Ink Preparation

The ink used for making intaglo prints is most commonly labeled as ‘Etching Ink’ in
online catalogs. It is a different ink than what is used for relief printing, being more
viscous and thick than letterpress ink for instance.

Etching ink is composed of three basic components: pigment, a resin binder and a
volatile oil. A wet ink contains all of these, which allows it to be pressed into the
paper fibers. As the ink dries, the volatile oil evaporates, leaving behind the pigment
and resin, which is permanent.

A safety warning

The volatile oil used in oil-based inks is linseed oil. Linseed oil will eventually
evaporate, but keep in mind that linseed oil saturated cloths heaped in a pile
together can spontaneously combust! Anyone planning on doing any printing
should have a waste cloth disposal procedure. Many printing shops contain a
fireproof can where used rags are stored. These cans work by limiting the amount of
oxygen available to support any combustion that might occur. These are not terribly
expensive and should be considered a necessary safety item in any printing
environment. A web search will turn up many sources for these cans.

There are two basic types of etching inks available: oil-based and water-based. The
oil based inks are the traditional ink type, and my non-scientific survey of printers
indicates that it is still the most-used type of ink. That said, if there is concern over
chemical sensitivity to the volatile portion of traditional oil-based ink (e.g. linseed
oil), many printers are very happy with the results they can get with water based
inks. The benefits of water-based inks include easier hand cleanup. One caveat: even
though your hands can be cleaned with soap and water, you do not want to clean the ink
from your plate with water. It will soften the polymer and potentially leave spots on the plate
that will print the next time it is used. Water and finished polymer plates do not play
well together!

One of the thrilling things about photogravure is the opportunity to try out many
different colors of ink. The tone of the finished print is extremely flexible and under
the control of the printer to a much higher degree than in any other alternative
photographic process except for gum and carbon printing. Once the basics of
printing are mastered, it can be fun to take the time experiment with different brands
and colors of ink.

That said, I encourage the beginning printer to pick an easy-to-use ink such
as Charbonnel Soft Black for the learning process. This ink is somewhat softer than
 many of the stiffer black inks that are commonly used in copper gravure. The stiffer
inks can be softened with the addition of some #2 or #3 Burnt Plate Oil or Easy Wipe
compound. Beware of adding too much plate oil or Easy Wipe to inks, however. If
too much is added, it can leave a greasy film or residue on the plate that prints as an
unpleasant plate tone in the highlight areas of the image.

Ink is generally sold in 200ml cans or 60-100ml tubes. Buying ink in cans is more
economical, although tubes are decidedly more convenient. If canned ink is being
used, it is worthwhile to purchase some skin papers to put over the unused ink in
the can when printing is finished for the day. These are little disks of waxed paper
that prevent the surface of the ink in the can from ‘skinning’ or hardening because of
contact with the air in the can.

The inking plate is simply a smooth place where the ink can be mixed. A 12 inch
square of 1/4 inch safety glass with polished edges is what I am currently using.
Earlier, I used a smooth white porcelain floor tile from Home Depot as an inking
plate.

A wide-tipped ink knife is used to scrape ink from the can to the inking plate. The
wide tip is then used to smooth the surface of the ink in the can so that it does not
have peaks and valleys that can cause irregular drying of the remaining ink.

Once the ink is deposited on the inking plate, it is worked vigorously with a thinner
flexible mixing knife to mix in any other ink colors and to loosen the ink so that it is
easier to wipe from the plate.

If these items look suspiciously like an inexpensive paint scraper from Lowes and a
inexpensive frosting spatula from a kitchen supply store, well, there you go.

Once the ink has been worked with the narrower mixing knife, it can either be rolled
onto the plate with an inking roller or brayer or with an inking card. A Bondo blade
from Lowes or Home Depot will also work to spread the ink on the plate.

Many online art stores sell ink. Here is a list of merchants with whom I am familiar:

x Daniel Smith
x Jerry’s Artarama
x Graphic Chemical
x Dick Blick
x Takach Press
x Cape Fear Press
Development of karanja oil based offset printing ink in
comparison w ith linseed oil.
Bhattacharjee M1, Roy AS, Ghosh S, Dey M.
Author information
Abstract
The conventional offset lithographic printing ink is mainly based on linseed oil. But in recent
years, due to stiff competition from synthetic substitutes mainly from petroleum products, the
crop production shrinks down to an unsustainable level, which increases the price of linseed oil.
Though soyabean oil has replaced a major portion of linseed oil, it is also necessary to develop
alternate cost effective vegetable oils for printing ink industry. The present study aims to evaluate
the performance of karanja oil (Pongamia glabra) as an alternative of linseed oil in the
formulation of offset printing ink because karanja oil is easily available in rural India. Physical
properties of raw karanja oil are measured and compared with that of alkali refined linseed oil.
Rosin modified phenolic resin based varnishes were made with linseed oil as well as with karanja
oil and their properties are compared. Sheetfed offset inks of process colour yellow and cyan is
chosen to evaluate the effect of karanja oil in ink properties. In conclusion, karanja oil can be
accepted as an alternate vegetable oil source with its noticeable effect on print and post print
properties with slower drying time on paper. However, the colour and odour of the oil will restrict
its usage on offset inks.

Ink
From W ikipedia, the free encyclopedia

For other uses, see Ink (disambiguation).

Bottles of ink from Germany.

Ink is a liquid or paste that contains pigments or dyes and is used to color a surface to produce
an image, text, or design. Ink is used for drawing or writing with a pen, brush, or quill. Thicker
inks, in paste form, are used extensively in letterpress and lithographic printing.
Ink can be a complex medium, composed of solvents, pigments,
dyes, resins, lubricants, solubilizers, surfactants, particulate matter, fluorescents, and other
 materials. The components of inks serve many purposes; the ink’s carrier, colorants, and other
additives affect the flow and thickness of the ink and its dry appearance.

Contents
[hide]

x 1Types
o 1.1Colorants
 1.1.1Pigments
 1.1.2Dyes
x 2History
x 3Health and environmental aspects
x 4W riting and preservation
o 4.1Carbon
o 4.2Iron gall
x 5Indelible ink
x 6See also
x 7References
x 8Sources
x 9Further reading
x 10External links

Types[edit]

Magnified line drawn by a fountain pen.

Ink formulas vary, but commonly involve two components:

x Colorants
x Vehicles (binders)
Inks generally fall into four classes:[1]

x Aqueous
x Liquid
x Paste
x Powder
Colorants[edit]
Pigment inks are used more frequently than dyes because they are more color-fast, but they are
also more expensive, less consistent in color, and have less of a color range than dyes.[1]
Pigments[edit]
Main article: Pigment
Pigments are solid, opaque particles suspended in ink to provide color.[1] Pigment molecules
typically link together in crystalline structures that are 0.1–2 µm in size and comprise 5–30
percent of the ink volume.[1] Qualities such as hue, saturation, and lightness vary depending on
the source and type of pigment.
Dyes[edit]
Main article: Dye

Dye-based inks are generally much stronger than pigment-based inks and can produce much
more color of a given density per unit of mass. However, because dyes are dissolved in the liquid
phase, they have a tendency to soak into paper, making the ink less efficient and potentially
allowing the ink to bleed at the edges of an image.
To circumvent this problem, dye-based inks are made with solvents that dry rapidly or are used
with quick-drying methods of printing, such as blowing hot air on the fresh print. Other methods
include harder paper sizing and more specialized paper coatings. The latter is particularly suited
to inks used in non-industrial settings (which must conform to tighter toxicity and emission
controls), such as inkjet printer inks. Another technique involves coating the paper with a charged
coating. If the dye has the opposite charge, it is attracted to and retained by this coating, while
the solvent soaks into the paper. Cellulose, the wood-derived material most paper is made of, is
naturally charged, and so a compound that complexes with both the dye and the paper's surface
aids retention at the surface. Such a compound is commonly used in ink-jet printing inks.
An additional advantage of dye-based ink systems is that the dye molecules can interact with
other ink ingredients, potentially allowing greater benefit as compared to pigmented inks
from optical brighteners and color-enhancing agents designed to increase the intensity and
appearance of dyes.
A more recent development in dye-based inks are dyes that react with cellulose to permanently
color the paper. Such inks are not affected by water, alcohol, and other solvents.[citation needed] As
such, their use is recommended to prevent frauds that involve removing signatures, such
as check washing. This kind of ink is most commonly found in gel inks and in certain fountain pen
inks.[citation needed]

History[edit]

Ink drawing of Ganesha under an umbrella (early 19th century). Ink, called masi, an admixture of several
chemical components, has been used in India since at least the 4th century BC.[2] The practice of writing
with ink and a sharp pointed needle was common in early South India.[3] Several Jain sutras in India were
compiled in ink.[4]

Many ancient cultures around the world have independently discovered and formulated inks for
the purposes of writing and drawing. The knowledge of the inks, their recipes and the techniques
for their production comes from archaeological analysis or from written text itself.
The history of Chinese inks can be traced back to the 23rd century BC, with the utilization of
natural plant (plant dyes), animal, and mineral inks based on such materials as graphite that
were ground with water and applied with ink brushes. Evidence for the earliest Chinese inks,
similar to modern inksticks, is around 256 BC in the end of the W arring States period and
produced from soot and animal glue.[5] The best inks for drawing or painting on paper or silk are
produced from the resin of the pine tree. They must be between 50 and 100 years old. The
Chinese inkstick is produced with a fish glue, whereas Japanese glue (膠 "nikawa") is from cow
or stag.[6]
The process of making India ink was known in China as early as the middle of the 3rd millennium
BC, during Neolithic China.[7] India ink was first invented in China,[8][9] although the source of
materials to make the carbon pigment in India ink was later often traded from India, thus the
term India ink was coined.[8][9] The traditional Chinese method of making the ink was to grind a
mixture of hide glue, carbon black, lampblack, and bone black pigment with a pestle and mortar,
then pouring it into a ceramic dish where it could dry.[8] To use the dry mixture, a wet brush would
be applied until it reliquified.[8] The manufacture of India ink was well-established by the Cao
Wei Dynasty (220–265 AD).[10] Indian documents written in Kharosthi with ink have been
unearthed in Chinese Turkestan.[11]The practice of writing with ink and a sharp pointed needle
was common in early South India.[3] Several Buddhist and Jain sutras in India were compiled in
ink.[4]
In ancient Rome, atramentum was used, in an article for the Christian Science Monitor, Sharon J.
Huntington describes these other historical inks:
About 1,600 years ago, a popular ink recipe was created. The recipe was used for centuries. Iron
salts, such as ferrous sulfate (made by treating iron with sulfuric acid), were mixed with tannin
from gallnuts (they grow on trees) and a thickener. When first put to paper, this ink is bluish-
black. Over time it fades to a dull brown.
Scribes in medieval Europe (about AD 800 to 1500) wrote principally on parchment or vellum.
One 12th century ink recipe called for hawthorn branches to be cut in the spring and left to dry.
Then the bark was pounded from the branches and soaked in water for eight days. The water
was boiled until it thickened and turned black. W ine was added during boiling. The ink was
poured into special bags and hung in the sun. Once dried, the mixture was mixed with wine and
iron salt over a fire to make the final ink.[12]
The reservoir pen, which may have been the first fountain pen, dates back to 953, when Ma'ād
al-Mu'izz, the caliph of Egypt, demanded a pen that would not stain his hands or clothes, and
was provided with a pen that held ink in a reservoir.[13]
In the 15th century, a new type of ink had to be developed in Europe for the printing
press by Johannes Gutenberg. According to Martyn Lyons in his book Books: A Living History,
Gutenberg’s dye was indelible, oil-based, and made from the soot of lamps (lamp-black) mixed
with varnish and egg white.[14] Two types of ink were prevalent at the time: the Greek and Roman
writing ink (soot, glue, and water) and the 12th century variety composed of ferrous sulfate, gall,
gum, and water.[15] Neither of these handwriting inks could adhere to printing surfaces without
creating blurs. Eventually an oily, varnish-like ink made of soot, turpentine, and walnut oil was
created specifically for the printing press.
In 2011 worldwide consumption of printing inks generated revenues of more than 20 billion US
dollars. Demand by traditional print media is shrinking, on the other hand more and more printing
inks are consumed for packagings.[16]

Health and environmental aspects[edit]

See also: Environmental issues with paper

There is a misconception that ink is non-toxic even if swallowed. Once ingested, ink can be
hazardous to one's health. Certain inks, such as those used in digital printers, and even those
found in a common pen can be harmful. Though ink does not easily cause death, repeated skin
contact or ingestion can cause effects such as severe headaches, skin irritation, or nervous
system damage. These effects can be caused by solvents, or by pigment ingredients such as p-
Anisidine, which helps create some inks' color and shine.
Three main environmental issues with ink are:

x Heavy metals
x Non-renewable oils
x Volatile organic compounds
Some regulatory bodies have set standards for the amount of heavy metals in ink.[17] There is a
trend toward vegetable oils rather than petroleum oils in recent years in response to a demand
for better environmental sustainability performance.
Ink uses up non-renewable oils and metals, which have a negative impact on the environment.[18]

Writing and preservation[edit]

The two most used black writing inks in history are carbon inks and iron gall inks. Both types
create problems for preservationists.
Carbon[edit]

Chinese inkstick; carbon-based and made from soot and animal glue.

Carbon inks were commonly made from lampblack or soot and a binding agent such as gum
arabic or animal glue. The binding agent keeps carbon particles in suspension and adhered to
paper. Carbon particles do not fade over time even when bleached or when in sunlight. One
benefit is that carbon ink does not harm paper. Over time, the ink is chemically stable and
therefore does not threaten the paper's strength. Despite these benefits, carbon ink is not ideal
for permanence and ease of preservation. Carbon ink tends to smudge in humid environments
and can be washed off surfaces. The best method of preserving a document written in carbon ink
is to store it in a dry environment (Barrow 1972).
Recently, carbon inks made from carbon nanotubes have been successfully created. They are
similar in composition to traditional inks in that they use a polymer to suspend the carbon
nanotubes. These inks can be used in inkjet printers and produce electrically conductive
patterns.[19]
Iron gall[edit]
Iron gall inks became prominent in the early 12th century; they were used for centuries and were
widely thought to be the best type of ink. However, iron gall ink is corrosive and damages the
paper it is on (W aters 1940). Items containing this ink can become brittle and the writing fades to
brown. The original scores of Johann Sebastian Bach are threatened by the destructive
properties of iron gall ink. The majority of his works are held by the German State Library, and
about 25% of those are in advanced stages of decay (American Libraries 2000). The rate at
which the writing fades is based on several factors, such as proportions of ink ingredients,
amount deposited on the paper, and paper composition (Barrow 1972:16). Corrosion is caused
by acid catalysed hydrolysis and iron(II)-catalysed oxidation of cellulose (Rouchon-Quillet
2004:389).
Treatment is a controversial subject. No treatment undoes damage already caused by acidic ink.
Deterioration can only be stopped or slowed. Some[who?] think it best not to treat the item at all for
fear of the consequences. Others believe that non-aqueous procedures are the best solution. Yet
others think an aqueous procedure may preserve items written with iron gall ink. Aqueous
treatments include distilled water at different temperatures, calcium hydroxide, calcium
bicarbonate, magnesium carbonate, magnesium bicarbonate, and calcium phytate. There are
many possible side effects from these treatments. There can be mechanical damage, which
further weakens the paper. Paper color or ink color may change, and ink may bleed. Other
consequences of aqueous treatment are a change of ink texture or formation of plaque on the
surface of the ink (Reibland & de Groot 1999).
Iron gall inks require storage in a stable environment, because fluctuating relative
humidity increases the rate that formic acid, acetic acid, and furan derivatives form in the material
the ink was used on. Sulfuric acid acts as a catalyst to cellulose hydrolysis, and iron (II) sulfate
acts as a catalyst to cellulose oxidation. These chemical reactions physically weaken the paper,
causing brittleness.[20]

Indelible ink[edit]
A voter's thumb stained with indelible ink

Main article: Election ink

Indelible means "unremovable". Some types of indelible ink have a very short shelf life because
of the quickly evaporating solvents used. India, Mexico, Indonesia, Malaysia and other
developing countries have used indelible ink in the form of electoral stain to prevent electoral
fraud. The Indian Scientist Dr. M.L. Goel is the founding father of indelible ink in India and gave
the Secret formula to NPL (National Physical laboratory) of India.
The Election Commission in India has used indelible ink for many elections. Indonesia used it in
their last election in Aceh. In Mali, the ink is applied to the fingernail. Indelible ink itself is not
infallible as it can be used to commit electoral fraud by marking opponent party members before
they have chances to cast their votes. There are also reports of "indelible" ink washing off voters'
fingers in Afghanistan.[21]

See also[edit]
x Blue W ool Scale
x De-inked pulp
x Election ink
x Fountain pen inks
x Gel pen
x Ink eraser
x Inksaving typeface
x Invisible ink
x Pharmaceutical ink
x Preservation (library and archival science)
x Preservation of illuminated manuscripts
x Soy ink
x Squid ink
x Stark's ink
x Tattoo ink
x Toner
x Inkjet printing

References[edit]
1. ^ Jump up to:a b c d Kipphan, Helmut (2001), Handbook of print media: technologies and production
methods (Illustrated ed.), Springer, pp. 130–144, ISBN 3-540-67326-1
2. Jump up^ Banerji, page 673
3. ^ Jump up to:a b Sircar, page 62
4. ^ Jump up to:a b Sircar, page 67
5. Jump up^ 蔡, 玫芬, 二、墨的發展史, National Chang-Hua Hall of Social Education, Archived from
the original on 2004-11-26
6. Jump up^ Yuuko Suzuki, Introduction to Japanese calligraphy, Search Press 2005, Calligraphie
japonaise, 2003, éd. Fleurus, Paris
7. Jump up^ * W oods, Michael; W oods, Mary (2000). Ancient Communication: Form Grunts to
Graffiti.pp 51-52. Minneapolis: Runestone Press; an imprint of Lerner Publishing Group.....
8. ^ Jump up to:a b c d Gottsegen, Mark D. (2006). The Painter's Handbook: A Complete
Reference.Page 30, New York: W atson-Guptill Publications. ISBN 0-8230-3496-8.
9. ^ Jump up to:a b Smith, Joseph A. (1992). The Pen and Ink Book: Materials and Techniques for
Today's Artist.p. 23. New York: W atson-Guptill Publications. ISBN 0-8230-3986-2.
10. Jump up^ Sung, Sun & Sun, page 286-288.
11. Jump up^ Sircar, page 206
12. Jump up^ "Think ink!", Christian Science Monitor, September 21, 2004
13. Jump up^ CE Bosworth, A Mediaeval Islamic Prototype of the Fountain Pen? Journal of Semitic
Studies, 26(2):229-234, 1981
14. Jump up^ Lyons, M. (2011). Books: A living history Los Angeles: J. Paul Getty Museum.
15. Jump up^ Many recipes for iron gall inks are featured in A booke of secrets: shewing diuers
waies to make and prepare all sorts of inke... tr. out of Dutch into Englishe by W .P. [i.e. W illiam
Philip], London, 1596.
16. Jump up^ "Market Study: Printing Inks - World". Ceresana. Retrieved 2013-05-21.
17. Jump up^ Canadian Printing Ink Manufacturers' Association
18. Jump up^ "Ink - Ten Random Facts". Ten Random Facts. 2013-07-15. Retrieved 2016-11-29.
19. Jump up^ Simmons, Trevor; Hashim, D; Vajtai, R; Ajayan, PM (2007), "Large Area-Aligned
Arrays from Direct Deposition of Single-Wall Carbon Nanotubes", J. Am. Chem. Soc., 129 (33):
10088–10089, doi:10.1021/ja073745e, PMID 17663555.
20. Jump up^ Henk J. Porck and René Teygeler, Preservation Science Survey (W ashington, D.C.:
Council on Library and Information Resources, 2000).
21. Jump up^ Afghanistan election: 'indelible' ink washes off voters' fingers

x "Think Ink!" by Sharon J. Huntington, Christian Science Monitor, September 21, 2004,
retrieved January 17, 2006.
x "A History of Technology and Invention" by Maurice Audin, page 630.
x Ainsworth, Mitchell, C., "Inks and Their Composition and Manufacture," Charles Griffin and
Company Ltd, 1904.
x Martín-Gil J, Ramos-Sánchez MC, Martín-Gil FJ and José-Yacamán M. "Chemical
composition of a fountain pen ink". Journal of Chemical Education, 2006, 83, 1476–78
x Banerji, Sures Chandra (1989). A Companion to Sanskrit Literature. Motilal
Banarsidass. ISBN 81-208-0063-X.
x Sircar, D.C. (1996).Indian epigraphy. Motilal Banarsidass. ISBN 81-208-1166-6.
Sources[edit]
This article includes a list of references, but its sources remain
unclear because it has insufficient inline citations. Please help
to improve this article by introducing more precise citations. (June 2012) (Learn
how and when to remove this template message)

x N.a. (March 2000), "Bach Scores Turning to Dust in German Library", American Libraries:
24–25
x Barrow, W.J. (1972), Manuscripts and Documents: Their Deterioration and Restoration,
Charlottesville: University of Virginia Press, ISBN 0813904080
x Reißland, Birgit; de Groot, Suzan (August 15–21, 1999), "Ink Corrosion: Comparison of the
Currently Used Aqueous Treatments for Paper Objects", Preprint from the 9th International
Congress of IADA, pp. 121–129
x Rouchon-Quillet, V.; Bernard, J.; Wattiaux, A.; Fournes, L.; et al. (2004), "The Impact of
Gallic Acid on Iron Gall Ink Corrosion", Applied Physics A, 79 (2): 389–
392, doi:10.1007/s00339-004-2541-1 |first2= missing |last2= in Authors list (help)
x Waters, C.E. (1940), Inks, U.S. Department of Commerce, National Bureau of
Standards, United States Government Printing Office

Further reading[edit]
x Cueppers, Christoph (1989). "On the Manufacture of Ink." Ancient Nepal - Journal of the
Department of Archaeology, Number 113, August–September 1989, pp. 1–7. [The Tibetan
text and translation of a section of the work called, Bzo gnas nyer mkho'i za ma tog by 'Jam-
mgon 'Ju Mi-pham-rgya-mtsho (1846–1912) describing various traditional Tibetan techniques
of making inks from different sources of soot, and from earth, puffballs, dung, ser-sha - a
yellow fungus, and the fruit of tsi dra ka (Ricinus communis).]

External links[edit]
x Forty Centuries of Ink (David N. Carvalho); A detailed online textbook
x Roman ink article by Alexander Allen In Smith's Dictionary Greek and Roman Antiquities
(1875), in LacusCurtius
x Ancient and Modern Ink Recipes (David N. Carvalho)
x Gorgeous Portrayal Of How Ink Is Made - video at The Huffington Post
x "A Light Note on the Science of W riting and Inks" is a manuscript, in Arabic, from 1852. It
discusses the process of making inks.

The examination of vegetable- and mineral oil-based inks’ effects

on print quality: Green printing effects with different oils
Show all authors

Cem Aydemir, Semiha Yenidoğan, Arif Karademir, ...

First Published April 4, 2018 Research Article

https://doi.org/10.1177/2280800018764761

Article information

Abstract
Introduction:

Printing inks oil selection is related to the desired nature of the varnish in the ink
production. Petroleum-derived mineral oils and vegetable oils can be used in
offset inks.

Methods:

In this study, the behaviors of vegetable- and mineral oil-based inks on uncoated
and coated paper surfaces were investigated in terms of printability. Solid tone
test prints were done with offset printing of these inks. Print gloss of the printed
samples was measured and a light fastness test was implemented on these
samples in order to determine the resistance to fading. Absorption behavior and
contact angles of the ink-printed films on the test papers were measured with the
sessile water drop method depending on time, and surface energies were
calculated.

Results:

On both paper types, linseed–soybean oil-based vegetable ink gave the highest
brightness value. The lowest print gloss results on the paper were obtained from
soybean oil-based inks. The lowest color change was recorded with mineral oil-
based inks on gloss-coated papers. According to the ink-film–surface relation,
when the contact angle is high, surface energy decreases and the absorbency of
the ink-film is lower.
Conclusions:

In this study, the behaviors of vegetable- and mineral oil-based inks on different
paper surfaces, and the effect on the quality of printability as well as differences,
have been evaluated, taking environmental and health factors into consideration.

Keywords Absorption, contact angle, printability, soy-based ink, vegetable oil

ink, volatile organic compound

Introduction

Printing inks basically consist of a carrier medium (such as water, solvent, or oil),
colorant (pigment or dyestuff) and also a binder (resin).1 Print substrate and
printing type are determining factors in ingredients of inks. In the production of
offset lithographic printing ink, drying vegetable oil—such as linseed, tung, oticia,
and olive—and non-drying petroleum minerals at different resolutions are
used.2 In the making of offset printing ink varnish, nonvolatile oils serve as a
solvent for the solid resins and bring important characteristics to the alkyd resins.
Oil selection is related to the desired nature of the varnish in the ink production.
Petroleum-derived mineral oils are aliphatic solvents and mainly naphthenic and
paraffinic ones are used in ink. A typical sheet-fed offset lithography printing ink
contains 50–70% mineral or vegetable oil as a solvent.

A lot of raw materials are used in the production of printing ink and the number of
these materials is increasing continuously. Until recently, companies that produce
printing ink used to obtain the raw materials, except the solvent, from natural
products. Today, synthetic products produced by the chemical industry have
taken the place of natural products in many areas. However, because synthetic
products cause environmental and health problems, the demand is increasing for
natural products. For this reason, nowadays the use of synthetically structured
mineral oil is decreasing.3 Petroleum-based oils are known to emit volatile
compounds harmful to the environment, all creatures, and humans, and to cause
problems in recycling print substrates.

The most important vegetable inks are mainly produced from soybean and linseed
oil. Soybean oil is generally preferred due to its compatibility with the ink system
and lower price. Other vegetable oils used in ink production are utilized for their
different rich compositions and features. The Soybean Association reported in
1988 that the supply of vegetable oils was too limited in the early 1970s, so
petroleum products took the lead in the ink production market.4 Thanks to
technology advancements and developments, today oil-producing plants are
cultivated in huge amounts, and oils are easily extracted and refined to desired
quality.2

Mineral oils present in the print substrate tend to settle rapidly and also display
saponification, as well as causing pollution during the printing process.5 Mineral
oil-based inks should contain some solvents for dissolving rosin, as this ingredient
gives lower viscosity values. By comparison, vegetable-based inks require non-
harmful solvents and do not cause operational problems in processes such as
cleaning. Some water and a little solvent are enough to clean machinery after
printing.6

Today’s regulations and requirements regulate the use of harmful organic

chemicals (volatile organic compounds, or VOCs) in ink and dyes to prevent
solvent emissions. VOCs, which evaporate and expand at room temperature, are
chemicals with high vapor pressures.7 Harmful organic compounds are usually
associated with global warming due to their greenhouse effect. For this reason,
ink manufacturers are moving in the direction of organic oily inks because of the
harm caused by these gas-emitting materials. Current environmental concerns
and legislation principally target reduction and ultimately elimination of solvent
emissions, expressed as volatile organic content, from paints and printing
inks.8 There is now consumer pressure to use renewable rather than petroleum-
based resources.9 Therefore, the reduction of VOCs in petroleum-based printing
inks to meet environmental regulations without sacrificing functional properties
presents a technical challenge.8,10

One of the major alternatives is to use vegetable oil-based products as bio-

renewable raw materials. On cost grounds, these oils can compete well with the
petrochemical-derived ingredients normally used to form polymers. Particularly in
the printing ink industry, pressure has been created in the last few years to
replace the mineral oil in inks with vegetable oils and their derivatives.8
 Since the evaporation point is higher, the inks produced with vegetable oils have
less oil, and so fewer harmful organic compound emissions.11

When buying food, end users of the product decide by looking at the taste,
robustness for a long time, low cost, having no health risk, and being nature
compatible. Vegetable oils are less scented than mineral oil-based
3
inks. Vegetable oil’s general use in food is another factor that gives users a
sense of safety about the production of ink. For these reasons, instead of mineral
oils our goal is to formulate, produce, and increase the use of VOC-free offset
printing ink.8

Although vegetable oil-based inks can be more advantageous in terms of health

and environment than mineral oil-based inks, the effect of sheet-fed offset printing
ink with different oil content on printability behaviors and printing quality in the
print substrate has not been studied enough. The objective of this study is to
determine the printability characteristics of offset printing inks containing mineral
oil, soybean oil, and linseed–soybean oil. Printability evaluations on papers with
specified surface properties were carried out according to the criteria of gloss
contrast, light fastness water absorption of the printed ink-film, surface energy,
and contact angle.

Methods

In this study, gloss-coated paper and wood-free uncoated papers were used as
the print substrate. The properties of the paper surface were determined following
TAPPI (Technical Association of the Pulp and Paper Industry) and ISO
(International Organization for Standardization) test methods. Roughness was
measured using a Bendtsen roughness tester and Parker Print-Surf (PPS) as per
ISO 8791-2 and ISO 8791-4 respectively. Gloss of paper was determined using a
micro-gloss 75° with BYK-Gardner GmbH Geretsried Germany, according to
TAPPI T480 om-92. The characteristics on printed and non-printed paper
surfaces were determined with volume change and contact angle (TAPPI T558
om-97). Measures functions of time (50 data/min.) were determined using distilled
water as the wetting liquid (sessile water droplet method) İn a TMI Pocket
Goniometer Model PG-X (FIBRO Systems AB Stockholm, Sweden). Images of
water droplets were recorded using a charge-coupled device (CCD) video
 camera. Surface “free” energy (SFE) was calculated according to the ASTM
D5946-0 standard test method, depending on the contact angle.

The features of glossy coated, wood-free paper and uncoated, white papers used
in this study are given in Table 1. The details of the three different process cyan
layers containing different oils are given in Table 2. The specifications of the oils
used are given in Table 3.

Table 1. Features of used print substrates.

Table 1. Features of used print substrates.

View larger version

Table 2. The inks used in the test prints.

Table 2. The inks used in the test prints.

View larger version

 Table 3. The specifications of oils used.

Table 3. The specifications of oils used.

View larger version

Papers were conditioned before printing at 23 ± 1°C and 50 ± 3% relative humidity

for 24 hours. Solid printing was done on glossy coated, wood-free and uncoated
white papers with three different offset printing inks (process cyan color) in line
with ISO 2846-1 standards and containing soybean oil, 50% linseed and 50%
soybean oil, and mineral oil. These were left to dry under print room conditions.
Test printing was carried out using a Komori LITHRONE LS 540 H Model 5 color
unit offset printing machine Tokyo, Japan at 10,000 layer/hour print speed in
accordance with ISO 12647-2:2004.

Standard conditions were preserved in the measurements after printing. The CIE
L*a*b* (CIELAB) colorimetry of the test prints was carried out with a x-rite Gretag
Macbeth SpectroEye Spectrophotometer Michigan, USA using a Gretag control
strip. The measurements were performed using D50 illuminant, and 2° observer
on 0/45 geometry and white backing specified by CGATS.5 for 192 hours
periodically. Over the same period of time, changes to the print gloss were
measured at a micro-TRI-gloss 60° angle using the BYK-Gardner GmbH
Geretsried, Germany Glossmeter.

Lightfastness measurements of the inks used in test printing were made in

accordance with British Standards (BS) 4321. Printing samples were kept in the
 light fastness cabin for 192 hours and evaluated according to the Blue W ool Scale
(BW S). Changes in CIELAB values of inks were recorded before and after the test
and color differences (ΔE*ab) in three-dimensional color space were calculated
mathematically.

Results

Printability properties

Gloss contrast

The quality of an ink-film can be described by optical properties such as gloss and
optical color density. These optical properties are determined by parameters
relating to the surface of the film and are influenced by the film setting.12

Gloss value, which relates to quality and printability features, is directly related to
the oil in the print ink. It is known that the type and quality of oil affect the
brightness value, which is important in terms of the printability of ink. In order to
detect this effect, printing with different oil-content inks was carried out on different
papers with different surfaces.

Brightness values belonging to solid prints made on glossy coated wood-free

paper and uncoated white paper with soybean oil, linseed–soybean oil, and
mineral oil inks are shown in Figure 1. There are big differences in print gloss
depending on ink content in both paper types. On both paper types, linseed–
soybean oil-based vegetable ink gave the highest brightness value. The lowest
print gloss results were obtained from soybean oil-based inks. W hen mineral oil-
based ink is compared to the vegetable inks, on both paper types mid-level
brightness results were obtained. As a result, linseed oil was recorded as
increasing the brightness.
Figure 1. Print gloss changes of different inks on coated and uncoated papers.

The print gloss difference between inks is closely related to the molecular lengths
of ink solvents, evaporation temperatures and ink drying speed. Linseed oil is a
fast-drying oil, so it gives the fastest-drying ink for printing. W ith quick-drying ink,
the liquid phase of the ink solidifies on the surface before the paper gets very wet
and ink components can penetrate the paper. Accordingly, the print gloss of these
inks was high on two papers because a greater amount of oil remains on the
surface.

Lightfastness

Changes in ink color occurs over the long term when printed materials are
exposed to daylight. The smaller the change, the better printability quality. In this
study, lightfastness tests were performed according to the BW S, CIELAB values
of ink-films were measured, and ΔE values of colors were calculated before and
after lightfastness tests with a spectrometer in order to determine differences in
color changes between vegetable and mineral inks over the same time period.

The smallest color change was recorded for mineral oil-based inks on gloss-
coated papers, whereas for soy-based inks it was on uncoated paper. Flotation of
the ink on the surface of glossy paper is lower than for the uncoated white paper,
and in the mineral oil structure there are fewer double bonds than in the structure
 of vegetable oil. Since these inks have more molecules that will undergo oxidation
over time, they form a duller surface. This increases the difference in color
changes. The least change occurred in the mineral oil-based ink, which contains
the fewest double bonds. However, the effect of oil on color changes decreased
on the white paper as oil in the ink penetrated the paper. W hen the oil is lower on
to the paper surface, the oxidative polymerization is low and penetration of oil is
minimum. In this, pigments are not drags into the paper. This effects lower color
change. Thus, color change on the uncoated, white paper is lower in soybean oil
and higher in mineral oil.

Volume change

In order to measure the behavior of printed ink-film surface absorption, the sessile
water droplet method was used. The volume of the droplet and the contact angle
were calculated using the algorithms available in the measuring device. These
calculations were based on the measurements of the profile of the sessile droplet
and on the assumption that the profile of the droplet is a circle (or ellipse in some
cases).13 Volume changes of distilled water droplets sitting on the surface of test
samples over time provided excellent information on water absorbency properties
of printed ink-film.

The paper used for offset printing should have a certain level of absorption to give
the ink good adhesion. Achieving the second consecutive printing is also
important for the adhesion of the printed ink. The level of absorption of the printing
ink should not be too high. The absorption is an important property of the printing
process.14

In the process printing, the speed of absorption is determined by the time that the
second color ink (e.g. magenta) needs to penetrate into the first printed color ink
film (e.g. cyan). For the offset process this property is very important. If absorption
is too slow, it may result in smearing because the ink does not dry fast enough. If
absorption is too fast, it may have a negative impact on the dry ink properties.

During the time-dependent measurements of the volume change with the sessile
drop method on the test printed areas with the linseed–soybean oil-based ink on
coated and uncoated paper surfaces, it was identified that liquid absorption was
reduced on both papers. It was observed that soybean oil-based ink has more
 absorption on both paper types compared to the other inks. The liquid absorption
of printed ink-film with mineral oil-based inks was observed to be at the mid-point
on both paper types when compared with the other inks (Figures 2 and 3).
According to the results of this study, linseed oil printed on coated and uncoated
papers resists liquids, reducing absorption; it can be said that this should be taken
into consideration for prints on top of other inks and packaging products.

Figure 2. Drop volume change curves on gloss-coated paper printed ink-film

surfaces.
Figure 3. Drop volume change curves on uncoated paper printed ink-film surfaces.

Wettability is an important property of the substrate. In this study, the wettability

was determined using an automated contact angle with water. Images of water
droplets were recorded using a CCD video camera (Figure 4).
Figure 4. W ater drops on the same, but differently prepared, ink-film.

Contact angle

The area of contact between an ink droplet and print substrate surface is
expanded parallel to ink spreading, which is defined as the tone value. The ink on
a paper surface simultaneously travels in both vertical and horizontal
directions.1,15,16

To determine the absorptive capacity of printed paper for liquid, it is necessary to

define clearly which liquid it concerns, how long the contact time will be, and
under what conditions the test is implemented. In most cases in which a liquid
droplet is applied to a solid material, an angle is formed at the point of contact
between the droplet and solid—the so-called wettability angle or contact angle.
This contact angle is an indication of the wetting performance of liquids applied to
solids. This contact angle must be determined immediately, because the liquid
 could penetrate rapidly into the pores of the printed ink-film surface. Many printing
inks, oils, paraffins, and similar products have a rather low surface tension and
spreading immediately on the surface.14

Surface energy

The surface energy of paper is commonly determined by contact angle

measurement. SFE is the force available on a solid surface to attract liquid
molecules. In contrast to surface tension, SFE cannot be measured from an
observation; it has to be calculated from contact angle measurements.

The contact angle shows the relationship between the contraction force (surface
tension), which holds the liquid molecules together, and the attraction force (SFE),
which tries to conquer liquid molecules with its free bonds at the surface. To
reduce the contact angle, one can reduce the surface tension or increase the
SFE, or both. Addition of surface active agents (surfactants) will lower the surface
tension.17

In the measurements carried out for ink-film surfaces printed on glossy coated
papers used in this study, it was realized that there is a relation between contact
angle, surface energy, and absorption. According to this relation, when the
contact angle is high, surface energy decreases and absorbency of the ink-film
lowers (Figures 2, 5, and 6).
Figure 5. Contact angle, uncoated and gloss-coated papers.

Figure 6. Printed ink-film surface energy, uncoated and gloss-coated papers.

Conclusions

On the coated and uncoated papers, the linseed–soybean oil-based ink-films

showed the lowest absorption, while the soybean oil-based ink-film showed the
highest. W hen considered in terms of overprinting or printing on surfaces that use
water-based coating practices, linseed oil is a factor in reducing the absorbency of
the ink.

It was determined that vegetable inks containing linseed oil, in particular, are more
glossy than mineral oil-based inks on all types of paper. From this result, it is
understood that fast-drying linseed oil is an effective factor for glossy printing. For
all paper types for which high printing brightness is expected, inks that have a
fast-drying solvent oil component such as linseed oil should be used.

In terms of light fastness, mineral oil-based inks undergo less change in color on
coated papers, while vegetable oil-based inks undergo less change in color on
uncoated papers.

Since oils in the content of the ink affect different aspects of printing, when
desired features cannot be met with one vegetable oil, hybrid inks should be
produced by mixing two or more vegetable oils.

What is expected from printing ink is quality, being trouble-free, economical, and
efficient. Because vegetable and mineral oil-based inks show similar printing
performances on coated and uncoated papers in terms of printing quality, the
determinant for ink choice should be the environment and health.

Oils used in ink production should be preferred according to their environmental

impact, ease of recycling, problem-free printing, and having little impact on taste
and smell, especially for food packaging.

According to this study, today the use of vegetable-based printing inks is relatively
low compared to mineral oil-based inks. Due to increasing environmental and
health problems, petroleum-derived mineral oil-based inks should be replaced by
vegetable-based inks.

The use of vegetable oil-based inks should be a target to aim for and should be
encouraged for reasons such as being eco-friendly, not containing harmful VOCs,
 not posing serious side effects through food contact, use of easy, practical, and
economic machinery, easy equipment cleaning and operation, being organic and
renewable, and being preferred in the packaging industry because of their use in
food.

Declaration of Conflicting Interests

The author(s) declared no potential conflicts of interest with respect to the
research, authorship, and/or publication of this article.

Funding
The author(s) received no financial support for the research, authorship, and/or
publication of this article.

References
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Eco-friendly ink is one component of green printing. In earlier posts we

explored printing on recycled paper and tree-free paper. Today we’ll focus on
ink’s composition–whether it’s petroleum or plant based–and its release of
volatile organic compounds (VOCs) when determining if ink is environmentally
friendly and sustainable.

What is vegetable-based ink?

First, we need to understand the composition of most inks. Inks require
colorants (i.e. pigments or dyes), additives that help improve performance on
the press, and the vehicle or carrier medium for the other elements. The vehicle
can be water, solvent, or oil based. Early inks were derived from natural, plant-
based sources. By the early 1970s, the supply of vegetable oils was limited so
manufacturers used petroleum products. Today, synthetic products have
surpassed vegetable-based alternatives, but environmentally conscious
manufacturers and consumers are turning the tide.
Common oils used in vegetable-based inks are soy, linseed (flax), canola, and
safflower. Soybean and linseed oil are the two most prominent. Each type of oil
comes with its own advantages; for example, soybean oil is relatively clear so it
can provide more vivid colors than petroleum-based oils. Vegetable-based inks
often employ a blend of oils to maximize quality and minimize drying times.
What are volatile organic compounds (VOCs)?
VOCs are compounds of carbon–excluding carbon monoxide, carbon dioxide,
carbonic acid, metallic carbides, or carbonates and ammonium carbonate–which
participate in atmospheric photochemical reactions. More simply put, they can
evaporate at normal indoor air temperatures and their greenhouse effect
contributes to global warming. The European Commission reports that offset
printing consumes around three million tons of hydrocarbon-based inks and
chemicals every year. These inks and chemicals release VOCs that can
contribute to global warming and be harmful to the health of print workers if not
properly managed.

What inks have higher levels of VOCs?

As petroleum-based inks dry, they release VOCs. Additional VOCs can be
released when presses are washed between print runs. Petroleum-based inks
require harsher solvents and more VOCs are released. Vegetable-based inks can
be cleaned from machinery with less water and solvent.

How do vegetable-based inks compare to petroleum-based inks?

Sustainability, recycling, and the environment

Obviously petroleum is a non-renewable resource, while the plants used for
vegetable-based ink are fast growing and renewable. Oil-producing plants can
be widely cultivated and oils can be easily extracted and refined. In addition,
VOC-free inks eliminate the release of greenhouse gases. Finally, vegetable-
based inks are easier to remove during recycling’s deinking processthan
petroleum-based inks.

Health
As we know, VOCs can be harmful to indoor air quality and health.
The American Lung Association reports that some VOCs are harmful by
themselves and some react with other gases and form other air pollutants after
they are in the air. Vegetable-based inks are preferred for food packaging or
anything that might come in contact with food.

Quality
A recent study published in the Journal of Applied Biomaterials and Functional
Materials tested the quality of vegetable-based inks and petroleum-based ink
used for offset printing. They found that linseed-soybean oil-based ink gave the
highest brightness value, and vegetable inks containing linseed oil are glossier
on all types of paper than mineral oil-based ink. While mineral-oil based inks
have less color change on coated papers, vegetable oil-based inks change less on
uncoated papers. The study also found that mixing vegetable oils can produce
the desired print results. The paper’s authors recommended that vegetable-based
inks should replace petroleum-derived mineral oil-based inks due to their
quality, environmental and health benefits, and comparable costs.
“What is expected from printing ink is quality, being trouble-free, economical,
and efficient. Because vegetable and mineral oil-based inks show similar
printing performances on coated and uncoated papers in terms of printing
quality, the determinant for ink choice should be the environment and health.”
–Cem Aydemir, Semiha Yenidogan, Arif Karademir, and Emine Arman
Kandirmaz, “The examination of vegetable- and mineral oil-based inks’ effects
on print quality,” Journal of Applied Biomaterials & Functional Materials
Does BambooInk use eco-friendly ink?
Yes, we use a wide variety of inks including those from Van Son Holland Ink
Corporation. Van Son’s Zero line is made with 100% vegetable oil and is VOC
free. It contains no petroleum solvents and no mineral oils. It’s a high-intensity
ink that complies with GraCol 7 and DIN ISO 2846-1 printing standards. It
offers high print contrast, water tolerance, outstanding gloss, and fast setting
times. It’s also rub resistant and has excellent dot sharpness. It can be used with
aqueous and UV coating.

Is eco-friendly ink right for you?

There are many factors that influence sustainable printing. We’d love to talk
with you about eco-friendly inks and sustainable printing methods. Contact us
to learn more or get an estimate.
Interested in monthly printing tips and quarterly discounts delivered to your
inbox? Let us know below.
What Standard Printer Ink Is Made Of? | 1ink.com
Posted on April 19, 2017
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What Is Printer Ink Made Of?

Ink is one of those things that most people don't really think too much about—until they run out of
it and can't get their work done. W hen you think about it, ink has been crucial to our civilization
for centuries, and we really couldn't survive today without it. Let's take a look at this fascinating
compound, its history, how printer ink is made, and its components.
What is Ink?
In plain terms, ink is a semi-liquid material that is used for printing, writing, and drawing. Similar
to paint, it is made from an organic or inorganic pigment that is dissolved in a chemical solvent.

A Brief History of Ink

What is printer ink made of? The earliest known inks were made from all types of materials found
in nature, including:
x Vegetable and fruit juices
x Blood of some species of shellfish
x Secretions from octopi, cuttlefish, squid, and other cephalopods
x Tannin from tree bark and nuts
First Man-Made Inks
The first man-made ink for writing was developed in Egypt about 4500 years ago. It was made
from carbon suspensions in water, stabilized with materials such as egg albumen and natural
gums. After 2500 BC, both the Chinese and the Egyptians developed ink composed from soot
that was bound with various gums. They would take the resulting paste and form it into rods
which were then dried, stored, and later diluted in water right before use.

First Printing Inks

The Chinese invented printing ink around 500 BCE. What their printer ink was made of included
soot, colored earth, and plant matter for the pigment, gums, and glue for the binder. In 1440, the
printing press with movable type was invented, and soot-based ink was then bound with either
varnish or linseed oil, which is remarkably similar to the way black ink is currently manufactured.
In 1772, colored ink debuted, but it wasn't until the 1800s that ink was perfected with the
introduction of drying agents.
What Are Ink Classes?

If you’re wondering what current printer ink is made of, today's inks are still divided into two
classes, those that are used for writing and those that are used for printing.

Printing Ink
Printing ink is further broken down into two smaller categories: conventional ink and digital non-
impact printing ink. Conventional printing is conducted by a metal plate that transfers an image to
a paper or an object that it comes in contact with, while digital non-impact printing includes
electrophotographic and inkjet technologies.

Special inks have been developed for use in particular situations, but the main utility for modern
printing ink is its use for passing on information and decorating various objects. It can be used on
surfaces as varied as paper, plastic, and aluminum cans.

Writing Ink
Only 10% of the world's ink is used for handwriting, and writing ink is manufactured in a
completely different manner than printing ink. Unlike printing ink, writing ink is composed of dyes
suspended in varnish rather than pigments. The main difference between the two is that dyes are
soluble, while pigments are not.

Pens today contain different dyes to produce different colored ink. Blue is obtained using
substituted triphenylmethane dyes, while red is produced by diluting the red dye, eosin. Many
writing inks also contain tannic and gallic acids and iron sulfate. Most ballpoint pens contain a
paste that is composed of approximately 40% to 50% dye.
What is Printer Ink Made of Now ?

Today's printer ink is made of what is called carbon black, a pigment which is actually similar to
the soot that was used in ancient times. The composition also includes a binder, a solvent, and a
plethora of additives, such as chelating and drying agents. Ink recipes vary a bit depending on
the company that produces it (HP, Epson, Canon) and the surface that the printing will be
conducted upon, as well as the printing method used.
Pigments
The chief function of the pigment is to provide color to the ink. Pigments can also bring
abrasiveness or gloss to a surface, or provide it with a chemical resistance to heat, light, and
solvents. They are a vital part of how printer ink is made.

Base pigments are mixed with other chemicals known as opacifiers and extenders. Opacifiers
are white and cause the ink to become opaque, covering a given surface, while extenders are
clear and make base pigments appear less intense. All pigment is ground up to prevent clumping
and to allow it to spread evenly throughout the ink.

Dispersants
Dispersants are added to allow the ink to flow well, so it can easily be transferred to a surface
during printing. They stabilize the particles of pigment by lowering the mechanical energy
necessary for grinding. Surfactants and polymers are the classes of compounds used for this
endeavor, and they are suspended in a solvent. Each absorbs pigment particles and forms a
coating that can vary in thickness and composition to prevent the fine pigment particles from
settling. The different sizes of pigment particles influence the intensity of a given color.

Resins
Resins are added to ink to allow it to bind together into a distinct film, as well as to bind it to a
printed surface. These materials improve not only binding, but also the rheology and mechanical
properties of the ink. Resins, such as alkyds, ketones, acrylics, and formaldehydes, are also
used in printing to create surfaces that are glossy, or heat, water, and chemical resistant. You will
usually find multiple resins in any given ink.

Other Notable Ingredients

There are many other ingredients of importance that are added to what printer ink is made of to
improve its function including:
x Humectants to vastly slow the aging process of ink.
x Defoamers to regulate bubbles and foam efficiency.
x Wetting agents to control various surface properties.
x Amine derivatives as pH modifiers.
x Biocides and bacteriostats to inhibit the growth of bacteria and fungi.
What is the Base Composition of Ink?

Most printer ink is made of what is a base of linseed or soybean oil, or a heavy petroleum
distillate used as the solvent. This is then combined with pigments to create ink that is designed
to dry by evaporation. This base is often referred to as varnish.

Black Ink
Black ink is created through a combination of carbon black and varnish.

Color Printing Ink

Color pigments are composed of salts and multiring nitrogen-containing compounds, or dyes
including:
x Peacock blue
x Yellow lake
x Diarylide orange
x Phthalocyanine green
Though not as common, inorganic pigments are also used. These include chrome green
(Cr2O3), prussian blue (Fe4[Fe(CN)6]3), cadmium yellow (CdS), and molybdate orange (a mix of
molybdate, sulfate, and lead chromate).

White pigments, such as titanium dioxide, can be used alone or to modify the characteristics of
particular colored inks. These pigments are mixed with varnish to formulate color printing ink.
 What are Performance Additions?

Additions, or additives, are added to what printer ink is made from to alter given physical
properties to suit various situations. The additions are mixed with the resins and solvents or
dispersants prior to the introduction of pigments.

Some of these additions include waxes to promote rub-off resistance, lubricants, and drying
agents, which separate from the ink's body and allow print to bind to surfaces and dry quickly.
Other ingredients added to impart particular characteristics include antioxidants that delay the
onset of oxidation and act as anti-aging agents, and alkali, which controls the solubility and
viscosity of ink so it doesn’t get too thick.
Learning About Ink
It is amazing to think that so much goes into how printer ink is made. It is, of course, this vast
amount of ingredients and complicated process that add to its notorious expense. In order to
save on printer ink, shop remanufactured cartridges from 1ink.com.
We have cartridges for every printer imaginable and our prices are only a fraction of the
manufacturer's cost. If you want quality ink without straining your budget, browse our shop today.

What You Need to Know About Varnish in the Digital

Printing Arena
There’s more than one way to varnish. And there’s more than one way to
make a mess with varnish, too. The good news is, if you use the right
printer and the right materials, varnishing can add profits to your bottom
line.
By Jennifer LeClaire

When you think of varnish, you probably think of putting a glossy coat on an old
chest of draw ers, but varnish is gaining ground in the digital printing arena and
you need to know more about it.

Simply stated, varnish is a thin, liquid coating that you

apply either before or after you print an image. Varnish allows you to protect and
enhance the image quality. It’s clear and can be jetted on top of a printed surface. Just
like white ink, you can jet varnish from an integrated print head. You just need the right
printer.

But before you rush out to examine new printer options, you need to make sure you are
ready to add this to your list of customer options. Specifically, you need to know the
types of varnishes, the reasons to varnish, the reasons not to varnish, and, of course,
how to varnish. So if you are ready to explore the world of varnish, let’s get right to it.

Why Varnish?
There are plenty of benefits to varnishing. One of the most obvious is that varnishing can
be a smart option for images that customers need to display for the long haul. Since it
typically contains Ultraviolet light stabilizers, varnish can reduce fading, yellowing,
cracking, peeling, flaking and the like.

Varnishing can also make it easier to clean and handle a digitally printed image.
Varnishing can even make a print water resistant, though not necessarily waterproof. So
if a digital image is subject to rain or splashing water near a fountain or pool, varnish
could be a value-added benefit for your customer. (Just be sure not to over promise
varnish’s protection or you could end up with an angry customer who demands a reprint
job that comes out of your pocket. Test it for yourself and see the limits of its protection.)

Need more benefits? Here are a few: Varnishing offers a similar look as lamination, but it
is typically much less expensive. W hat’s more, varnish can be printed on certain areas of
a print, such as shadows on a ladder, to highlight portions of the page. That’s called spot
varnishing and is similar to spot color printing. And varnishing makes the print a little
denser, offering a feel of quality.

While the protective benefits of varnishing lend themselves to long-term applications,

some of these other benefits make a case for short-term applications as well. Note that
not all varnish is glossy.

There are also matte varnishes that merely intend to protect the image from damage
without adding the shine. Satin and tinted varnishes are also options. Satin varnish
offers sheen while tinted varnish gives the print a bit of color.

How Does It Work?

Old-fashioned varnishing demands a can of varnish and a paintbrush to apply the
material to the surface of the print. Some sign shops may still use this practice if they
don’t get many orders for varnish or if they can’t afford a printer that does this
automatically because printers that offer the option to integrate a separate head for
varnish may not be in the budget.

Of course, by far the simplest approach would be to allocate some number of inkjet
printheads to the function of “printing” clear ink. The varnish printhead would follow the
printing of the colors that form the image to form a topcoat.

“Just like a color, varnish is printed as another ink in areas where one has printed an
image. This allows just the image area of the substrate to be protected and enhanced
without putting varnish down on the rest of the substrate,” says Xerox digital imaging
spokesperson Sandra Mauceli.

For example, she continues, if you have a glass surface and you do not want any
varnish on the areas where there is no image, you can print varnish only in the image
areas leaving the rest of the glass surface clear.

If you do decide to varnish, experts recommend using coated paper stock for optimal
results. And be sure to test out a varnished print before you send 10 or 20 through in
mass production to make sure all systems are a go.