misnomer for Washi. Rice straw is quite absorbent but it is weak. 

It is used in some Chinese painting and calligraphy papers, but 

even then it is mixed with other fibers for strength. It is never 

used in Japanese Washi. 

Dosa: Controlling Absorbency, Adding Body 

Dosa (sizing) is applied to printmaking paper to control the rate 

of absorbency, so water-based pigments print crisply without 

bleeding. Dosa also adds body and strength to the paper, a 

quality definitely necessary with multiple block prints. 

Digital Art 

All of the papers we carry have been tested on an HP LaserJet and 

Ink Jet printer. Usu Mino and Yamashiro were too lightweight to 

run through the printer even with backing paper, but all the rest 

of the papers went through the printers and took the ink without 

a problem. Test on your computer printer or copier first. 

Printmaking Washi 

Over the centuries, among the thousands of different Washi, 

a few have proven themselves to be the most satisfactory for 

printmaking. The most common types, Hosho, Torinoko, Nishinouchi 

and Mino, are produced in many different sizes, weights and 

qualities. The quality and characteristics of these papers depend 

upon the family traditions and skill of the papermaker, the use for 

which the paper is intended and the quality of the raw materials. 

Buying from reputable suppliers, as we do, is the best way of 

being assured of getting the highest quality paper for printmaking. 


Washi Sample Book 

Nothing compares to seeing and feeling the paper itself. Our 

Washi Sample Book lets you do this before investing in full sheets 

of paper. 

P6800 

3" x 5" book with paper samples plus 

detailed descriptions of each paper 

0.1 lb $7.00 

• Different printing papers can be combined to qualify for the 

quantity discounts. 

• Paper is shipped rolled. If you prefer that we ship it flat, 

there will be higher shipping charges because of the size of the 

package. These shipping rates are based on size or actual weight, 

whichever is greater, and will vary depending on your location. 

• While we try to keep a good supply of paper on hand, 

occasionally we may not have enough to fill large orders 

immediately. We can have paper shipped from Japan by Express 

Mail, but there is an extra shipping charge for this service. 

Paper shipped from Japan by Express Mail arrives here in 10 to 

14 days. 

Group A Washi 

This group includes our finest printmaking papers. They are all 

handmade with deckle edges on all four sides. The papers are 

medium to heavy weight and strong enough to easily withstand 

multiple printings from multiple blocks. 

The colors of the paper range from white to natural, and give 

back sharp, clear colors when printed. They are of high fiber 

content, tear beautifully and all are acid free. 

Nishinouchi 

A great paper with a subtly brushed texture and the translucency 

of more fragile papers, Nishinouchi is surprisingly strong and 

able to withstand repeated printings from multiple blocks. The 

texture and natural warm color of the paper adds liveliness 

to a print while giving back sharp, crisp colors from water or 

oil-based inks. It is the largest sheet of paper that we carry. Tears 

exceptionally well. Ideal for woodblock, linocut, monotype and 

book arts. 

Sized Handmade (4 deckle edges) 90% Northern Kozo and 10% 

acid free pulp 

color dimensions weight 

P6801 Natural 29.25" x 41.75" 60gm/sqM 

1-10 11-50 51+ 

$13.15 $12.49 $11.18 

Kizuki Hanga 

An exceptionally low price for a 100% Kozo paper of this 

weight. Ideal for multiple block prints, Kizuki Hanga's weight 

and heavy body make it easy to lay full-size dampened sheets 

on the block. The slightly off-white shade creates an excellent 

background for sharp, luminous, clear colors from printing 

inks. While it can be used for any Western style of printmaking, 

Kizuki Hanga is intended for the serious printmaker using waterbased 

inks and Japanese techniques. 

Sized Handmade (4 deckle edges) 100% Kozo 


P6802 Off-White 27" x 40.5" 135gm/sqM 

1-10 11-50 51+ 

$33.60 $31.95 $28.55 

Gampi 

A beautiful, versatile handmade paper, with a luminescent 

surface and a lovely, soft, dense hand. It is a waterleaf paper 

and naturally absorbent. Even without sizing Gampi works 

beautifully for Moku Hanga; just work a little drier and add a 

bit more nori (rice paste). Excellent for western block printing, 

intaglio, litho, sumi painting and book arts. 

Warning: This Washi will be unavailable soon because the paper 

maker passed away. 

Unsized Handmade (4 deckle edges) 100% Gampi 


P6805 Off-White 20" x 30" 96gm/sqM 

P6806 Natural 20" x 30" 96gm/sqM 

1-10 11-50 51+ 

$13.99 $13.29 $11.89 

Echizen Kozo 

Water-based inks printed on this paper seem to glow from 

within. It is a fairly soft, dense, medium-weight paper, very 

smooth on one side, and accepts ink beautifully and evenly. The 

natural or soft, off-white color of the paper adds a warm feeling 

to the finished print. This exceptionally fine printmaking paper 

is a joy to use for Moku Hanga and works well with all relief 

printmaking styles. Tears very easily. 

Sized Handmade (4 deckle edges) 100% Kozo 



P6809 White 26" x 38" 55gm/sqM 

1-10 11-50 51+ 

$21.75 $20.65 $18.49 

50 


Group B Washi 

These versatile papers are very good quality. They are either 

machine or handmade, from a mixture of fiber and buffered, 

acid free wood pulp. Medium-light to heavyweight, all are strong 

enough to handle multi-block printing. 

Torinoko 

Very smooth and uniform on one side and fairly rough on the 

other, this heavy weight, machine-made paper is sized for Moku 

Hanga. When lightly dampened, it also works well for westernstyle 

relief printmaking techniques including wood engraving. 

Sized Machine made (no deckles) 


70% Mitsumata and 30% pulp 

P6853 White 25" x 37" 145gm/sqM 

1-10 11-50 51+ 

$15.30 $14.55 $13.00 


P6854 Dark Cream 25" x 37" 150gm/sqM 

Torinoko, Light Weight 

This uniform, fine-fibered handmade paper is translucent and 

soft to the touch, a lovely paper for book arts as well as any 

printmaking technique. It accepts ink readily. An excellent price 

for paper this well made and containing such a high percentage 

of Gampi, a fiber that is becoming increasingly rare in Japan. 

Tears exceptionally well. 

Sized Handmade (4 deckle edges) 70% Gampi and 30% 

Mitsumata 


P6855 Cream 24" x 35.75" 50gm/sqM 

1-10 11-50 51+ 

$9.10 $8.65 $7.75 

1-10 11-50 51+ 

$11.70 $11.12 $9.95 

Group C Washi 

This is a group of good quality printmaking paper at low prices. 

These papers are sized for your printing convenience. They 

contain a higher percentage of wood pulp than Group A or B 

papers, ranging from pH 6.5 to 7.5 (pH 7 is acid free). 

From light to medium weight, with a good strength to weight 

ratio, these papers are perfect for practice and proofing and ideal 

for student use. 

Masa Dosa 

Crisp, bright white paper with very subtle laid lines that 

accepts ink very well. Enjoy using a handmade paper at a very 

reasonable price! Do not confuse this paper with the light 

weight or waxed Masa commonly sold in the U.S. This paper 

is more like a heavy Hosho (page 52) that has been sized for use 

with water-based inks. It is thick and tough enough to print 

multiple blocks well. 

Sized Handmade (4 deckle edges) 


P6903 White 23" x 32" 90gm/sqM 

1-10 11-50 51+ 

$8.00 $7.60 $6.80 

Kozo and acid free pine pulp 

Shin Torinoko 

These machine made papers are the most economical sized 

printmaking paper that we carry. Very smooth on one side, with 

a felt-like quality, the paper holds up well with Moku Hanga and 

multiple block printmaking as well as western style techniques. 

Sized Machine made (no deckle) 50% Manila linen (flax), 50% 

acid free pine pulp 


P6905 White 25.5" x 38" 125gm/sqM 

P6907 Cream 25.5" x 38" 120gm/sqM 

1-10 11-50 51+ 

$3.95 $3.75 $3.35 

We Can Fight the Moon! 


Kjelshus Collins 

Oklahoma City, OK 

artsneat@hotmail.com 

Year of the Tiger 


Carol Brown 

Carson City, NV 

carolbrownstudio@sbcglobal.net 

13 Views of Mt Hood: Through 

Downtown 


Tom Virgin 

Coconut Grove, FL 

tomvirgin.com 


Group D Washi 

In this case, "D" stands for Diversity! These papers are mostly 

unsized and have diverse fiber content. They range from pH 6.5 

to 7.5 (pH 7 is acid free). Suitable for a variety of uses, they can 

Usu Mino 

A very thin, lightweight mending tissue that can be used for 

tracing as well as transferring printed images from the key block 

to color blocks. 

Sized Probably machine made (no deckle) 

30% acid free wood pulp 


P6951 Off-White 21.5" x 31" 25gm/sqM 

1-10 11-50 51+ 

$2.95 $2.80 $2.50 

70% Mitsumata and 

Yamashiro 

A fine, very lightweight paper with very subtle laid lines. 

Yamashiro has more body than Usu Mino and is about 30% 

larger in size. Intended for use as a mending tissue, Yamashiro 

can also be used for tracing, transferring printed images from 

the key block to color blocks, book arts and chine collé. 

Sized Probably machine made (no deckle) Fiber content 

unknown, probably Kozo 



1-10 11-50 51+ 

$6.75 $6.40 $5.75 

Kitakata 

This strong paper is excellent for relief printmaking, including 

wood engraving. Its smooth surface and weight also make it ideal 

for book arts. Natural is a warm shade; the new Green is a cool, 

delicate grey/green color. Tears easily. 

Unsized Handmade (4 deckle edges) 90% Philippine Gampi, 10% 

acid free wood pulp 



P6957 Green 16" x 20" 30gm/sqM NEW! 

1-10 11-50 51+ 

$2.95 $2.45 $2.25 

Mulberry 

A fine textured, soft, naturally warm colored paper with very 

subtle laid lines. Mulberry papers are long fibered and strong. 

This popular relief printmaking paper is also in demand for sumi 

painting, calligraphy, lithography, book arts and chine collé. It has 

excellent wet strength. 

Unsized Handmade (4 deckle edges) 

pulp 


30% Kozo, 70% acid-free 

P6954 Warm White 24" x 33.5" 45gm/sqM 

be used with oil or water-based ink, for printmaking, wood 

engraving, painting, lithography, Gyotaku (fish prints) and 

chine collé. 

Kozo 

A strong but thin and delicate looking paper, with a slight 

random pattern of longer fibers embellishing an otherwise finefibered 

surface. Durable and translucent, Kozo is intended for 

woodblock printmaking and gyotaku (fish prints). It is suggested 

that for gyotaku, the paper be dampened slightly. Shape retention 

is excellent. Tears easily. 

Unsized Handmade (4 deckle edges) Kozo plus supplementary 

material, probably wood pulp 

Hosho Professional 


P6958 White 24" x 36" 25gm/sqM 

1-10 11-50 51+ 

$2.30 $2.19 $1.95 

Unryu "Cloud Dragon" Paper 

Unryu features an overall, swirling pattern of long, unbeaten 

Kozo fibers, creating a pronounced pattern and texture. 

A beautiful, translucent paper suitable for woodblock 

printmaking, collage, gyotaku (fish prints) and ornamental book 

arts. Very effective paired with simple block images. Does not 

tear well because of the long fibers. 

Unsized Handmade (4 deckle edges) Kozo plus supplementary 

material, probably wood pulp 


P7002 White 25" x 37" 40gm/sqM 

1-10 11-50 51+ 

$2.40 $2.28 $2.05 

A very white handmade paper with subtle laid lines, known for 

its thick, fluffy texture and strength. Hosho resists shrinking very 

well and is very absorbent, making it suitable for printing with 

oil-based inks. Masa Dosa (page 51) is very similar in weight and 

is recommended when printing with water-based inks because it 

is sized and Hosho is not. 

Unsized Handmade (4 deckle edges) 

sulfite pulp fibers 


P7005 White 19" x 24" 60gm/sqM 

1-10 11-50 51+ 

$5.78 $5.49 $4.90 

Kozo, Mitsumata and 

Water Garden I 

12 x 24 woodcut printed 

on painted paper 

Kristin Reiber Harris 

Lynchburg, VA 

KristinReiberHarris.com 

1-10 11-50 51+ 

$4.65 $4.40 $3.95 

52 


Western Paper 

Arches 88 

A bright white waterleaf paper with a smooth surface on both 

sides, Arches 88 is ideal for monotype, silk screen, lithography 

and intaglio. It absorbs ink freely when it is dry, making it perfect 

for printing with Akua inks. Arches 88 is acid free. 

Unsized Mould made (2 deckle edges) 


100% cotton 

P7008 White 22" x 30" 300gm/sqM 

1-10 11-50 51+ 

$4.55 $4.32 $3.87 

Rives BFK 

A classic, bright white printmaking paper with a very slightly 

textured surface, Rives BFK can be used for all printmaking 

techniques, including relief, monotype, silk screen, lithography 

and intaglio. It is internally sized for controlled ink absorption. 

Rives BFK is acid free and buffered with Calcium Carbonate. 

Sized Mould made (2 natural deckles, 2 torn deckles) 100% cotton 


P7012 White 22" x 30" 280gm/sqM 

1-10 11-50 51+ 

$4.65 $4.42 $3.95 

NEW! 

Washi Cards 

Handmade from 100% Kozo 

with four deckle edges, these 

elegant cards are perfect for 

creating works of art to sell or 

send to friends. 

The cards are sized, so they 

will accept either water or 

oil-based inks equally well. 

In weight, they are similar 

to heavy card stock while the envelopes are made from lighter 

weight paper. The foldable card comes flat for easy printing. 

Score well and then fold. 

The Light Natural cards are soft ivory, while the Sea Grass cards 

are a cool, greenish color (see Pantone 4535). The color of the 

envelopes is halfway between these two colors, so they work 

beautifully with any of the cards. 

Shipping weight: 0.1 per set 

size and color dimensions Sets of 5 

P7200 5 Postcards, Light Natural 4" x 6" $6.95 

P7201 5 Postcards, Sea Grass 4" x 6" $6.95 

P7202 5 Foldable Cards, Light Ntl 6" x 8" $10.75 

P7203 5 Foldable Cards, Sea Grass 6" x 8" $10.75 

P7210 5 Envelopes 4.5" x 6.5" $8.55 

Paper Comparison Chart 

Group Item # Name Color(s) Size (inches) gm/sqM Contents Handmade Sized Price 

A P6801 Nishinouchi Natural 29.25 x 41.75 60 90% Kozo, 10% acid free wood pulp yes yes $13.15 

P6802 Kizuki Hanga Off-White 27 x 40.5 135 100% Kozo yes yes $33.60 

P6805, -06 Gampi Off-White, Natural 20 x 30 96 100% Gampi yes no $13.99 

P6808, -09 Echizen Kozo Natural, White 26 x 38 55 100% Kozo yes yes $21.75 

B P6853 Torinoko White 25 x 37 145 70% Mitsumata, 30% acid free pulp no yes $15.30 

P6854 Torinoko Dark Cream 25 x 37 150 70% Mitsumata, 30% acid free pulp no yes $11.70 

P6855 Torinoko, Lt.Wt. Cream 24 x 35.5 50 70% Gampi, 30% Mitsumata yes yes $9.10 

C P6903 Masa Dosa White 22.75 x 32.5 90 Kozo, acid free wood pulp yes yes $8.00 

P6905 Shin Torinoko White 25.75 x 38 125 50% Manila linen, 50% acid free pulp no yes $3.95 

P6907 Shin Torinoko Cream 25.125 x 38 120 50% Manila linen, 50% acid free pulp no yes $3.95 

D P6951 Usu Mino Off-White 21.5 x 31 25 70% Mitsumata, 30% acid free pulp no yes $2.95 

P6952 Yamashiro Natural 25 x 37 25 unknown, probably Kozo no? yes $6.75 

P6953, -57 Kitakata Natural, Green 16 x 20 30 90% Gampi, 10% acid free wood pulp yes no $2.95 

P6954 Mulberry Natural (warm) 24 x 33.5 45 30% Kozo, 70% acid free wood pulp yes no $4.65 

P6958 Kozo White 24 x 36 25 Kozo, probably wood pulp yes no $2.30 

P7002 Unryu White 25 x 37 40 Kozo, probably wood pulp yes no $2.40 

P7005 Hosho Professional White 19 x 24 60 Kozo, Mitsumata, sulfite wood pulp yes no $5.78 

Western P7008 Arches 88 White 22 x 30 300 100% Cotton no no $4.55 

P7012 Rives BFK White 22 x 30 280 100% Cottom no yes $4.95 


Self Healing Cutting Mats 

These high quality cutting mats come with one green and one 

black side. Both sides have grid lines to help you cut accurately. 

The mats are extra durable and extra thick (3mm or a little less 

than 1/8"). The outer layers, printed with grid lines, are semisoft 

vinyl. The inner layer is harder and provides the self-sealing 

qualities. Designed to be used with rotary or Exacto® blades. 

For safety reasons, some teachers use these in place of glass for 

rolling out ink. 

Glassine 

Our Glassine is acid-free, neutral pH and is approved for 

archival purposes. It is used to package and protect art work. 

Wrap Glassine around prints or use it as a slip sheet by placing it 

between each print in a stack, so that ink that is not completely 

dry on one print will not offset onto the back of another. 

Glassine paper is super-calendared (rolled between cylinders 

under high pressure until it has a glossy finish) so that it is slick, 

grease resistant, has a high resistance to the passage of air, and 

is almost impervious to the passage of water vapor. It is very 

smooth and semi-transparent. 

Newsprint 

This is the same newsprint we use for packing material, but 

we’ve also been using it to print proofs and make damp packs for 

years. It finally dawned on us that you might like to use it too, 

especially since it is very inexpensive compared to the newsprint 

sold in art supply stores. 

30# newsprint, smooth on both sides, it takes ink very well. It is 

not acid free. Made from recycled paper. 

Dosa Kit 

Dosa (sizing) is applied to paper to slow the absorption rate of the 

paper fibers and prevent water-based inks from bleeding. This kit 

includes everything you need to make one gallon of dosa: 8 oz of 

the highest grade animal skin glue, very finely ground so it will 

dissolve in water quickly; 4oz of alum; and detailed instructions. 

Avoid direct exposure to sunlight 

or extreme heat. Store flat or 

hang to avoid warping. Clean with 

warm water and a mild detergent. 

E5030 12" x 18" 1.8 lb $15.95 

E5031 18" x 24" 2.5 lb $28.50 

Please Note: Glassine cannot be 

combined with other papers for 

quantity discounts. 

Shipped rolled. 

P7020 10 Sheets, 24" x 36" 1.2 lb $5.70 ($0.57 each) 

P7025 60 Sheets, 24" x 36" 4.0 lb $32.30 ($0.54 each) 

P7030 36" x 300' Roll 12.0 lb $63.60 

Since it is meant to be used as packing material, 

the supplier is not too careful about cutting 

the huge sheets exactly to size, so they are 

approximately 18" x 24" give or take about a 

half inch. Sold by weight. 

P7050 1.5 lb, approx. 50 sheets 1.5 lb $4.95 

P7055 3.0 lb, approx. 100 sheets 3.0 lb $9.75 

The glue can also be used alone as a 

fixative for Japanese pigments, although 

gum arabic is used more often today 

since it does not spoil as quickly. 

E5800 Dosa Kit + instructions 0.8 lb $11.95 

E5810 Dry Animal Skin Glue, 8 oz (20 Tbsp.) 0.6 lb $8.00 

Floats 


Chris Harmon 

Portland, OR 

harmoncj@gmail.com 

Green Lake Snowstorm 

5.5 x 4 soft block print 

Chris Harmon 

Paul Kidder 

kiddergraphics.com 

Tremble, Twitch & 

Undulate 2011 

Woodcut 

Ema Aultman 

Portland, OR 

emaaultman@comcast.net 

54 


DVDs and Video Cassettes 

Japanese Woodcut Workshop 

A Course in Four Sections 

with Izumi Kuroiwa 

Think of this professionally made DVD as a 

week-long workshop plus a refresher course 

you can watch any time you like. 

Watching a skilled artist create a Moku Hanga 

print is what most of us need to understand 

how Japanese printmaking is done. 

Ms. Kuroiwa is a master of her craft. Her love and quiet 

enthusiasm for printmaking is contagious and inspiring. An 

invaluable teaching aid, introductory lesson, or refresher course. 

The DVD is divided into four segments: 1) A Brief History, 

2) Tools and Materials, 3) The Process of Japanese Woodcut 

Printmaking, and 4) Maintenance of Tools and Making Ink. 

R2500 Video, 75 minutes (while supplies last) 0.8 lb $64.95 

R2501 DVD, 75 minutes, bookmarked 0.8 lb $79.95 

Safer Printmaking with Akua 


with Susan Rostow, William Jung and friends 

Broaden your printmaking possibilities with 

Akua inks. 

In addition to information on color mixing, 

modifiers, and applicators, Susan Rostow and 

William Jung take you through the steps for 

creating reductive, additive and viscosity monotypes; Tung Hoang 

shows the steps of creating an intaglio print with Akua Intaglio 

ink; David Jay Reed creates a four-process color photo-intaglio 

print; and April Vollmer uses Akua Kolor ink to create a multicolor 

Japanese woodblock print. A slide show print gallery, 

fourteen pages of print-friendly text, and a preview of the next 

DVD on silk aquatint and collographs completes the DVD. 

R2601 DVD, 53 minutes, bookmarked 0.6 lb $39.95 

Painterly Printmaking with Monotype 

with Julia & Gail Ayers 

Using the PinPress monotype roller 

and non-toxic Akua inks, Gail and Julia 

use brushes, brayers, Q-tips, fingertips, 

Needle Applicators and lint-free cloths to 

create images on the monotype plates. 

You will see both additive and reductive 

monotype techniques and learn how to use stencils, do 

multiple plate drops successfully, print ghost images and 

build upon earlier prints to create new images. 

Gail and Julia love to print and it shows in this instructional video. 

High quality, professionally produced, and recommended for 

artists, teachers and students. 

R2620 DVD, 1 hour 44 minutes 0.6 lb $39.95 

Your First Print 

with David Bull 

This RichMedia PDF eBook contains 

text, illustrations, high resolution 

photographs and dozens of video and 

audio clips describing the making of 

a woodblock print using traditional 

Japanese techniques. There is so much 

information included, you will return to this eBook many times. 

With 30 years of experience, Tokyo-based printmaker David Bull 

introduces the tools and materials you need, then gives detailed 

step-by-step instructions for creating Moku Hanga prints. 

Readable on a Mac or PC. No internet connection is needed to 

read the eBook. With internet access, you can join the free online 

Support Forum. Here you will find additional information, answers 

to your questions and a chance to share your experiences. 

Note: the video showing David recovering a baren? Priceless. 

R2502 eBook on CD 0.6 lb Introductory Price: $12.50 

Printmaking In The Sun 

with Dan Welden 

Filmed in the studio of master printmaker 

and educator Dan Welden, this video shows 

every step of making relief and intaglio prints 

using Solarplates. 

Dan begins by showing how to create an 

image on mylar using various mark-making 

techniques. The Solarplates are then developed and printed. Tips 

and advice on exposure times, washing out, registration, inking, 

preparing paper and the amount of pressure needed from the 

press ensure that your printmaking experience is successful. 

Professionally made, thorough and complete, this DVD is highly 

recommended to anyone interested in using Solarplates. 

R2650 DVD, 30 minutes 0.6 lb $29.95 

Relief and Intaglio Printmaking 

Methods on Resingrave Blocks 

with Richard Woodman 

This DVD shows how to create relief 

engravings or intaglio prints using 

Resingrave. Clear, close-up shots 

demonstrate the correct use of the various 

hand-held and electric tools and the effects 

that can be achieved with them. 

Includes information on setting up your studio, preparing 

Resingrave for relief or intaglio printing, transferring the design 

to the block, sharpening gravers, using a Crocker Sharpener, 

cutting expressive lines, creating white space and tones, using 

rotary bits, and pulling the print. 

A DVD from a master engraver. Perfect for beginners and full of 

helpful ideas for the experienced engraver. 

R2701 DVD, 2 hours, bookmarked 0.6 lb $49.95 


Books 

The Art and Craft of 

Woodblock Printmaking 

Woodblock Printmaking with Oil-based Inks and the 

Japanese Watercolor Woodcut 

by Laitinen, Moilanen, and Tanttu 

No printer's library is complete without 

this thoroughly researched, technically 

accurate, encyclopedic book. The 

instructions are clear and easy to 

understand. Both line drawings and photographs, many in color, 

illustrate the text. Highly recommended. 

R2514 272pp, hard, 8.5" x 9.7" 2.8 lb $49.95 

Traditional Techniques in 

Contemporary Chinese Printmaking 

by David Baker 

An introduction to the history and a 

comprehensive guide to the traditional 

and contemporary printmaking techniques 

used in China. This book includes detailed, 

illustrated instructions on single color and 

multiple color printmaking, plus stencil and dabbed printing. 

Fully illustrated with color photos and drawings. 

R2515 128pp, soft, 6" x 9.25" 1.2 lb $19.95 

Japanese Woodblock Printing 

by Rebecca Salter 

The only full-length book written in 

English exclusively on Japanese wood-block 

printmaking. From a brief history of the art 

form, a discussion of materials and their 

use and care, and a thorough description of 

methods and techniques, this book is full of 

information, tips and ideas for experienced printmakers and 

beginners. Full color illustrations throughout. 

R2520 116pp, soft, 6" x 9.5" 0.8 lb $19.95 

Handmade Prints 

by Anne Desmet & Jim Anderson 

A friendly approach to printing without a 

press. From potato prints to multicolor 

linocuts and three-dimensional collage, this 

book will excite any printmaker. The methods 

described can be accomplished at many levels 

of expertise from a school room activity to a professional artist’s 

practice. Techniques are illustrated with line drawings; full color 

prints by both kids and professional artists add inspiration. 

R2513 128pp, soft, 7.5" x 9.75" 1.2 lb $19.95 

Moku Hanga Primer: Making 

Woodblock Prints 

by Robert McClain 

Written in an easy, conversational style by 

the founder of McClain's, this description 

of Japanese woodblock printing materials 

and techniques is concise and informative. It 

gives the basic information you need to try Moku Hanga or to 

refresh your memory of this printmaking style. Mr. McClain also 

provides information on the care of tools and other materials. 

Illustrated with drawings by the author. 

R2504 9pp, soft, 8.5" x 11" 0.3 lb $8.50 

Japanese Popular Prints 

from Votive Slips to Playing Cards 

by Rebecca Salter 

This fascinating cultural history focuses on the 

craftsmen and the visual culture of Japan as it 

moved from the Edo period into the early 20th 

century. Although most of these woodblock 

printed items were inexpensive, they reflect the skill and visual 

sophistication of the artists, carvers and printers involved. Full 

of ideas, it is a unique book to study and enjoy again and again. 

R2523 208pp, soft, 9.75" x 7.75" 1.5 lb $34.00 

Relief Printmaking 

by Ann Westley 

A how-to book on the many relief 

printmaking options available today, both 

traditional and progressive. In addition 

to describing traditional techniques, 

information on embossing on a press, 

printing from plaster blocks, paper pulp casting, collagraphy, 

and more are included. Short sections on Japanese and Chinese 

block printmaking illustrate the growing cross-over between 

western and eastern styles. Full color illustrations. 

R2512 116pp, soft, 6" x 9.5" 0.8 lb $19.95 

Making Woodcuts & Wood Engravings, 

Lessons by a Modern Master 

by Hans Alexander Mueller 

"To almost every artist there comes a time 

when he feels the urge to make a woodcut." 

The writing in this reprint of the 1945 edition 

is conversational, full of critical observations 

and the artist's philosophy of printmaking. A very useful and 

entertaining look at how woodcuts and wood engravings were 

made over sixty years ago. Ninety six illustrations, thirty six of 

them in color. 

R2517 96pp, soft cover, 9.25" x 6.2" 0.5 lb $12.95 

56 


Relief Printmaking: 

Woodcut and Linocut 

written and illustrated by Royden Card 

This book is both informative and 

inspirational. The first half discusses how to 

carve and print, use puzzle blocks, multiple 

blocks, subtractive blocks, emboss and other 

techniques. The second half of the book 

shows a wide range of black & white prints and describes how 

they were made. Written with the beginning student in mind, the 

illustrations provide any printmaker with incentive to experiment. 

R2511 63pp, spiral, 8.5" x 11" 0.8 lb $19.95 

The Woodcut Artist's Handbook 

by George A. Walker 

This book covers both western-style woodcut 

and wood engraving techniques. Chapters 

include information on choosing blocks, 

tools, paper and ink plus woodcut and wood 

engraving techniques. Contains lots of great tips 

(this is where Mr. Walker's long experience as 

a printmaker really shines). Illustrated with detailed line drawings 

and full-color block prints plus details about the techniques and 

tools used. Out of print; a new edition will be available soon. 

R2516 168pp, soft, 6.25" x 9.5" 1.3 lb $24.95 

Relief and Intaglio Printmaking 

Methods on Resingrave Blocks 

by Richard J. Woodman 

Contains detailed information on using 

Resingrave for intaglio as well as relief 

printmaking. The engraving instructions 

are applicable to working with either endgrain 

wood or Resingrave. Includes detailed 

information on carving with rotary bits as well as hand tools, and 

sharpening tools with a Crocker Sharpener (page 13). Illustrated 

with photos, line drawings and prints by the author. 

R2510 30pp, soft, 8.5" x 11" 0.3 lb $8.50 

Wood Engraving: The Art of Wood 

Engraving & Relief Engraving 

by Barry Moser 

Reading this book is like having an old 

friend at your elbow, guiding you through 

the process of engraving with humor and 

gentle encouragement. The excellent 

how-to information accompanies advice on 

dealing with disappointments, moving on and 

acquiring work habits that lead to real achievement. The publisher 

plans to reprint. Check our web site for availability. 

R2508 100pp, soft, 7.5" x 10" 0.8 lb to be announced 

Monoprinting 

by Jackie Newell & Dee Whittington 

In this book, the authors show the basics of 

making monoprints and then they show how 

to push the boundaries with a wide variety of 

techniques, illustrating the unique possibilities 

of this painterly printmaking style. 

Illustrated with color photos and filled with 

monoprints by printmakers from around the world, this book is 

both instructional and inspiring. 

R2535 128pp, soft, 6" x 9.5" 1.2 lb $29.95 

Solarplate Notes 

A How To Book and Troubleshooting Handbook 

by Barbara Mason 

Master printmaker Barbara Mason has been 

teaching and printing with Solarplates for 

twelve years. This book distills her techniques 

into a friendly, easy to follow description of 

the process, from making the art that will 

be used to expose the Solarplate to cleaning 

and storing the plates after they are printed. Full color photos 

illustrate each step. Plus she gives her contact information so you 

can ask her questions. 

R2531 9pp, soft, 5.5" x 8.5" 0.1 lb $3.95 

Wood Engraving, How To Do It 

by Simon Brett 

The classic, comprehensive book on wood 

engraving. It clearly explains the process of 

engraving and printing, material requirements 

and changes in engraving practices as well as 

giving detailed information on how to achieve 

the effects you want in your engravings. The 

illustrations are especially inspiring and very helpful. 

Highly recommended. 

Out of print; a soft cover edition will be available in spring 2011. 

R2506 new soft cover edition to be announced 

Complete Works of Akira Kurosaki, 

Catalogue Raisonne: Woodcuts 

& Paper Works 1965-2008 

Signed by the Artist 

A stunning collection by a contemporary 

Japanese printmaker who has taught 

and promoted woodblock printmaking 

around the world. Includes 79 pages 

of large reproductions plus 68 pages of 

work arranged in chronological order, all in color. An interview, 

illustrated description of techniques, biography and extensive 

bibliography complete the book. Text in Japanese and English. 

R2536 176pp, soft, 8.75" x 10.87" 2.3 lb $69.45 


Safety and Clean Up 

3M Particulate Respirator, 8233 

If you are making your own inks from dry pigments, wear 

this mask. The highest filtration in a maintenance free 

respirator available, this mask provides at least 99.97% 

filtration efficiency against dry particles and liquid aerosols 

that do not contain oil when used according to directions. 

It features 3M's Cool Flow Exhalation Valve, a comfortable 

foam face seal and two adjustable straps. Latex free. 

Microflex ® Nitrile Gloves 

Gloves provide the best protection for your hands. 

Nitrile is non-allergenic and tougher than latex. These gloves 

are textured for better gripping and lightly powdered with 

cornstarch so they are easy to take on and off. They are longer 

and thicker than typical disposable gloves for better protection. 

Available in three sizes. 

Gamsol Odorless Mineral Spirits 

If you use mineral spirits, use the safest kind. Gamsol is 

highly purified 100% odorless mineral spirits, distilled at high 

temperatures and purified of all aromatic components. 

Some artists think odorless mineral spirits are more toxic 

because you cannot smell it. This is not true. Odorless mineral 

spirits are less toxic because the harmful aromatic solvents have 

been removed. By using odorless mineral spirits, you cut down 

on your exposure to harmful solvent vapors significantly. 

Gamsol evaporates 100% and leaves no sticky residue. It has 

a much higher flash point than turpentine or hardware store 

mineral spirits and evaporates much more slowly than other 

solvents so you are breathing in much less of it while you are 

using it. 

Red Devil Scraper 

This is the best tool for efficiently scraping ink off of glass slabs 

and other work surfaces. It does such a thorough job that after 

using it just a quick wipe with a rag is often all that's needed to 

clean the glass completely. 

Bausch & Lomb Magna Visor 

Quality optics means excellent clarity and an ergonomic design 

equals comfort. 

Three interchangeable lenses have the following strengths: a 

six-inch focal length with 2.6 magnification; an eight-inch focal 

length with 2.2 magnification; and a 12 inch focal length with 1.8 

magnification. The lenses simply snap into place. 

Once placed on your head, rotate the knob to adjust the visor 

size from 6" to 81/2" allowing for a perfect, custom fit. The soft, 

padded, non-vinyl band gives a comfortable fit for extended 

wear, plus it can be removed and washed. The visor can be 

flipped up out of the way when it's not needed. 


E1026 Respirator $10.90 


E1020 Medium, box of 100 (smaller hands) $15.45 

E1022 Large, box of 100 (fits most) $15.45 

E1024 Extra Large, box of 100 (big hands or loose fit) $15.45 

A Solvent Comparison Chart 

is at imcclains.com in the 

"Techniques and How To's>Ink" 

section or call or email and we 

will send you a copy. 

MSDS available on request. 

Ships by UPS only. 

K7498 32oz (1 quart) 3.0 lb $16.05 

K7499 128oz (1 gallon) 8.0 lb $36.70 

E4505 Red Devil Scraper + 5 Blades 0.2 lb $2.45 

E4506 5 Replacement Blades 0.1 lb $0.95 

E4507 100 Replacement Blades 1.0 lb $18.00 


E1028 Magna Visor $36.95 

58 


SavvySoap Hand and Brush Cleaner 

Made primarily from corn oil, SavvySoap removes paint, ink 

and grime; restores bristles even from hardened brushes; gets 

ink out of clothing; cleans brayers; neutralizes solvent odors 

plus it is kind to your skin. Because it contains no harmful 

terpinal or petroleum compounds, it is environmentally safe and 

biodegradable. Works with or without water and has a pleasantly 

clean citrus scent. 

SkinSafer Barrier Cream 

SkinSafer protects your hands from inks, paints, glues and 

grime. Keep it handy in the studio and rub it on before you 

start to work. SkinSafer is greaseless and has a mild peppermint 

scent. Your skin is protected while you work so dirt or ink 

comes off easily when you wash your hands. SkinSafer also can 

stop the itch from insect bites or poison oak and even helps heal 

dry, flaky skin. 

Both products conform to ASTM D 4236 guidelines. 

Nail Brush 

Not only easy on your hands, this brush also does a great job of 

cleaning water- or soy-based ink off of brayers. Roll off as much 

ink as possible, then brush on Savvy Soap and rinse. It's fast! 

These brushes have a row of bristles on each side, one 1/2" 

wide x 3" long and the other 1" wide x 3" long. Natural bristles 

are mounted into a hardwood handle. Made in Germany. 

Dyna Cloths 

These are the best lint-free cloths we have found for cleaning 

brayers, wiping rollers, removing water or soy-based ink from 

glass slabs and general clean-up. Also good for wiping intaglio 

ink from intaglio plates. Lint-free means they are great for 

wiping and manipulating ink on monotype plates. 

Cut down the 13" x 24" cloths to any size you like and they will 

not ravel or shred. If you are using soy or water-based ink, you 

can wash them and reuse them again and again. 

E1002 SavvySoap® Travel Size 0.2 lb $3.15 

E1015 SavvySoap® 16oz bottle 1.3 lb $8.95 

E1012 SavvySoap® 1 Gallon 9.0 lb $29.80 

E1011 Pump for Gallon container 0.2 lb $6.15 

E1004 SkinSafer® Barrier Cream 4oz jar 0.3 lb $7.35 

E1006 SkinSafer® Barrier Cream 16oz jar 1.3 lb $17.25 

E1035 1.5" x 3.75" (92 x 35mm) 0.2 lb $7.95 

E1030 Dyna Cloths, Pack of Five 0.6 lb $5.85 

McClain's Aprons 

Made from sturdy, black, 65/35 polyester/cotton with 

McClain’s logo embroidered in red and light gray on the front. 

These aprons have extra-long 34" ties and a quickly adjustable 

neck strap that stays where you put it. 

The short apron has three front pockets and a pencil pocket 

while the long apron has two large pockets and a pencil pocket. 

Wash and dry normally; will not shrink. 

Zip Top Carry All 

There are a lot of cloth bags out there, but this big bag works 

especially well for carrying printmaking supplies. 

An interior divider lets you separate blocks from paper, ink and 

other supplies. The big zippered pocket on the outside has room 

for sketch books, tools, brushes, brayers, etc. A 6" x 6.75" 

pocket on the back holds pencils and other small items. 

You can carry blocks up to 16" x 16" and still zip the bag closed. Or 

carry longer blocks and let them stick out the top as shown here. 

Made of 600 denier polyester, a very durable waterproof and 

stain resistant fabric. Made in Oregon. 

E2010 Short Apron: 28" wide x 23.5" long 1.2 lb $18.50 

E2015 Long Apron: 22.5" wide x 33.5" long 1.5 lb $21.50 

E2018 

Zip Top Carry All 

17" x 17" in the main pocket 

1.0 lb $24.95 


Our Guarantee and Service 

McClain’s Guarantee 

In our catalog and instruction sheets we do our best to inform 

you about the care and use of these products. All merchandise 

is carefully inspected upon arrival and again when it is packaged 

for your order. Please note we are not responsible for damage 

caused by misuse or abuse of these products. 

We sincerely want you to be fully satisfied with any product 

received from us. If you are not, please return it within a 

reasonable amount of time for an exchange or a full refund. 

Returns and Exchanges 

Authorization is not required if you decide to return or 

exchange an item. Simply choose from the following options: 

1) Return the item to us, including a note inside the package 

telling us if you would like an exchange or refund. We will take 

care of your request as soon as we receive your package. 

2) For faster service, place an order for the replacement item(s) 

through our website or call 800-832-4264 (U.S. or Canada) 

or 503-641-3555 (local or international). We will charge you 

for the new order and ship it to you within 24 hours. Send 

back the original item, including a note telling us if you would 

like a credit or refund. When we receive your return, we will 

either issue the refund or credit your account for the cost of the 

original item. 

Our obligation is limited to the cost of the item; shipping costs 

are not covered. A re-stocking fee equal to 10% of the value of 

the item will be charged for items returned after three months. 

Correcting Mistakes 

Occasionally we make a mistake filling an order. If this happens 

to you, please phone or email us and we will take care of the 

problem immediately. If a return or exchange has to be made 

because of our mistake, all shipping costs will be covered. 

Pricing 

We make every effort to maintain stable prices. However, the 

price of many supplies is greatly affected by the exchange rate 

between the U.S., Europe and Japan. Occasionally an increase 

cannot be avoided and we reserve the right to adjust prices 

without notice. 

Professional Services 

Tool Sharpening 

Any Japanese woodcut tool purchased from McClain’s can be 

returned to Japan for professional sharpening. 

To hold down shipping and handling costs, tools are returned at 

the same time that an order for more tool inventory is placed; 

then all of the tools, new and re-sharpened, are shipped to the 

U.S. together. Tool orders are placed five to six times a year; 

please call for the approximate date of the next order. The price 

for sharpening including shipping to and from Japan is only 

$6.00 per tool, plus shipping from McClain's back to you. 

Gift Certificates 

McClain’s Gift Certificates make gift giving a breeze. Gift 

Certificates come in any amount you choose and shipping by 

U.S.Mail to you or the receiver is free. Our Gift Certificates are 

honored for two years after purchase. 

Technical Questions 

The printmakers at McClain's are happy to talk with you about 

any printmaking questions you might have. 

For orders and technical questions, call 800-832-4264. For 

technical questions only or to exchange printmaking ideas, 

please use 503-641-3555. 

Shopping at McClain's 

McClain's is a mail-order-only business. We do not have a store 

front and we are not open to the public. Orders can be placed by 

phone, fax or on our secure internet site at imcclains.com. 

Phone or FAX Orders 

U.S. and Canada: (800) 832-4264 Local: 503-641-3555 

International: 001+1+503-641-3555 

Fax: 503-641-3591 

Mail Orders 

You can tear out or photocopy the order form on page 63 

and mail it to us with your payment. If you need to know the 

shipping cost, please call or email when you know the total 

weight for your order. 

Hours and Holidays 

Our office hours are 10:00 AM to 5:00 PM Pacific Time (1:00 to 

8:00 PM Eastern Time), Monday through Friday. 

In 2011, McClain's will be closed on the following days: May 30, 

Memorial Day; July 4, Independence Day; September 5, Labor 

Day; November 24 and 25, Thanksgiving; and December 24 - 26 

plus December 31 - January 2 for the Winter Holidays. 

Payment 

All transactions are retail only. We do not offer wholesale 

pricing. Orders are not shipped until payment is received unless 

other arrangements have been made in advance. 

Check or Money Order McClain's accepts personal checks or 

money orders in U.S. dollars. A $15 re-filing fee is assessed on 

checks returned from the bank for insufficient funds. 

Credit Cards We accept Visa, MasterCard, Novus (which 

includes Discover) and American Express. We do not keep credit 

card numbers on file unless you specifically ask us to do so. 

C.O.D. At press time the UPS C.O.D. service charge is $10.50. 

The UPS driver will be instructed to accept your personal check 

or money order for C.O.D. orders. 

Invoices Purchase orders are accepted from established 

businesses and institutions. Please contact us for quotes or bids. 

We invoice on the day of shipment. Terms are Net 30 days from 

date of invoice. Shipping is F.O.B. McClain’s, King City, OR. 

After 30 days any unpaid balance will be considered delinquent 

and subject to a financial charge of 1.5% per month (18% APR). 

Over 60 days, a re-billing fee of $5.00 is added to the total due. 

Volume Discounts 

60 


Volume discounts are available on Shina wood blocks (page 5), 

Cherry wood blocks (page 6), ArtPrint Linoleum (page 7), 

Monotype Plates (page 8), Solarplates (page 8), Gomuban (page 

10), Resingrave (page 12), woodcut tools and sets (pages 19- 

21), sets and bulk orders of Akua Kolor Ink (page 37), Cuppers 

(page 38), sets and bulk orders of Akua Intaglio Ink (page 40), 

Caligo Safe Wash Relief Ink Sets (page 41), sets and bulk orders 

of Gamblin Ink (pages 42-43), and Washi and other printing 

papers (pages 50- 53). Please turn to those pages for specific 

information on discounts, or contact us for clarification. 

Hard Copy and Downloadable Catalogs 

New hard copy catalogs are published approximately every 12 

months. Any errors are unintentional; thank you for your help in 

calling mistakes to our attention. 

Catalog with an Order After you order from McClain's, 

you are placed on our mail list and will receive a free hard copy 

catalog yearly. Your name is dropped from the list if you do not 

place another order within three years. Feel free to request a 

copy of the catalog whenever you place an order. Free catalogs 

are also sent to teachers for their own use and to pass out to 

their students. 

Catalog without an Order You can download our most 

recent catalog by clicking on the catalog cover at the bottom of 

the navigation sidebar on our website. If you prefer to receive a 

hard copy catalog by mail, there is a $10.00 fee which is credited 

to your account and applied to your first purchase. 

Shipping Information 

McClain's shipping rates are based on our actual cost from the 

carrier plus a small fee to cover the cost of packaging. If you 

wish to place an order by mail and you need to know the exact 

shipping amount, please call or email when you know the total 

weight of your order and we will be happy to give you your 

shipping options and costs. 

McClain’s ships by either US Mail or UPS. We recommend 

shipping by UPS because: 

• Packages that do not arrive on time are easily located through 

the UPS tracking system 

• UPS guarantees the delivery date and then delivers on-time 

very consistently 

• Ground UPS is usually the least expensive shipping method if 

the package weighs more than 2lbs. 

US Mail cannot track packages that are still in transit and they 

have a 30 day waiting period before considering insurance 

reimbursement. However, Priority Mail is usually less expensive 

than UPS for packages weighing 2lbs or less and delivery takes 

only two to three days. 

If you need your supplies fast, we can ship by UPS 3-Day Select, 

2-Day or Next Day Air. Please let us know if you need your 

order by a particular date so we can let you know if there will be 

any problem with your chosen method of shipping. 

Shipping By A Different Carrier 

If you wish to use a carrier other than UPS or U.S. Mail, please 

let us know. We will pack your order and let you know when the 

package is ready to be picked up. Send a request to your carrier 

asking them to pick up the package the next day using a return 

shipping label (DHL calls this service “Pickup and Return on 

Demand” [PROD] and FedEx calls it “Express Tag”). If you want 

us to handle the paperwork from other carriers for you, there is 

an additional $8 handling fee for this service. 

Shipping to Alaska and Hawaii 

Orders to Alaska and Hawaii are sent by Priority Mail unless 

you specifically request otherwise. The reason is that shipping by 

Parcel Post can take months, since the packages go by sea, and 

UPS shipping is significantly more expensive. Please call or email 

if you would like an estimate of the different shipping costs. 

International Shipping 

McClain’s frequently ships to other countries. Recipients of 

international shipments are responsible for all duties and taxes. 

Call 001+1+503-641-3555 to place orders by phone or order 

through our secure website. We will pack your order, contact 

you with your shipping choices and rates, and then wait for your 

decision before shipping the order to you. For more information 

about international shipping, please go to imcclains.com/ 

internationalship.html. 

Will Call 

If you are in or near Portland, Oregon, you can arrange to pick 

up your order at PNCA (Pacific Northwest College of Art) in 

the Pearl District. Orders are left at the library on the second 

floor. There is a $3.00 charge per package to cover packaging 

and delivery to PNCA. Will call orders must be placed before 

5:00pm on Wednesday. Orders will be available for pick-up on 

Friday of each week, no exceptions. As a courtesy to PNCA, 

orders must be picked up within one week after delivery. 

The address is 1241 NW Johnson Street. Directions and a 

map to PNCA are at pnca.edu. The PNCA library hours vary 

depending upon the time of year; current hours can be found at 

library.pnca.edu. 

Backorders 

Occasionally we have to backorder an item. You are not charged 

for the item until it is shipped and no additional shipping 

is charged on backordered items. We automatically ship 

backorders that can be filled within one month of the order 

being placed. After that, we will call you before shipping. 

Damaged Shipments 

It is a good idea to open and inspect your order as soon as you 

receive it. If an item has been damaged in shipping, please keep 

it and save all of the packaging materials. Call or email us right 

away and we will take care of the problem. 

"I'm a loyal customer, recommend you to anybody when 

they say they need printmaking supplies, and consider 

you an extremely valuable resource for printmaking. I 

appreciate your commitment to the community, especially 

in these difficult economic times." 

Curt 

Oro Valley, AZ 


Your Notes

(for office use) 

Date Rec. 

Invoice # 

15685 SW 116th Avenue PMB 202 

King City, OR 97224-2695 


Phone: 503-641-3555 

FAX: 503-641-3591 

Orders: 800-832-4264 

(Please Print) 

Billing Address New Customer Returning Customer 

Daytime Phone ( ) 

email 

Shipping Address 

(Name) 

(Institution) 

(Address) (Apt #) 

(Name) 

(Institution) 

(Street Address for UPS Shipping) (Apt #) 

(City) 

(State/Province) 

(City) 

(State/Province) 

(Country) 

(ZIP/Postal Code) 

(Country) 

(ZIP/Postal Code) 

Qty. 

Item 

Number 

Description 

Ship 

Wt. 

Unit Price 

Total Price 

Catalog 0.5ea free free 

Total Weight 

item total 

Method of Payment 

Purchase Order # 

Check made out to McClain's 

Money Order 

VISA MasterCard Discover American Exp. 

circle the number of invoices you require: 1 2 3 

Shipping Method 

USPS Priority Mail 

USPS Parcel Post 

UPS Ground 

Other 

(call for rates) 

less discount _ 

sub-total 

ship/package* + 

add'l insurance + 

special shipping + 

Total for Order 

Credit Card Number 

*For shipping costs, please call or email when 

you know the total weight of your order. 

Expiration Date 

Security Code 

VISA, Master Card, Discover: last three digits on back of card 

American Express: four digits on front of card 

Signature Date Signed 

Thank you for your order!

Index 

Airebrush Stippling Brush 28 

Akua Intaglio ink 40 

Akua Kolor ink 37 

Palette 38 

Pen and Needle Sets 36 

All Shina 4 

Aquatint Screen 8 

Arpons 59 

Ategami (protective paper) 48 

Bake (brushes). See Brushes 

Ball Bearing Baren 45 

Bamboo Roll-Up (carrier) 22 

Bamboo Sheath 46 

Baren 

Ategami (protective paper) 48 

Ball Bearing Baren 45 

Baren Wata (pad) 47 

Camellia Oil 47 

Cover for baren 46 

Disk Baren 46 

Hon Baren 45 

Murasaki Baren 45 

Standard Baren 46 

Takenokawa (bamboo sheath) 

46 

Baren Wata (pad) 47 

Barrier Cream 59 

Bench Hook 10 

Blocks 


Gomuban (rubber plate) 10 

Linoleum 7 

Monotype Plates 8 

Resingrave 12 

Shina Plywood 4 - 5 

Solarplates 8 

Bokuju 35 

Books 56–57 

Brayers 30, 31 

Brush Cleaner 59 

Brushes 

Dosa Bake 29 

Dragon Brush Rest 28 

Hanga Bake 27 

Magari Mizu Bake 29 

Maru Bake 27 

Mizu Bake 29 

Sizing brushes 29 

Steiner Mixing Brushes 28 

Stippling Brushes 28 

Surikomi Bake 27 

Water brushes 29 

Burnt Plate Oil #000 42 

Burnt Plate Oil #2 43 

Butcher trays (enameled steel) 9 

Caligo Safe Wash Relief Ink 41 

Camellia Oil 47 

Canvas Knife Carrier 15 

Carbon Paper 11 

Cards, Washi 53 

Carry All 59 


Containers for ink 38 

Crocker Sharpener 13 

Cuppers 38 

Cutting Mats 54 

Discounts, Volume Buying 60 

Disk Baren 46 

Dosa Bake (brushes) 29 

Dosa Kit (sizing) 54 

Dragon Brush Rest 28 

Dragon Skin 28 

Dry Pigments 34 

DVDs 55 

Dyna Cloths 59 

eBook 55 

Enameled Steel Trays 9 

Engraver's Sandbag 13 

Engraving, blocks for 12 


Exposure, Solarplate Light Box 

9 

Futatsu Wari Moku Hanga To 

(tools) 16 



Gamsol 58 

Glassine 54 

Gloves 58 

Gomuban (rubber plate) 10 

Gouche 35 

Hake. See Brushes 

Hand Cleaner 59 

Hanga Bake (brushes) 27 

Hanga Sagyoudai (bench hook) 

10 

Hon Baren 45 

Honing Block, compound 23 

Ink 

Akua Intaglio Ink 40 

Akua Kolor Ink 37 

Bokuju 35 


41 

Comparison Chart 32 

Dry Pigments 34 



Gouache 35 

Knife 30 

Modifiers 37, 40 - 43 

Mortar and Pestle 34 

Palette 38 

scraper 58 

skin papers 41, 42, 43 

sumi 35 

Tosai's Pigment Set 35 

InkJet Transfer Paper 11 

Ink Knife 30 

Japanese Brayers 30 

Japanese Woodcut Tools 16–21 

Jars for ink 38 

Josei Moku Hanga To (tools) 18 

Kento Registration Board 48 

Kibori Nomi (sculpting tools) 22 

Kit, for Japanese Printmaking 21 

Kizuchi (mallets) 22 

Knife, Ink 30 

Ko Dogu (sculpting tools) 22 

Konaunmo (mica) 35 

Leather Honing Block 23 

Leather Tool Carrier 15 

Light Box, Solarplate 9 

Linoleum 7 

Loupe (magnifier) 24 

Magari Mizu Bake (brushes) 29 

Magnetic Vinyl 9 

Magnifiers 24 

Mallets 22 

Maru Bake (brushes) 27 

Mask 58 

Mica 35 

Mixing brushes 28 

Mizu Bake (brushes) 29 

Moku Hanga Nomi (tools) 17 

Monotype Plates 8 

Mortar and Pestle 34 

Motorized sharpener 25 

Murasaki Baren 45 

Namisei Moku Hanga To (tools) 

18 

Newsprint 54 

Nori (rice paste) 38 

Oil Stones 24 

Palette 38 

Paper 50–53 

Comparison chart 53 

Glassine 54 

Inkjet Transfer Paper 11 

Newsprint 54 

Polyfilm Tracing Paper 11 

Paper sample book 50 

Pen Sets for Akua-Kolor ink 36 

Pigments, dry 20 

PinPress 47 

Plates 

Monotype 8 

Solarplates 8 

Plywood 


Shina 4 

Polyfilm Tracing Paper 11 

Powdered mica 35 

QuikWood 11 

Red Devil Scraper 58 

Registration Board 48 

Resingrave blocks 12 

Rice Paste 38 

Rice Starch 38 

Rubber Block (Gomuban) 10 

safety supplies 58 

Sandbag, Engraver's 13 

SavvySoap 59 

scraper, ink removal 58 

Scratch Foam 10 

Sculpting tools 22 

Set, engraving tools 13 

Sets, woodcut tools 20, 21 

Sharpener, motorized 25 

Sharpening stones 23, 24 

Shina blocks 4 

Sizing (for paper) 54 

SkinSafer Barrier Cream 59 

Soap 59 

Solarplate Light Box 9 

Solarplates 8 

Standard Baren 46 

Starch, rice 38 

Steel Trays 9 

Steiner Mixing Brushes 28 

Stencil Cutter 15 

Sumi (ink) 35 

Surikomi Bake (brushes) 27 

Takach Brayers 31 

Takenokawa (bamboo sheath) 46 

Tama To (circle cutter) 16 

Tarlatan 43 

To Ike Bukuro (tool carrier) 15 

Toishi (whetstones) 23 

Tools 

Carriers and Holders 15 


Honing 23 

Ink Knife 30 

Set, Engraving 13 

Sets, Woodcut 20, 21 

Sharpening 23 

Stencil Cutter 15 

Woodcut Tools 16–21 

Tosai's Pigment Set 35 

Tote 59 

Tracing Paper, Polyfilm 11 

Transfer Paper 11 

Tsubaki Abura (Camellia Oil) 47 

Videos 55 

Visor 58 

Washi Cards 53 

Washi (Japanese handmade paper) 

50–53 

Washi Sample Book 50 

Whetstones 24–26 

Woodblock Printmaking Kit 21 

Woodblocks 4, 6 

Wood Engraving Tools 13 

Wood repair 11 

Work Sharp WS3000 25 

Zip Top Carry All 59 

Copyright 2011 McClain’s Printmaking Supplies 

All rights reserved. Copyright to all art reproduced in this catalog belongs solely to the respective artists. The contents, prices and products described 

are subject to change without notice. McClain’s makes no representations or warranties with respect to the information in this catalog. 

Written and designed at McClain’s Printmaking Supplies. Printed in the U.S.A.

Change Service Requested 

Mailing Address: 

15685 SW 116th Ave PMB 202 

King City, OR 97224-2695 


mail@imcclains.com 

Phone: 503-641-3555 

Fax: 503-641-3591 

Orders: 800-832-4264 

PRESORTED STANDARD 

US POSTAGE 

PAID 

PORTLAND, OR 

PERMIT NO 11

2011 Catalog - McClain's Printmaking Supplies

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