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The water-based screenprinting method and the acrylic-resist etching system are the modern options – safer, healthier and more environmentally friendly, as well as quick to learn and accessible to all. These processes are much cleaner and safer methods of printmaking.
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Lascaux ARE (Acryl Resist Etching)

ARE Produkte für das Acrylgrund Ätzverfahren

The growing awareness of the damage caused to artists’ health and the environment by the use of toxic art materials has led intaglio printmakers to search for safer ways of working. Lascaux, working in collaboration with the printmakers Robert Adam and Carol Robertson, have developed a complete range of safer modern materials which can be used to replace the traditional acid resists.
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Lascaux Hard resist
A ready-to-use clear hard resist (or ground) which is applied to the etching plate by brush. When it is dry it is highly acid-resistant. Lascaux Hard Resist can be drawn into with an etching needle, roulette, scraper, steel wool etc. It has a soft, waxy feel, allowing the needle to glide. It can be used on copper, zinc, and steel.
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Lascaux Plate-backing resist
This tough scratch-resistant coloured resist is painted onto the back and edges of the plate to prevent any biting during the etching process.
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Lascaux Stop-out resist
This coloured stop-out is easy and pleasant to paint with and can be drawn into with etching tools when it is dry. It is used to make images on the plate, stop-out lines when step-biting, and to edit or correct plates.
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Lascaux Soft resist
This slower drying resist is designed to offset easily and is used to make soft crayon- or pencil-like drawings, tex-tures from collages and direct broad line drawings.
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Lascaux Wash resist
This coloured granular resist is painted on the plate and used in conjunction with Lascaux Spray/aquatint to create unusual etched effects similar to water-colour or tusche washes.
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Lascaux Aquatint spray resist
This coloured resist is sprayed onto the plate to create a range of controllable tonal effects. It may be used in con-junction with Lascaux Lift solution, other lift methods, stencils and Lascaux Wash resist.
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Lascaux Black coatings for Hard resist
hese black coatings may be painted onto a dry layer of Hard resist so that the drawing made with etching tools is highly visible. The coloured coatings are not acid-resistant and are designed to be washed away with water before the plate is stopped-out or etched.
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Lascaux White coatings for Hard resist
These white coatings may be painted onto a dry layer of Hard resist so that the drawing made with etching tools is highly visible. The coloured coatings are not acid-resistant and are designed to be washed away with water before the plate is stopped-out or etched.
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Lascaux Remover
Dried resists are removed by immersing the plate in a tray or tank of Lascaux Remover for 15 to 30 minutes.
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Book INTAGLIO

Intaglio
Acrylic-Resist Etching - Collagraphy - Engraving - Drypoint - Mezzotint
The Complete Saftey-First System for Creative Printmaking
Robert Adam & Carol Robertson

ISBN-13: 978-0500513439


This is the definitive how-to guide to intaglio printmaking.
With clear step-by-step instructions and over 200 illustrations, this beautifully illustrated book describes methods which, while employing a strong traditional basis, achieve stunning prints the modern way - safer, healthier and more environmentally friendly.
Covering every stage of the plate-making and printing process, it opens up creative possibilities for beginners and experienced printmakers alike. Whichever technique you wish to experiment with - acrylic-resist etching methods such as aquatint and photo-etching, or collagraphy and photocollagraphy, or engraving, drypoint, mezzotint, burnishing and air-abrading - classically trained printmakers Robert Adam and Carol Robertson show you how to do it.
From setting up and equipping an intaglio studio to presenting finished prints, this comprehensive reference book - complete with list of international suppliers and glossary - is the only resource any practitioner, educator or student will need.Robert Adam was educated at the University of Cambridge, Edinburgh College of Art and the Slade, London.
Carol Robertson studied fine art printmaking at Gray's School of Art. They have pioneered safer working practices and have developed an extensive educational programme. They set up Graal Press, where they continue their research and educational work, and collaborate with leading artists on creative projects.

Lascaux Water-based Screenprinting

Products for water-based screenprinting
PDF English

Lascaux Screenprinting Paste
Adding Lascaux Screenprinting paste to Lascaux colours enables one to work in silk-screen technique as part of a 100% water-based system.
PDF English

Lascaux Screen Filler
To form waterproof stencils. Lascaux Screen filler doses meshes effectively and is easy to remove from the mesh after printing.
PDF English

Lascaux Screen Painting Fluid
This ready-to-use water-soluble screen paintig fluid, dries quickly to water-soluble stencils, doses meshes effectively and is easy to see in the mesh.
PDF English

 

Book SCREENPRINTING

Screenprinting - The Complete Water-based System
'Practical and inspirational ... every art school and studio should have one'
Robert Adam & Carol Robertson

ISBN-13: 978-0500284254

This is the only resource on screenprinting that any artist, teacher, student or designer will ever need.
With clear step-by-step instructions and 265 illustrations, most in full colour, this book explains and describes all the methods and materials that replace traditional solvent based screenprinting systems, covering every stage of the printing process and opening up new areas of creative possibilities.
Here is the information you need to print using paper stencils, screen filler stencils or photostencils (incorporating autographic, digital, photocopied or photographic elements), with opaque, translucent, metallic, gouache or acrylic paints, on paper, fabric, metal or PVC.
From choosing which materials to use and how to use them, through setting up and equipping a water-based screenprinting studio, to collating and presenting finished prints, this is a really comprehensive reference book - complete with list of international suppliers and glossary.
Robert Adam and Carol Robertson worked at the renowned for nine years.
They now have their own studio, Graal Press, and teach at the Wimbledon School of Art.

Lascaux Tusche

Lascaux Tusche Wash
This tusche has handling qualities similar to ink and can be diluted to make gradated washes typical of stone lithography.
PDF English

Lascaux Tusche Wash / spray
This tusche can be sprayed from a simple airbrush and is required if Lascaux Lift Solution is to be used.
PDF English

Lascaux Tusche waterproof
Fast drying, waterproof and scuff resistant, this semi-viscous tusche has homogenous covering power and is useful for a broad range of painted marks. The diluted tusche dries to resemble ‘toad-skin’ washes usually found in zinc-plate lithography.
PDF English

Lascaux Tusche water - soluble
This viscous tusche can be painted in a smooth even layer which can be scratched away to create delicate non-printing lines. It can also be used for a broad range of painted marks, offsetting and pattern-making. The diluted tusche dries to create characterful granular washes.
PDF English

Lascaux Tusche soft-ground effect
This slow drying viscous tusche has been designed to produce effects similar to soft ground in traditional etching. Using this method soft non-printing drawings may be made and impressions of fabric, leaves, feathers and other collage materials may be taken. The tusche can also be used for a broad range of painted marks and can be drawn into with paint shapers and other tools. The diluted tusche dries to create granular washes.
PDF English

Lascaux Lift solution
Lascaux Lift Solution is used in conjunction with Lascaux Tusche wash/spray. The method is similar to ‘sugar-lift’ in traditional etching, and the marks made with Lascaux Lift Solution resemble classic sugar-lift marks. When the Lascaux Lift Solution is used to make an autographic positive, the painted marks will be non-printing and the sprayed Tusche background will print.
PDF English

Lascaux Tusche diluting liquid
A ready-to-use liquid for diluting Lascaux Tusches to alter their handling characteristics or to create delicate washes on positives.
PDF English

Literature

Book SCREENPRINTING

Screenprinting - The Complete Water-based System
'Practical and inspirational ... every art school and studio should have one'
Robert Adam & Carol Robertson

ISBN-13: 978-0500284254




 

 

 

This is the only resource on screenprinting that any artist, teacher, student or designer will ever need.
With clear step-by-step instructions and 265 illustrations, most in full colour, this book explains and describes all the methods and materials that replace traditional solvent based screenprinting systems, covering every stage of the printing process and opening up new areas of creative possibilities.
Here is the information you need to print using paper stencils, screen filler stencils or photostencils (incorporating autographic, digital, photocopied or photographic elements), with opaque, translucent, metallic, gouache or acrylic paints, on paper, fabric, metal or PVC.
From choosing which materials to use and how to use them, through setting up and equipping a water-based screenprinting studio, to collating and presenting finished prints, this is a really comprehensive reference book - complete with list of international suppliers and glossary.
Robert Adam and Carol Robertson worked at the renowned for nine years.
They now have their own studio, Graal Press, and teach at the Wimbledon School of Art.

 


 





Pic. 1: Victoria Crowe,
"While in Venice",
58 x 58 cm, edition 50, 1998.
Water-based screenprint, printed with
Lascaux products on "Moulin du Gué paper".





 



Pic. 2: Mary Newcomb,
"Butterfly Arena"
70 x 56 cm, 1997
Application of Lascaux Screenprinting Paste,
Acrylic Transparent Varnish and Studio Original

 

 

Book INTAGLIO

Intaglio
Acrylic-Resist Etching - Collagraphy - Engraving - Drypoint - Mezzotint
The Complete Saftey-First System for Creative Printmaking
Robert Adam & Carol Robertson

ISBN-13: 978-0500513439


 

 

 


This is the definitive how-to guide to intaglio printmaking.
With clear step-by-step instructions and over 200 illustrations, this beautifully illustrated book describes methods which, while employing a strong traditional basis, achieve stunning prints the modern way - safer, healthier and more environmentally friendly.
Covering every stage of the plate-making and printing process, it opens up creative possibilities for beginners and experienced printmakers alike. Whichever technique you wish to experiment with - acrylic-resist etching methods such as aquatint and photo-etching, or collagraphy and photocollagraphy, or engraving, drypoint, mezzotint, burnishing and air-abrading - classically trained printmakers Robert Adam and Carol Robertson show you how to do it.
From setting up and equipping an intaglio studio to presenting finished prints, this comprehensive reference book - complete with list of international suppliers and glossary - is the only resource any practitioner, educator or student will need.Robert Adam was educated at the University of Cambridge, Edinburgh College of Art and the Slade, London.
Carol Robertson studied fine art printmaking at Gray's School of Art. They have pioneered safer working practices and have developed an extensive educational programme. They set up Graal Press, where they continue their research and educational work, and collaborate with leading artists on creative projects.




 

 

 

Pic. 1: Barbara Diethelm,
"Feather" etching, 2003 (detail) with Lascaux Soft Resist
and Lascaux Aquatint Spray Resist.


 

 

 

 

 


Pic. 2: Werner Schmidt,
"without title", 18 x 9 cm, 2005. Etching, aquatint.
Application of Lascaux Resonance Gouache and Lascaux Soft Resist.

 


 




Pic. 3: Lucy Cobb,
"Drawing on sound",
12 x 15 cm, co-published by Graal Press, 2004,
mezzotint and collagraph, using Lascaux Hard Resist.