[Baren]: The mailing list / discussion forum for woodblock printmaking.

Baren Digest              Sunday, 10 January 1999      Volume 06 : Number 407

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From: mkrieger@mb.sympatico.ca
Date: Sat, 09 Jan 1999 09:26:35 -0600
Subject: [Baren 2624] press blankets 

Happy New Year everyone and welcome to the new members and newly vocal
lurkers.

Here's a little bit of information on press blankets that I have picked
up as I went along. Most of it from the detailed description in the
Daniel Smith Catalogue. I'll throw it in now as we are discussing the
use of presses for printing woodcuts.

Three blankets of different types are used when printing on an etching
press. The first is a thin felted blanket called a sizing catcher. It
goes next to the paper. Because it is felt, there is no regular pattern
to be transmitted to the print. It is thin so can be more easily washed
as it gets dirty and is cheaper to replace if it gets stained. 

The second is a very thick felted blanket called the forming blanket. It
evens out the pressure across the irregularites of the block. I think
this the one that is replaced with a sheet of foam - like the stuff used
for upholstery - when printing blocks or plates with a lot of relief. I
think this may be because this blanket is the most expensive to replace.
Blocks that have sharp changes in level can sometimes cut the blankets
under the pressure of the rollers. Using an inexpensive foam instead
prevents this heartbreak. Another reason may be that the foam has a
greater flexibility to adjusting to the sharp changes in level than the
thick wool felt.

The third is a woven blanket called the pusher. This blanket is more
hard wearing than the felted ones and protects them from the direct wear
of the roller.

I generally print my woodblocks face down on a etching press. I have had
some trouble with the blocks slipping especially on the second and
subsequent colors of a reduction print. The built up ink makes a glossy
surface that makes it easy for the block to skid on. To reduce the ink
buildup, I will proof off the surface ink after each colour is printed
by stacking the prints with newsprint between them and running the whole
thing through the press under light pressure. I then discard the
newsprint.

Mary, I enjoyed your description of working in the studio in New Haven.
It sounds like it was a lot of fun.

Mary Krieger

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From: "Jeanne N. Chase" <studiojnc@prodigy.net>
Date: Sat, 9 Jan 1999 11:28:06 -0500
Subject: [Baren 2625] Re: Woodcut press

Roxanne
Thanks for the information on woodcut presses.  I have been hestitant to use
my Etan Etching press for woodcuts, but your information {and other Baren
members} have given me the impetus to give my baren a rest and give my press
a go.  I use it for collagraphs and monotypes with ease.
Since I am a "clean freak" my blankets are as white as snow. I have to get
over it as it has intimidated my work. I am afraid of one little spot of
paint, EEK!
Most of the extra paint ends up on me!
I guess it is because my press is new and I am still guarding it from harm,
ME.
While the digital exchanges have been interesting, it was a relief to get
back to the basics of woodblock printing!!!!

I have my Exchange prints ready to send. I hope we can give some critiques
on the work without hurting anyones baby feelings.

Maybe we could start out with the first one on the list and give a critique,
then the second, etc; That way we can all benefit. After all noone is
perfect.

Any takers????

Jeanne

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From: Graham Scholes <gscholes@islandnet.com>
Date: Sat, 9 Jan 1999 08:57:45 -0800
Subject: [Baren 2626] Re: Patrick Designs site? 

>I have tried to reach Patrick Designs (for the presses we have recently
>been discussing) but couldn't find the site mentioned by Graham (to wit,
>danpat@comox.island.net).  Is there another URL for them?

This not an URL but a e-mail address.

Send him a e-mail and ask the questions.....like sent me a brochure of your
product.
Please keep me posted on the time it takes for him to respond to your request.

He is not the speediest in the world.

He lives here on Vancouver Island.....the laid back most western region of
Canada.

Graham

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From: "Don S Rich" <DARICH@prodigy.net>
Date: Sat, 9 Jan 1999 11:50:31 -0800
Subject: [Baren 2627] presses 

Dear Jeanne,

I have been printing on an Ettan press for ten years.  Have no fear!  It
works well, there can be problems with paper stretching but only on large (
30"x 40") works.  My blankets are marked with an assortment of blocks
printed over the years.  I try to keep them clean but...  Although the
blocks sometimes transfer to the blankets I have never had a blanket
transfer to the print.

Andrea

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From: "Ray Esposito" <brassring@brassring.org>
Date: Sat, 9 Jan 1999 14:45:43 -0500
Subject: [Baren 2628] Re: Woodcut press 

>Since I am a "clean freak" my blankets are as white as snow. I have to get
>over it as it has intimidated my work. I am afraid of one little spot of
>paint, EEK!

Jeanne

I envy you.  My blankets look like crap.  I am anything but a clean freak.

>I have my Exchange prints ready to send. I hope we can give some critiques
>on the work without hurting anyones baby feelings.


Never fear anyone being nasty about your prints or anyone else's.  We may
jump on each other about a lot of things but hurting someone's feeling about
their art is something we never do.  I for one am looking forward to seeing
your print and everyone else's.  I am sure some will be exceptional and
those of us who are new to woodcut will also do excellent work.  The point
is to share, learn and grow.

>Maybe we could start out with the first one on the list and give a critique,
>then the second, etc; That way we can all benefit. After all noone is
>perfect.

Perhaps, instead of a formal critque, we should just woo and ahh and enjoy
all the art.  Formal critque's can be made offline with individual comments.

Cheers

Ray

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From: "Jeanne N. Chase" <studiojnc@prodigy.net>
Date: Sat, 9 Jan 1999 15:03:50 -0500
Subject: [Baren 2629] Re: presses 

Dear Andrea

Thanks for the vote of confidence. My next woodcut will be printed on my
press and I will let you know if I needed to take a valium or not.

Jeanne

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From:  <hudson@panther.middlebury.edu>
Date: Sat, 9 Jan 1999 17:19:14 -0500 (EST)
Subject: [Baren 2630] various replies 

This is from Ray H in Vermont.
Jeanne:   I, too, have used an Ettan press for years and since I only do
woodblock prints it's been grand.   I have only used it with solid blocks
of basswood, cherry or walnut and have not tried the various plywoods.
Since about 1992, however, I've been mainly printing with watercolors on
very thin paper and so now use only a baren or spoon.  Still jump back to
the press, however, for making Christmas cards, etc.

Fatima:    The college course at Hangzhou, People's Republic of China, was
ovvered by the University of Minnesota, Duluth (Continuing Education &
Extension, 403 Darland Administration Building, 10 University Drive,
Duluth, Minnesota 55812-2496).   I took the course in 1990 and found it
amazing because of the instructor Lu Fang.   There were other print makers
at the Zhejiang Academy of Fine Arts, however, who printed with basic inks
& presses, etc., in the conventional "western" method.   The Chinese
printmaking of this century was heavily influenced by the German
expressionists & much of that sort of work remains in process.   There was
another print maker at this academy who did the traditional Chinese water
printing other than Lu Fang.  His name is Zhao Zongzao.  (See the article
in Art International, Sept-Nov. 1984, on "The Chinese art of 'Water
Printing', Shui-yin.")   In other words, if you take the class--if it's
still being offered--you might want to determine the type of work the
instructor concentrates on.

I've enjoyed the computer art discussions eventhough I can barely operate
a mouse myself.    Speaking of mice & being attacked by diet Pepsi, one of
my favorite prints was occasioned by a spur of the moment event--when a
rat ran across the floor of the city council chambers sending various
council members screetching onto tables & chairs.   I called it "The
Council Rises to Make a Point."

I, too, am looking forward to the print exchange.   Am about 2/3rds
completed.    Am not sure how helpful critiques would be until (and
unless) the prints are available for all Baren folks to see on the
website.    Would almost prefer a question/answer format:   how'd you get
that wonderful X beside Y?

Ray H (in Vermont where's it's been snowing all day.)

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From: Gregory Robison <grobison@swiftuganda.com>
Date: Mon, 11 Jan 1999 03:27:07 +0300
Subject: [Baren 2631] Re: Patrick Designs site? 

Kampala, 10 January 1999

Graham:

Oops! Couldn't tell the difference between an e-mail address and a
URL...must've not had my glasses on.

I will keep you posted on DP's response time (does he know he's being
bench-marked?).

Gregory Robison  

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From: Gregory Robison <grobison@swiftuganda.com>
Date: Mon, 11 Jan 1999 03:22:18 +0300
Subject: [Baren 2632] Re: micrometers 

Kampala, 10 January 1999

Jim:

Thanks for the info on sources of micrometers.  I won't try to pay in
Ugandan Schillings, which are "light" even in relation to the poor old
Canadian dollar.  

In practice, "ocular-guess" hasn't been that bad for me, but recently I've
been more conscious of trying to improve my understanding and control in
general about each step of the process, and I think it's an enhancement to
my equipment that will be welcome.  On the other hand, one of the
delightful things about printmaking is that the best output is not
necessarily by the people with the most expensive and sophisticated
equipment.  You can do very good and satisfying work with very simple gear.
 In letterpress work, too, we also adjust the impression with screws that
alter the push from the platen (five different screws on my model), and
I've never heard of anyone using such a pressure-meter (the presses aren't
designed for a bulky add-on at that location, either).  What you do is pull
an impression and look at it (the back of the paper as well as the front),
run your finger along the back, etc.  Then give another, say, eighth of a
turn to screw number four, and pull another proof...  These are arguments
against adding a micrometer, but I'm not that experienced with etching
presses, and maybe it's not something that should be foregone...

Yours,
Greg   

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End of Baren Digest V6 #407
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