This morning the print space was reconfigured for actual work. The inking slab cleaned of a thick dust layer, press blankets pulled out of storage and arranged in correct order, and the press uncovered and dusted. Ink had to be pulled from bins and opened. Paper scraps located and torn into test size (this is a leftovers print and I have plenty of small scraps just for this occasion!). Scrim/Tarlatan, phone books, wiping scraps, rubber gloves, scroungy print apron and a variety of other things found. I forget how much is involved in creating a print!
The above test is using a burnt sienna & black ink mixed on Somerset paper. I need to refresh my brain on how best to wipe a plate, more pressure, possibly a bit of plate oil to loosen things up. So many techniques that have been lost from my brain over the years of inactivity. It will come back as I continue to work the image!
drypoint on copper, 4″x 6″, oil based ink
Sticks, Stones, and Paper Stew Blog 
I use a special drypoint formula ink for printing drypoint plates, It’s softer and nowhere near as sticky as normal etching ink. It’s much kinder to the fragile burr.
I’m pinched for time and will have to do with adding oil to the stiff etching ink. We don’t have anything close that would carry a specific drypoint ink. Actually I don’t think I’ve ever seen one!
Thank you for your tip! I really appreciate it!
I get it from Intaglio Printmakers in London. I’ve not seen it available from other companies. It’s their own mix. I wouldn’t use anything else now, I’m spoiled.
I’m jealous!
😁