[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Wednesday, 17 March 1999 Volume 06 : Number 489 ---------------------------------------------------------------------- From: Shireen Holman Date: Tue, 16 Mar 1999 09:21:10 -0500 Subject: [Baren 3560] Re: Press Furniture, Slide Show Michelle wrote: >I would never have thought of it and thank >you, Shireen, for sharing that technique. You're welcome. I'm glad it worked so well. I always tape the furniture down to the press bed. This way each time you print the block, it sits in the same place, and the block doesn't move at all while printing. Shireen ------------------------------ From: "Brad A. Schwartz" Date: Tue, 16 Mar 1999 06:38:18 -0800 (PST) Subject: [Baren 3561] Re: Baren Digest V6 #487 Gregory wrote: - ->Hmmm...I wonder what "intaglio relief printing" is? Gotta try that - ->sometime. (Maybe Graham'll show me how to do that in June...) Intaglio relief printing is where you would roll up an intaglio plate just like a woodcut block... only in most cases, you'd roll up with a different color than what the plate was wiped with... i.e. black in the intaglio grooves and red or another contrasting color for the relief roll. This is the most basic of steps towards simultaneous viscosity printing... ;) Brad A. Schwartz ------------------------------ From: Shireen Holman Date: Tue, 16 Mar 1999 09:38:47 -0500 Subject: [Baren 3562] Re: Baren Digest V6 #487 Greg wrote: >Hmmm...I wonder what "intaglio relief printing" is? Gotta try that >sometime. (Maybe Graham'll show me how to do that in June...) Often when people make etchings they not only print the etched part of the plate as an intaglio, but also roll ink onto the unetched smooth surface to add relief colour to the print. Using different softnesses and hardnesses of rollers, you can roll several colours onto a plate - the hard rollers will only coat the topmost surface; softer ones will also coat a lower etched level. So you can really combine many layers of inks and many levels of depth in a combined intaglio and relief print. You need a different texture of ink for the relief part than you do for the intaglio. Hope this is a somewhat comprehensible explanation! Shireen ------------------------------ From: Ruth Leaf Date: Tue, 16 Mar 1999 07:40:54 -0800 Subject: [Baren 3563] Re: Baren Digest V6 #488 Gregory: A relief intaglio sounds like an oxymoron but it really isn't. You can take any intaglio plate and using a medium to hard roller and roll over the surface of a plate. Sometimes what you get is really great. It's also another way of looking at the image you've created. Try it you'll like it. ------------------------------ From: Graham Scholes Date: Tue, 16 Mar 1999 08:49:55 -0800 Subject: [Baren 3564] Re: Baren Digest V6 #487 >Hmmm...I wonder what "intaglio relief printing" is? Gotta try that >sometime. (Maybe Graham'll show me how to do that in June...) Haven't gotta clue..... Graham ------------------------------ From: "Bea Gold" Date: Tue, 16 Mar 1999 09:00:40 -0800 Subject: [Baren 3565] Re: The Next Exchange ... Dave, you are the master "list-owner and coordinator of this forum". Even in my dotage (or sagedom) I can understand the directions and have no fear of joining in at the appropriate time! Thanks, Bea ------------------------------ From: Gregory Robison Date: Tue, 16 Mar 1999 20:14:03 +0300 Subject: [Baren 3568] Re: Baren Digest V6 #488 Kampala, 16 March 1999 Thanks to Shireen, Brad and Ruth for the clarification on relief intaglio. Now that you've pointed this out to me, it reminds me of what I saw when I worked one summer with Yitzhak Greenfield in Ein Kerem. I was doing watercolor, not printmaking, with him, but once or twice I helped him run a few prints. He was doing something similar, but I never thought of it as hybrid relief/intaglio. His plates were made of some synthetic material and were really deeply etched or cut. In the deepest crevices he would put one color (usually a striking, warm color) and at different "elevations" on the face of the print he would roll up different hues, in part using different brayers but also, especially in the "valley floors," getting the ink in there any which way and then wiping much--but not all-- of it away. Then he would print with a heck of a lot of pressure and get a very embossed print. The paper would be forced down into the ravines and pick up the color where he left it. Frankly, I think the whole thing was intaglio, but sort of intaglio on too much coffee ("you know you've had too much when..."). (In fact, that's why he needed my help in cranking that sucker through the press.) There is no reason, however, as you all point out, that one couldn't finish off with one (or more) relief passes through the press. My recollection, though, is that the whole thing was done in one impression. Great stuff, though, and the main lines of the process have stayed with me all these years. Alas, I didn't think I'd ever do much in printmaking back then (though I did a little), so I wasn't as attentive to the process as I could have been. Of course, this is the story of my entire mispend youth and damn big chunk of my adulthood. Yours, Greg PS I'm stilling thinking about Brad's term "simultaneous viscosity printing" and what it could possibly mean. But that's probably covered in the post-doc seminar. ------------------------------ From: "Jeanne N. Chase" Date: Tue, 16 Mar 1999 14:00:19 -0500 Subject: [Baren 3571] Oil, Ink, etc; etc; etc What a great group! I received soooo many replies to my question re; using oil paints with linseed oil, that it was staggering {that's for After 5} Thanks to; Gayle, Shireen, Wanda, Eliza, James, Jean E and Ray for their advice. Since I have been an easel painter, I just naturally used the same mediums. So the advice was well taken. I have a print about 5 years old, [when I was dabbling in woodcuts] and the area around the print is now a lovely shade of yucky yellow. This color is not in the calalogs! I am sure that lots of Baren People will be crying on Ray's shoulder , in the bar when they find that they will not be included in the next portfolio exchange. How about a Print Folio Refusee' Show? Jeanne ------------------------------ From: Jack Reisland Date: Tue, 16 Mar 1999 09:16:19 +0000 Subject: [Baren 3572] Re: Baren Digest V6 #488 Gregory wrote: > Alas, I didn't think I'd ever do much in printmaking back > then (though I did a little), so I wasn't as attentive to the process as I > could have been. Of course, this is the story of my entire mispend youth > and damn big chunk of my adulthood. OK, I'm 43 now, so when do we start paying attention? Jack Reisland ------------------------------ From: judy mensch Date: Tue, 16 Mar 1999 21:02:10 -0500 Subject: [Baren 3573] Re: Print Exchange 1 Dear David: After looking at the first Baren print exchange it occurred to me that it might be a wonderful thing to have the portfolio shown at the Manhattan Graphics Center, NYC. I helped to start MGC and am on the Board and Exhibition Committee. I was going to send a general message out to everyone to see what they thought, but then after reading about the 2nd exchange etc. I thought I should ask you first if it would be an appropriate/good idea. I would be happy to coordinate this project at the Graphics Center, but could use some help hanging it and returning prints, if someone in NYC would also have the time to work on this. Again, I am just throwing out the idea at first to see what you think and then I'd have to see what the Graphic Center thinks. Also, we'd probably have to charge each participant a small fee to cover the general costs of an exhibition: return mail, plexi, backing board, maybe an opening postcard etc.. Let me know what you think. Thanks, Judy ------------------------------ From: "Ray Esposito" Date: Tue, 16 Mar 1999 21:16:00 -0500 Subject: [Baren 3574] Re: Baren Digest V6 #488 >Thanks to Shireen, Brad and Ruth for the clarification on relief intaglio. >Now that you've pointed this out to me, it reminds me of what I saw when I >worked one summer with Yitzhak Greenfield in Ein Kerem. Shirleen, Brad and Ruth did an excellent job answering this question. I would add only that some call it viscosity printing. This is how I do my collagraphs, all of which are viscosity printed. I use 4 3/4" x 20" hand rollers for my half and quarter sheets and 10" x 20" rollers for full sheet. (I don't do many of these because wiping full size plates is a real chore.) I usually use two rollers plus intaglio but will sometimes use all three rollers. My rollers have durometers of 18, 35 and 50. The fun with viscosity printing is to change the ink viscosities and use combinations of rollers with various inks to come up with great effects. It is one of my most favorite things to do. If interested I have one of my viscosity printed collagraphs somewhere on the net. Try it. You will have a ball. Cheers Ray ------------------------------ From: "Ray Esposito" Date: Tue, 16 Mar 1999 21:22:20 -0500 Subject: [Baren 3576] Re: Oil, Ink, etc; etc; etc >I am sure that lots of Baren People will be crying on Ray's shoulder , in >the bar when they find that they will not be included in the next portfolio >exchange. Jeanne If we don't get in I will do a print just especially for you and you can do one for me. We'll have our own print exchange while we cry in our diet cola's. :-)) Cheers Ray ------------------------------ From: judy mensch Date: Tue, 16 Mar 1999 22:34:18 -0500 Subject: [Baren 3577] Re: exhibition... Well, it looks like I sent this exhibition idea to everyone, anyway. What do you think??? It would be nice for the Center to have the first print exchange of Baren on our walls. Judy ------------------------------ From: Gregory Robison Date: Wed, 17 Mar 1999 06:35:27 +0300 Subject: [Baren 3578] Re: Baren Digest V6 #487 Ray wrote: >HOLD UP A MINUTE. >Does this mean you are coming to the workshop? I was never told. >Ah ha. Now I get it. Now I know why Marnie insisted on my credit card >number BEFORE anyone telling me who was coming. Ahhhhhh. The things I have >to go through for my art. Ray, you missed Julio's birthday (everybody else got it) and now this. We're going to be moving very quickly, now that we've got so many members, and I don't know if we'll always be able to keeping running back to pick you up. Actually, although we haven't tacked everything down yet, I guess my place is reserved since Graham is sending the limo to the landing (although it's understandable that for you, it was strictly cash on the barrelhead). On the other hand, maybe the limo was being sent down there to pick up someone else...(?!) Yikes, I think I better contact Marnie in Bookings today. Greg ------------------------------ End of Baren Digest V6 #489 ***************************