Pine Trees by Hasegawa Tohaku, 16th Century
India ink was invented in China during the 3rd century BC. The English term "India" ink came from their later trade with India where it had been in use since the 4rth century BC. The practice of writing with ink and a sharp pointed needle in Tamil and other Dravidian languages was a common practice from antiquity in South India. Ink wash painting emerged in China during the Tang Dynasty around 618. It was introduced to Japan by Zen Buddhist monks in the 14th century. The style features a preference for shades of black, an emphasis on brush work and the perceived spirit or essence of a subject over direct imitation.
The black pigment from which India ink was formulated was obtained by burning bones, tar and pitch. Basic writing ink is composed of fine soot, known as lampblack, combined with water to form a liquid. No binder material is necessary as the carbon molecules are in colloidal suspension and form a waterproof layer after drying. A binding agent such as hide glue, gelatin or, more commonly, shellac may be added to make the ink more durable once dried.
10% of lampblack was made from burning tung oil in a lamp. Lamp wick used for the making of lampblack was first soaked in gromwell (Lithospermum officianale) before burning. A tin funnel was placed a certain distance over the wicks to collect the soot. The soot is scraped off with a goose feather onto a sheet of strong paper. The oil gives a luster to the ink. Coarse soot sticks to the funnel and is used to make ordinary ink.
The remaining 90% was made by burning de-resined pine wood in a round chamber made of bamboo. The chamber surfaces and joints were pasted with paper and matting with holes drilled in for smoke emission. The resulting pine soot was scraped from the chamber after cooling. The soot was soaked in water to divide the fine particles that floated from the coarse particles that sunk. The last one or two sections delivered the purest soot for the best quality ink. The middle section delivered mixed quality soot for ordinary ink. The last one or two sections delivered low grade soot that was pounded and ground for block printing. The coarse grade soot was used for paint which was the precursor to bituminous paint.
The traditional Chinese method of making ink was to grind a mixture of hide glue, carbon black from pine, lampblack and bone black pigment with a mortar and pestle, and then, pour it into a ceramic dish where it could dry. The dry mixture was wetted with a brush until it rehydrated.
Oil soot ink requires more glue. It gives a warm black color that is good for general painting or calligraphy. Pine soot ink requires less glue. It gives a blue-black color that is good for calligraphy and gongbi painting. Lacquer soot ink is made from the soot of dried raw lacquer. It gives a shiny appearance best suitable for painting. Charcoal ink requires the least amount of glue. It is used for freestyle painting and calligraphy. Blueish ink is oil or pine soot ink that is mixed with other ingredients to produce a blue tinted ink. It is best used for calligraphy. Colored ink is oil soot ink that is mixed with pigments to create a solid color. Cinnabar is used by emperors.
Ink sticks fist appeared in China during the 12th century. Ink sticks are made from pine soot, lacquer, charcoal or tung oil, soybean or tea seed mixed with egg white, fish skin or ox hide glue. Blue-black and cinnabar ink are also common. The ingredients are mixed together in precise proportions and kneaded until the dough is smooth and even. It is then, pressed into a rectangular mold and allowed to dry. The ink stick is ground on an ink stone with a few drops of water until the desired saturation is achieved. Ink stones are made of volcanic tuff, slate, Gansu Tao (green crystalline stone), ceramic, clay, bronze, iron or porcelain with a water well on one end. It evolved from rubbing tools used for rubbing dye dating to the 3rd century BC.
Images of tattooing were found on female Egyptian figurines dating back to 4,000 BC where it was a funereal art. It was believed that tattoos created a spiritual connection between a deceased loved one and family members. Archeologists found the oldest tattoos in the world preserved on the bodies of one male and three female Egyptian mummies dated to around 3017 BC. They found another grave of an older female buried with a tattooing kit from the same period. Contemporary with this discovery is Otzi or Utzi, the iceman mummy found in the Otztal Alps with 61 geometric tattoos near acupuncture points. They also found the Altai Lady (Ice Maiden) and Ice Horseman, both of the Pazyryk tribe of Scythians who lived during the 5th century BC buried in Siberia. Pre-Celtic peoples used puncture marks and wood ashes or charcoal to create forms and outlines of animals. These tattoos were meant to protect the wearer during battle. Roman documents indicate that ancient Brittons and Scots tattooed themselves. Ancient stones from Gaul show leaders with tattooed faces. Vikings tattooed to commemorate battles and conquests.
Ancient Egyptians spread tattooing throughout the world as they developed international nations that ruled Crete, Greece, Persia and Arabia. By 2,000 BC, the art had spread to China, Southeast Asia and to the Ainu of western Japan.
The Roman physician Aetius created a recipe for tattoo ink:
One pound of Egyptian pine bark
Two ounces of corroded bronze, ground with vinegar
Two ounces of oxgall
One ounce of vitriol (iron sulphate)
Two ounces of corroded bronze, ground with vinegar
Two ounces of oxgall
One ounce of vitriol (iron sulphate)
Mix well and sift. Soak powder in 2 parts water and 1 part leek juice. Wash the skin to be tattooed with leek juice. Prick design with needles until blood is drawn. Rub in the ink.
Tattooing was popular among pirates and sailors who from the 1600s until the 1940s tattooed a chicken on one foot and a pig on the other to protect themselves from drowning. During WWII, the design changed to twin propellers, one on each butt cheek. Tattooing was revolutionized by Samuel O'Reilly's electric tattoo machine during the last decade of the 19th century. Despite the biblical edict in Leviticus, "thou shalt not make any cuttings in your flesh for the dead or make any printing upon you," tattooing has remained popular. In modern times, it has evolved from a mark of rebellion to a fashion statement and still exists as a means of memorializing the dead.
Tattoo ink is regulated by the FDA. However, this regulatory authority is not generally exercised. Tattoo ink manufacturers are not required to list their ingredients. Commercial tattoo inks may contain the following toxic heavy metal pigments: mercury (red); lead (yellow, green, white); cadmium (red, orange, yellow); nickel (black); aluminium (green, violet); copper (blue, green) and barium (white), antimony, arsenic, beryllium, calcium, lithium, sulfur and selenium. These metals are popular because they are UV resistant. In California, Proposition 65 requires that tattoo parlors warn their patrons that tattoo inks may contain heavy metals known to cause cancer.
None of these metals, except for cadmium is used to make commercial paint because of their high toxicity. Cadmium is being phased out. If a pigment isn't safe to handle without gloves and the paint cannot come in contact with the skin, then it shouldn't be used for tattooing.
Non toxic metal oxides used include: ferric ferrocyanide (deep blue) and ferric ferricyanide (yellow, red, green), zinc oxide (yellow, white); chromium oxide (green); cobalt (blue); titanium dioxide (white) and iron oxide (brown, red).
Organic chemicals used include azo-chemicals (orange, brown, yellow, green, violet) and naptha-derived chemicals (red).
Carbon is used for black. The only safe pigments that are UV resistant are the metal oxides and carbon.
All of the above pigments are mixed in a carrier base of denatured alcohol or ethanol, isopropyl alcohol, propylene glycol and glycerin. The glycerin is what makes it thick. Alcohol increases the skin's permeability, helping to transport more pigment into the skin.
Permanent tattooing involves puncturing the epidermis where toxic chemicals can get into the blood stream. Therefore, I recommend mixing your own from safe ingredients or using temporary tattoos.
The Genipa americana tree is native to tropical regions of north and South America. The fruit juice is used to make a temporary blue-black tattoo ink called Jagua. Seeds are available on Amazon for $9.95/15 seeds. The pre-made ink gel is available from Nature's Body Art for $12.00/20 ml.
The Lawsonia inermis tree is native to India. The dried and powdered leaves are used to make a temporary red tattoo paste called henna that is also used to dye fabric. Seeds are available on Etsy for 2.75/18 seeds. Henna powder is available from Nature's Body Art for $8.00/100 grams.
Copal Resin is soluble in ethanol. It is used as an isolating paint varnish and for making solvent based paint. $10.65/one-eighth lb from Kama Pigment.
Klean-Strip Green Denatured Alcohol can be used to dissolve shellac and copal resin. $7.25 at Walmart.
Borax changes the ph of water so it will mix with shellac. $4.17 at walmart.
Bullseye Clear Shellac $10.99 at Walmart.
Dipropylene Glycol is an organic solvent used for making liquid candles and perfume. It's available from Canwax for $5.50/8 oz.
Sodium Hydroxide (lye) is a surfactant. It's available from Brambleberry for $10.00/32 oz.
Carbon Black, aka Furnace Black or XSL Black is available from Kremer Pigments for $12.00/100 grams.
Jacquard iDye Natural $2.99 at Dharma
Jacquard iDye Poly $2.99 at Dharma Trading.
Jacquard Acid Dye is $3.55/0.5 oz. at Dharma Trading. It is the same dye that is used heat transfer pens and the jar will last longer.
Sodium sulfate (Glauber's or Dyer's Salt) is a mordant for dyeing natural fibers. It is a non-iodized salt in flake form that dissolves quickly in water. You need it for fabric markers. Get it here.
Biphenyl is a developer and heat transfer agent that melts at 156.2 degrees F. It is insoluble in water, but soluble in organic solvents. Purchase it on eBay for $25.95.
Phenol (carbolic acid) is an organic solvent. It is also used as a mold inhibitor in gesso and chalk grounds. Buy 90% Laboratory grade Phenol on eBay for $34.99.
Cornstarch is the thickener for cakes.
Baking Soda is the hardener for cakes.
Kaolin TKB sells 8 oz for $3.40.
Refer to my posts: Make Your Own Art Supplies, Makeup, Pigment, Paint and Dye, and Media Molds and Containers for a list of things you will need to complete this tutorial.
Solvent Based Wood Stain
Some pigments are alkali sensitive and can only be used in an acid base.
6 oz. Denatured alcohol
4 Tbsp. Copal resin
1 Tad or more of pigment
Dissolve copal resin in denatured alcohol. Seperate liquid copal into 2 oz glass jars. Add ground pigment and stir.
Water Based Wood Stain
Wood colored stains are made with different colored shellac: super blonde (platina/clear), blonde, beige, amber, ruby, garnet, brown, or black. Aniline dyes are used for various colors.
6 oz. Distilled water
1 Tbsp. Borax
4 Tbsp. Shellac
Pour water into a half pint mason jar. Set jar into a pot of water. Heat water to 190 degrees F. Remove jar from pot. Add borax. Stir until fully dissolved. Add shellac flakes, a little at a time. Stir or shake every 15-30 minutes until dissolved. Strain through a disposable fine mesh paint strainer. Must be stored in a cool location and used within 3 months.
Calligraphy Ink Base
2ml Test Vial
1 Tbsp. Bullseye Clear Shellac
5 Tbsp. Kleen-Strip Green Denatured Alcohol
Colored Calligraphy Ink
2ml Test Vial
1.5 ml Caligraphy Ink Base
1/8 tsp. Pigment*
*You can make traditional ink with oak (iron) gall, green walnut husks, and carbon black pigment (lamp black).
In a 2ml test vial, mix pigment with shellac. Shake vigorously until well blended. Use with a dip pen or brush.
Oil Based Ink (China Marker)
Glass condiment cup
Disposable stirrer
Pipette
Aluminum marker
Jacquard iDye Poly (any color)
5 ml Denatured alcohol
1 Drop Calsolene oil (color intensifier)
3 Drops Cool water
Place pigment into a glass condiment cup. Add 1 drop of calsolene oil. Mash the oil into the dye. Add 3 drops of cool water. Mash the dye until the oil is thoroughly dissolved. It will be thick. Add 5 ml of alcohol and stir. Using a pipette, transfer ink to a marker.
Permanent Ink (Sharpie)
Glass condiment cup
Disposable stirrer
Pipette
Broad tip or bullet tip marker
Rit (any color)
1/4 cup Hot Water
Denatured alcohol
Snip the corner of the dye packet and empty the contents into a glass condiment cup. Slowly add 16 ml of water, 8 ml at a time and mix after each addition. The dye has to be mashed until it is thoroughly dissolved. It will be thick. Transfer the dye to a storage container. Using a pipette, transfer 2 ml of ink to the same condiment cup. Add 6 ml of denatured alcohol and stir. Using a pipette or syringe, transfer ink to a marker.
Gel Pen Ink
Refill empty gel pens instead of replacing them.
1/2 tsp Aloe Gel
1 drop Denatured alcohol
1/2 gram Pigment
1 Drop Mica (optional)
Glass condiment cup
Disposable stirrer
Bulb syringe
Needle Syringe
Rubbing alcohol
Pliers
Empty gel pen tube
Microwave aloe gel in the glass bowl for one minute or until it turns to liquid. Stir in the dye and alcohol. Stir vigorously for two minutes. Let rest uncovered until completely cool.
Remove the ink tube from a roller ball pen. With pliers, gently pull out the metal valve. Flush the tube with a bulb syringe and rubbing alcohol until the tube is clear. Carefully replace the valve. Suck ink into the syringe. Insert the needle into the ink tube. Hold the tube at an angle. Slowly push the ink into the tube, allowing air to escape. It shouldn't take much to fill it. Re-assemble the pen and write with it. The aloe gel and alcohol should evaporate leaving only the dye.
DIY Iron-On Transfer Pen
I love using the Sulky and Sublime iron-on pens to transfer line images to fabric. However, they run out too quickly. It took a while to figure out what kind of ink is used in the pens. I learned that it isn't ink at all, but acid dye for protein fibers. Heat from an iron causes cotton fibers to open allowing the dye on the paper to make a light impression. Since acid dye only adheres to protein fibers, it will wash off of cotton.
Glass condiment cup
Disposable stirrer
Pipette
Empty copic multi liner
5 ml Denatured alcohol
1 ml Hot water
1 Tbsp. Jacquard Acid Dye (any color)
Biphenyl
Phenol
Dissolve biphenyl in phenol. Boil 1/4 cup of water. Place a 1 tablespoon of dye into a glass condiment cup. Add 1 ml of hot water. Mash the dye until it is thoroughly dissolved. It will be thick. Add 5 ml of rubbing alcohol. Add dissolved biphenyl and stir. Using a pipette, transfer ink to a marker.
Permanent Archival Pigment Ink (Sigma)
Glass condiment cup
Disposable stirrer
Pipette
Empty copic multi liner
5 ml Denatured alcohol
3 Drops Hot Water
1 tsp. Carbon black pigment
Boil 1/4 cup of water. Place pigment into a glass condiment cup. Add 3 drops of hot water. Mash the dye until it is thoroughly dissolved. It will be thick. Add 5 ml of denatured alcohol and stir. Using a pipette, transfer ink to a marker.
Stamp Pigment Ink
1 Dash or Tad Pigment*
3 Dashes Corn Starch
4 Drops of Glycerin
1/4 tsp. Water
Rubbing alcohol
Stamp Iridescent Ink
1 Dash or Tad Pigment*
1/2 S scoop Plain Mica
3 Dashes Corn Starch
4 Drops of Glycerin
1/4 tsp. Water
Rubbing alcohol
Stamp Metallic Ink
1 Dash or Tad Pigment*
1/2 S scoop Colored Mica
3 Dashes Corn Starch
4 Drops of Glycerin
1/4 tsp. Water
Rubbing alcohol
*Use 1 dash for a single color. Use 1 Tad if you intend to have some left over for adding white. When adding white, add 2 drops of glycerin, 3 drops of water, and 1 dash of cornstarch. Add more water if necessary.
Add pigment to a beaker. Add mica, if using and stir. Add a few drops of alcohol. Add glycerin and then water. Stir to combine. Pour onto stamp pad and rub in with the palette knife. May be used on fabric or paper.
Pigment Marker Ink (Winsor & Newton)
1 Dash Pigment
3 ml Glycerin
5 ml Water
Sodium hydroxide (lye)
Dipropylene glycol
Calsolene oil
Denatured alcohol
Bullet tip, brush tip or fine liner marker
Pipette
Palette knife #61
10 ml beaker
Pour pigment into the beaker. Add all liquid ingredients, and stir well.
Use a pipette or a syringe to fill marker.
I'm impressed with the fine line on paper and the way it performs on fabric. It's non-bleeding.
Fabric Marker Ink (Tulip)
1 Pinch Jacquard iDye Natural
1 Smidgen Glycerin
1 tsp. Glauber's salt
7 ml Hot Water
Palette knife #61
10 ml beaker
Add salt to hot water and stir. Pour dye into the beaker. Add glycerin and salt water, and stir well. Inject into marker with a syringe.
Ink Lead, 2mm x 3-1/2"
1 Drop Pigment
1 Drop Pigment
1 Tad Flake Shellac
1 Drop Denatured Alcohol
Ink Lead, 4mm x 3-1/2"
1 Smidgen Pigment
1 Smidgen Pigment
2 Tads Flake Shellac
2 Drops Denatured Alcohol
Ink Pencil, 6mm x 3-1/2"
1 Pinch Pigment
1 Pinch Pigment
3 Tads Flake Shellac
3 Drops Denatured Alcohol
Ink Stick, 3/8 x 3-1/2"
1 Dash Pigment
4 Tads Flake Shellac
4 Drops Denatured Alcohol
This formula can also be poured into watercolor pans and used as a solid ink with a brush like Chinese calligraphy.
Glass beaker or Condiment cup
Plate glass
Palette knife #61 & 62
Oral syringe
Clay extruder
4mm die
6mm die
8mm die, bored to 3/8"
Corrugated paper, either size
Spray adhesive
Wax paper
Cut the paper to 3-1/2" wide. Spray with adhesive. Place wax paper over the adhesive and push it into the grooves with a wooden dowel.
Grind flake shellac to a powder. Place shellac powder in a beaker. Add pigment and stir. Add just enough alcohol to wet and mix with kaolin to make a doughy mixture. Transfer to plate glass and work with a palette knife.
Pack the dough into the syringe or clay extruder. Extrude the dough into the grooves of corrugated paper to harden and cure.
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