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Charbonnel Aqua Wash Etching Inks are water-washable, with an oil emulsion that allows work similar to traditional solvent-based inks.
Made from extra-fine quality pigments, these etching inks are very lightfast and permanent when dry, and excellent for all techniques, including intaglio, relief, etching, and woodcut on linoleum, monotype, aquatint, and more.
Formulated especially for artists and students working in groups, Charbonnel Aqua Wash Inks clean up without solvents, and are non-toxic, odorless, and easy to wipe.
Instruments, tools, and plates do not get rusty when using Aqua Wash Inks because the inks do not contain water. They dry slowly, at the same rate as solvent-based inks.
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™ Charbonnel is a trademark.® Aqua Wash is a registered trademark.
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(based on 8 reviews)
of respondents would recommend this to a friend.
Reviewed by 8 customers
Displaying reviews 1-8
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Luscious, Vibrant and cleans up like a dream
from Kingston Ontarion
Comments about Charbonnel Aqua Wash Etching Inks:
I had not bought Charbonnel inks because of the sticker shock, but when someone donated left over inks to our studio, I decided to try them. Wow! These inks are fabulous, the colors are vibrant and the medium can only be described as luscious. Best of all a small amount goes a long way. I then tried the Aqua Wash version. Most inks that clean up with water and soap have poor results: disappointing colours and finish, goopy to work with, and are not easy to clean up. Not these inks. They are as richly pigmented, look exactly like oil-based inks. They are lovely to work with and are as glorious when they dry as the other Charbonnel inks. Well worth the money.
Bottom Line Yes, I would recommend this to a friend
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Excellent for relief, woodcut and wood engravings!
from Las Vegas, NV
Used for color woodcut and was pleasantly surprised, very smooth yet just firm enough. Most etching inks need to be stiffened for woodcut but these were perfect out of the tube. I have found my new inks! I was also struck by the variety and cleanliness of colors, they mix well and give predictable results.Clean up was a breeze, similar to using Akua but can't really roll Akua easily. I will use these again. Wish more would come in bigger tubes or tins.
Images shared by 1000woodcuts
Angry Skies, woodcut print
Tags: Made with Product
High quality, easy cleanup for monoprinting.
By Passionate Peg
Vibrancy of color after dry down of print.
Charbonnel Aqua Wash Etching Inks
from Houston TX
I make monotypes with the Aqua Wash Etching inks and it works exactly the same as the oil inks. It couldn't be better to use because the clean up is quick and easy - just use WATER!
from Columbia, SC
I am really impressed with the smooth and easy wipe-up results that this product yields for drypoint, etching and repousse' plates!
(6 of 6 customers found this review helpful)
pleased with the results
from Montreal, QC
I bought the Charbonnel Aqua Wash to experiment with drypoint printing from a copper plate as an alternative to traditional oil based inks. I was very pleased with the results. The ink wipes off easily with tarlatan. If you want to achieve plate tone however, perhaps it wipes off too easily, so you have to wipe less thoroughly and which might require a little bit more trial and error. Otherwise, I enjoyed working with this product and would recommend.
Images shared by kcpelletier
(2 of 2 customers found this review helpful)
from hendersonville, nc
apply like normal intaglio process . what is nice is that the ink stays within the lines well and has a rich lustrous look. be careful not to have paper that is too damp. Also after two or so inkings it is a good idea to clean the plate as the ink may be drying in the groves. But clean up is so easy the extra step takes no time to speak of.Really like the quality and ease of this ink.
(8 of 8 customers found this review helpful)
By Vance Studley, professor of printmaking
from Valley College, Valley Glen CA
Superior viscosity, coverage and pigment density. Also strong is the color intensity (chroma) and consistency of oil (water soluble vehicle) to pigment balance suited to the demands of printmakers seeking an standard oil base replacement. Easy cleanup with water leaving no residue on palette and/or plates. Exceeds my expectations in classroom and professional edition printing. As a 'new' product color shift (fading, permanency, transiency etc.) is yet to be determined. A good black to start with is the carbon black for plates with a light to semi deep etch with usual mix of 7/1 (water to acid) mix and dry point plates of Zinc. Will test on polymer plates this weekend in the printing of work by the american artist/illustrator, Barry Moser and will review in a future post.
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