Oliver Bennett
Start With Your Studio, Not the Ink Aisle
Most makers come to this question after buying a tube that didn't behave the way they expected. The relief print dried on the roller before the second pull. Or the etching sat tacky for a week on the dining table. Neither ink is better than the other — they simply suit different rooms, different presses and different levels of patience. Before you compare labels, compare your circumstances: how much ventilation you have, whether you can leave work out overnight, whether you live with anyone who objects to the smell of white spirit, and how quickly you need the print dry enough to handle, sign or sell.
Drying Times: The Real Difference Between Water and Oil
Water-based inks dry mainly by evaporation. A thin linocut print on dry paper is often touch-dry within twenty minutes to two hours, and fully set overnight. That speed is wonderful if you're editioning in a small flat, stacking prints on a shelf and needing the kitchen table back by teatime. It is less wonderful mid-print, because the ink on your roller, glass slab and block is drying at the same rate. Work briskly, use a retarder in warm weather, and roll out small amounts at a time rather than a big slab you'll never use.
Oil-based inks dry by oxidation and absorption, which takes far longer. A relief print might be touch-dry in twelve to twenty-four hours; a thick etching or monoprint can stay workable for days and remain genuinely soft for a week or more. In a cold, damp studio — most of Britain from October to March — expect that to double. If you're layering colours, oil-based inks give you a generous open window for blend rolls and rainbow rolls. If you need to overprint, wait until the surface is dry to the touch but not fully cured, usually a day or two in a warm room.
Water-miscible oil-based inks sit usefully in the middle: they behave like traditional oils on the plate but clean up with soap and water, and they dry somewhat faster than standard oil inks.
Cleanup: Water, Solvents and Looking After Your Sink
This is often the deciding factor for home studios.
- Water-based: clean rollers, blocks and slabs with warm water and a little washing soda or a mild detergent. Wipe off the bulk with rags or kitchen paper first, then wash. Never tip inky water straight down the sink in quantity — decant the sludge, let solids settle, and dispose of it responsibly.
- Oil-based: you'll need a solvent. Low-odour and citrus-based solvent substitutes are far kinder in a spare room than traditional white spirit, but they still need ventilation. Follow with soap and warm water to remove residue from rollers.
- Water-miscible oils: soap and water alone will do, though a drop of solvent helps shift dried-on ink from roller ends.
One safety note that catches people out: rags soaked in oil-based ink or linseed oil can generate heat as they dry and, in a closed bin, smoulder. Spread them flat to dry outdoors or in a well-ventilated space before binning, or keep them in a sealed metal container.
Finish and Feel: How the Print Reads on Paper
Oil-based inks generally carry a higher pigment load, which shows in deeper blacks, richer transparent glazes and a longer working time that rewards subtle wiping on an etching plate. On absorbent papers they sink in slightly and settle into a matte, integrated surface that feels part of the sheet rather than sitting on it. They also stay flexible, so prints can be reworked, overprinted and burnished without flaking.
Water-based inks tend to sit nearer the surface. Colours can be bright and clean, and they suit bold graphic work, cards, textiles and anything where you want a flat, poster-like result. Some cheaper ranges dry slightly chalky or matt, and heavy layers can crack when folded. Good quality water-based ranges have narrowed that gap considerably, but if you're after luminous, glazed colour on Somerset, Zerkall or Fabriano, oil-based still has the edge.
Matching Ink to Your Technique
- Linocut and woodcut: both work. Water-based for fast, clean, home-friendly sessions; oil-based for consistent editions, subtle gradients and deeper blacks.
- Etching and collagraph: oil-based is the traditional choice, thanks to wiping and open time. Keep paper damp for intaglio work to help the ink transfer.
- Screen printing: water-based inks dry quickly in the mesh, so work fast and keep screens flooded; oil-based and plastisol-style inks need proper ventilation and solvent cleanup.
- Monoprint and mixed media: oil-based for smudging, dragging and reworking; water-based when you want to draw over the top with other media the same day.
Building a Workable Ink Arsenal at Home
You don't need both. Start with a small set of water-based inks if your space is shared, your ventilation is limited, or your work is graphic and quick-turnaround. Choose oil-based if you're editioning, working intaglio, or want the richest colour and longest working time — and accept that you'll need solvent, ventilation and a drying rack with space to spare.
Whichever you pick, buy a retarder or a drying retarder for summer and a small bottle of extender to stretch ink without thinning its colour. Store water-based inks sealed and cool, and stir rather than shake them if they separate. Oil-based inks skin over in the tube; cling film pressed onto the surface of a mixed batch keeps it usable for days. When in doubt, buy a small tube, print a test strip on scrap paper, and leave it somewhere warm for a week. Your studio will tell you far more than any label will.
