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

Baren Digest               Monday, 15 March 1999       Volume 06 : Number 487

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From: Gayle Wohlken <blueman@pantek.com>
Date: Sun, 14 Mar 1999 11:12:47 -0500
Subject: [Baren 3535] Re: Baren Digest V6 #486 

Jeanne said she is using plate oil with her ink.
I don't use anything, Jeanne.  Hey, James, should
we be using more than just the ink?  I just roll it 
and roll it until it makes that sound I like and it looks
even in little nubs, and it's perfect.  Then I burnish
and burnish and peek and burnish some more.
It takes a while, but that's how I do it.  But I use
kitakata paper, which is thin and easy to use.
If you use thick paper, then maybe that's when
plate oil comes in.  James?

* * *

John Amoss's addition to the encyclopedia is 
wonderfully clear and well illustrated.  I want to
go back when there is more time and really
study.  Thanks, John.
  
http://www.woodblock.com/encyclopedia/updates.html

Gayle Wohlken

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From: "Ray Esposito" <brassring@brassring.org>
Date: Sun, 14 Mar 1999 11:34:07 -0500
Subject: [Baren 3536] Re: Baren Digest V6 #486

Gayle wrote:
>Jeanne said she is using plate oil with her ink.
>I don't use anything, Jeanne.  Hey, James, should
>we be using more than just the ink? 

Gayle

What kind of ink are you using?  You cannot use etching ink without some way
to change the viscosity.  Some of them are too stiff.  Are we talking about
the same thing?  Not only do you want to use plate oil to make some of the
inks more workable but have you not tried changing the viscosity for
viscosity printing?

I would suggest that Jeanne consider #0000 instead of #00 as you will need
much less.  Another option is flash oil.  Some people think it is a wee bit
more toxic than burnt plate oil but I have not had a problem.  You use about
half the amount of flash oil as plate oil, even #0000, and it costs half as
much.  The only suppliers I know of are Dick Blick and Graphic Chemical.

Cheers
Ray

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From: Shireen Holman <tholman@clark.net>
Date: Sun, 14 Mar 1999 12:01:20 -0500
Subject: [Baren 3537] Re: Baren oil/ink  

Jeanne wrote:
>Question;  I have always used linseed oil in my regular oil paints for my
>canvas painting. Now I have used Burnt Plate oil #00. I find that I have
to use an inordinate amount to get my paint smooth. 

You should not need to add oil to the Daniel Smith relief inks. If you need
to reduce tack, add a little miracle gel reducer. If you are printing
several colours over each other, add a little setswell. Both are available
from Daniel Smith. To add body, add a little magnesuim carbonate. When I
have my inks rolled out for several hours while working, I add one or two
drops of clove oil to keep the ink from drying out. (added benefit - it
actually smells good!)
The prints in the exchange are beautiful! I wish I could see the originals!
Shireen

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From: "Jean Eger" <jeaneger@LanMinds.Com>
Date: Sun, 14 Mar 1999 09:46:31 -0800
Subject: [Baren 3538] Re:   Baren Digest V6 #486

Jeanne,
Don't let people intimidate you into going against the technique you know
well and do well.  I love oil paint!  I love the smell of it and the look of
it.  And I love your print!

Jean Eger

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From: James G Mundie <jimandkatemundie@juno.com>
Date: Sun, 14 Mar 1999 13:53:20 -0500
Subject: [Baren 3539] plate oil and puzzlement 

Jeanne wrote:
>Now I have used Burnt Plate oil #00. I find that I 
>have to use an inordinate amount to get my paint smooth. Is this normal or 
>should I be using something else that works better?
>It seems to print ok but I question the huge amount that I have to use.

Hmmm... I find this a bit puzzling, Jeanne.  I use #00 plate oil
(non-burnt as far as I know) but don't need to add more than a few drops
in order to work the ink into the proper viscosity.  I haven't used
Daniel Smith's inks in a while, but I seem to remember his litho inks
were rather on the "dry" and "stiff" side.  Perhaps it is the same with
his relief ink?  

I've been using Rembrandt Graphic's block printing ink for years (sheesh,
I sound like their pitchman!).  Depending on the room temperature, all
one generally need do is work the ink with a knife to loosen it a bit,
then add a few _drops_ of plate oil to get the desired consistency.  Keep
working it with the knife to distribute the oil evenly and it's ready.

You may want to switch to another brand, or simply use a "lighter",
"wetter" oil. Too much oil in the ink can become a problem down the road,
as the oil may leech into the non-printing area of the paper leaving a
damaging brown halo.  I found this out with an old monotype of mine
printed on mulberry.   

>James; Loved your beautiful print!

Thanks!

***

Ray H. wrote:

>I finally got my nerve up and followed
>Bill's advice on Emeralda Dream and tackled it with a damp cloth.   
>And low and behold the dream began to sufrace & there it was, the ship of
>state

Huh?  Am I missing some magic trick with Bill's print?  Incidentally,
Bill.  Every time I go down to Home Depot, I get a chance to see your
beloved        S.S. United States.  She's rusting away at a peir on the
Delaware River -- apparently because Philadelphia had the only pier large
enough to accomodate her.

ta ta,
James Mundie, Philadelphia USA

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From: <hudson@panther.middlebury.edu>
Date: Mon, 15 Mar 1999 06:02:35 -0500 (EST)
Subject: [Baren 3542] Emeralda Dream 

James,   About Bill Ritchie's print:   just follow the directions on the
reverse.    I used a damp cotton cloth to moisten the blue rectangle in
the center & gently rubbed with my finger.   It's a "living print" and I
expected it to say, "Ouch!" but instead found myself saying, "Wow!"

Ray Hudson (Vermont)

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End of Baren Digest V6 #487
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