Water-Based Ink Set

Ink that behaves at a shared table

This water-based ink set is used for hand-printed linocut and block-print work where people need predictable roll-out, decent open time on the slab, and tidy clean-up once the printing is done. It sits comfortably with beginner carving sessions, school classes and family print days in Woodstock, Cape Town, as well as travelling workshops in Stellenbosch, Johannesburg, Pretoria and Durban.

The inks are made for relief printing on paper, with body that takes a brayer evenly and transfers from a carved lino or soft-cut block without flooding the fine cuts. For workshop use, that matters. A good set should let learners roll out a thin film, print a clean image, then move on to another colour without the table turning into a mess of sticky residue.

In a print room, the right consistency helps with registration and keeps the edition moving. The set is suited to single-colour prints, layered colour passes and small classroom runs where each sheet needs the same pressure and careful handling.

Pack sizes for different groups

Water-based ink sets are commonly packed for compact studio use or for larger workshop tables. Smaller packs suit individual carving classes and test proofs, while larger sets are more practical for group bookings, school pop-ups and team sessions where several people print at once.

• Small studio set for test pulls, sample sheets and one- or two-colour exercises
• Classroom set for group work with shared colours and repeated printing rounds
• Mixed-colour set for layered prints, registration practice and edition work
• Bulk format for frequent workshops, school programmes and venue pop-ups

Colour selection depends on the brief. Black remains the anchor colour for strong line work, while other colours are useful for backgrounds, overprints and teaching registration. Some groups keep one neutral colour for proofing and a brighter pair for final sheets, especially where learners are still getting used to carving depth and brayer pressure.

For edition sessions, the pack should match the number of blocks, the paper size and the number of participants around the table. If the workshop uses several stations, it is worth matching the set to the layout so nobody is waiting for the same tin or tray.

Where water-based ink fits in a print programme

This ink type suits workshops that move between carving, inking and printing in one session. It is a strong fit for soft-cut block demos, lino carving classes, family print sessions and school programmes where the pace must stay practical and the clean-up must stay manageable.

It also works well for pop-up venues, where tables may be set up in a hall, studio or classroom with limited sink access. The wash-up is easier than with oil-based systems, and that makes the set useful where many hands are sharing brayers, trays, rollers and aprons.

In a teaching setting, it is often chosen for the early stages of print learning. Students can see how ink coverage changes the image, how much pressure a baren needs, and how a press print differs from a hand burnished sheet. That makes it a useful tool for both first editions and more advanced layers later in the course.

What comes with the ink set

A good print set fits the way the workshop runs, from the slab to the drying line. In hand-printing work, the ink has to suit the tools and the paper.

• Water-based block ink with smooth roll-out for lino and soft-cut blocks
• Brayers for even film thickness and controlled ink loading
• Palette knives or spatulas for lifting ink onto the slab
• Mixing space for custom tints and proof adjustments
• Registration aids for aligned second and third colour passes
• Paper choices that hold ink without buckling too easily

When a set is used for edition work, the colour should hold steady from first sheet to last sheet. That means watching viscosity, keeping the roll-out thin, and not overloading the block. A good water-based set supports that process without slipping into gummy edges or patchy corners.

Storage and daily handling

Water-based block ink needs sensible handling so it stays usable through a workshop programme. Keep lids closed between sessions, keep the tins away from dust, and do not leave open trays sitting in hot sun or near very dry air for long periods. In Cape Town, the coastal air can change the feel of the ink during the day, so a light misting and a covered mixing area help keep it workable.

Once a print run is done, clean brayers, slabs and tools before the residue dries hard. Warm water and mild soap are usually enough for the day-to-day clean-up, though stubborn marks still need proper attention. Store the set in a cool, level place and label mixed colours if they are being saved for a follow-up class.

For teaching groups, it helps to keep separate tools for dark colours and light colours so cross-contamination does not shift the final print tone. A clean rag pile, a wash-up basin and drying racks also make the session easier to manage.

Ordering the ink set

Before a set is packed for a workshop or studio run, confirm the block size, the number of participants, the printing method and the paper stock. Those details affect how much ink is needed and whether the colours should be single-use for one group or split into multiple stations.

It also helps to confirm whether the class is for beginners, students, families or a mixed group. Beginners often need a wider margin for mistakes, while more experienced printers may want firmer colour, tighter registration and more precise edition control.

• Block type: lino, soft-cut or mixed relief blocks
• Workshop format: studio session, school pop-up or venue class
• Number of colours you plan to print
• Paper size and sheet count for each print run
• Printing method: baren, hand burnish or press printing
• Clean-up setup and storage space at the venue

If the ink set is being matched to a teacher workshop, student class or group booking, it is worth confirming the expected pace of the session and the level of detail in the blocks. Fine line work usually needs a more careful roll-out, while bolder shapes can take a heavier layer and still print cleanly.