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

Baren Digest             Tuesday, 30 November 1999     Volume 09 : Number 803

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From: Dutch Stowe <dutch@crystalridge.com>
Date: Tue, 30 Nov 1999 06:29:00 -0800
Subject: [Baren 6894] Printing and carving accessories 

	Dave and Graham and everyone else that provided input.

	Dave the port o printer looks great could you include some ruff drawing
and measurements. I can probably build anything (if not me my brother can )
but am not good and estimating sizes and measurements from photos and would
hate to waste a lot of time and wood trying to find the right combination. 

	Graham I have the same request for you and know that you are searching for
who you sent the plans to. 

	I might propose a new section or more comprehensive section to the
encyclopedia would include plans for different tools created by members
which would included plans with measurements (an am not requesting
architectural drawings) ruff drawing would be sufficient. 

	Dave I know that I was one of the people who volunteer to assist with the
web site I had specifically requested "Who is Baren" because I had some
complaints and Ideas that I thought could be easily fixed. I am now
modifying my offer and could take on any section that you needed help with
so put me in the hat and lets see what comes up. 

Thank You 
Dutch Stowe

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From: Gayle Wohlken <blueman@pantek.com>
Date: Tue, 30 Nov 1999 09:49:06 -0500
Subject: [Baren 6895] Re: Baren Digest V9 #802 

Sorry for a dumb sounding question, but I can't figure out how you guys
are using the daubers made of leather.  What exactly are you daubing? 
If you aren't rolling your ink on, then how are you applying it using
these daubers?  

Gayle

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From: "Philip Smith" <smithart@pacifier.com>
Date: Tue, 30 Nov 1999 07:32:02 -0800
Subject: [Baren 6896] 

Good morning Gayle,...daubers are like large powder puffs, and they
traditionally had a handle coming out the back,..in the old print shops
there was a boy with two of these, one in each hand, and the motion was one
of rocking the rounded surface of the dauber on the type [or
woodblock],....[you have to keep them in a jar or something so they don't
dry out,]...the "inker" would stand there hitting and rubbing the two
surfaces of the daubers together waiting for the next impression.....I'm
sure there will be more detailed info coming,..that's all I am aware of
right now,.....good luck, it might be a fun research project.    Philip

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From: "Jandi Goshert" <jandilea@hotmail.com>
Date: Tue, 30 Nov 1999 08:23:38 PST
Subject: [Baren 6897] NEW MEMBER! 

Hello everyone!  I'm just doing as told and writing a short email to 
introduce myself.
My name is Jandi Lea Goshert, I'm 28 years old and I'm a recent graduate of 
Pennsylvania School of Art & Design in Lancaster, Pennsylvania.
I reside in Elizabethtown, PA and still work in Lancaster.
I'm so thrilled to know that this forum exists and I'm very excited to learn 
lots of great things!
I've just ordered a Dick Blick press about 3 weeks ago and am anxiously 
awaiting it's arrival!  It was on backorder!!!  It's a small 18" wide press, 
but it's enough to get started.
I do wood block prints, of course, and my main area of interest I would say 
is reduction block printing with one plate.  The reason I like the reduction 
process is that the plate is destroyed during the process and the prints you 
have made are all there will and can be!
Well, I suppose the introduction is not staying very short, so I shall go 
now!
I look forward to being a part of this group and I want to get in on the 
whole exchange thing - what a great idea!
Sincerely,
jandi

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From: Bella1yopp@aol.com
Date: Tue, 30 Nov 1999 11:26:22 EST
Subject: [Baren 6898] 

Maria,
I was taking a look at your web site 
(http://www.printmakingstudio.com/method.html ) and I had some questions. 
You said "I oil the block with linseed oil before beginning to cut, let it 
dry, then cut my designs."  Why do you do that?  I am very interested in this 
since it might improve my blocks.

Also I am having a hard time understanding the way you register.  I am very 
primitive when it comes to registration and used to get away with it when I 
had access to a press but now with handprinting... it doesn't quite work for 
me.  You said"One way to register: I place the paper against the moulding 
stops glued perpendicular to edge of printing board. To obtain even margins, 
I paste foamboard strips down on the board and place woodblock against them"  
Do you ink up the whole board and then put the foamboard strips on it.  Do 
you roll the brayer up to the foamboard strips?  Do I have this all wrong?  
Help me!

I want to add about the discussion about positions that we cut and print in.  
I remember taking this "Relief" class and they had crammed as many students 
as they could in that class.  In fact there wasn't enough table space.  The 
board would be flat on table and the table was about mid chest area.  This is 
how I learned to carve.  However, I was nervous about the safety concerns of 
being so close with someone with a carving tool and the lack of knowledge of 
how to use it.  So I would go into the hall and carve in the most 
uncomfortable positions (yet I never cut myself).  So I started going home 
during class.  My instructor considered me aloof, introverted, and too 
independent ... all I wanted to do was do relief.
Now I do have problems with my elbows and wrists burning after carving for 
15, 20 and sometimes 30 minutes.  I am 25.  I've always had some problems 
with my joints especially my knees.  But the more I work with my hands the 
stronger they get (i.e., framing full time).  I am very interested in 
Graham's printing and carving bench.  So if there are any plans I would also 
like to look at them,
- -Amanda

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From: Maria Arango <Maria@mariarango.com>
Date: Tue, 30 Nov 1999 08:37:38 -0800
Subject: [Baren 6899] Re: daubers 

Phillip's explanation of how to use daubers is excellent. Great control
can be achieved by daubing instead of rolling the ink and if you keep
them as he suggested it would save a lot of cleanup of rollers. I
usually just wipe mine with mineral oil and use one for each color. Here
are some usess for daubers, keep in mind that I'm an "oily" printmaker:
1. While cutting, daub some ink onto the block to proof as you go on
certain areas.
2. On small blocks, save your rollers and achieve perfect control by
applying ink with a dauber.
3. On small areas of color set apart from another color, daub your ink
and print two colors at once, much like the Hanga printmakers do with
small brushes.
4. When you are inking close to the kento marks and don't want to go
through rigorous masking drills, use a dauber instead of the
roller/brayer for more control over where the ink goes.
5. Do a whole print with daubers "a la poupee" mixing your oil colors
right on the block or keeping them separate as in a white-line woodcut.
6. Use the dauber to blend two different inks of a rainbow roll, or push
a color to or from a certain area.
7. Use them to "stain" the block prior to beginning your cut. If you do
this in a similar color as you will end up printing you get a good idea
of what the print will look like.
That's all I can think for now.
Happy daubing,
Maria

Welcome Jandi!

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From: Graham Scholes <gscholes@home.com>
Date: Tue, 30 Nov 1999 10:21:01 -0800
Subject: [Baren 6903] Re: Baren Digest V9 #802 

>Good morning Gayle,...daubers are like large powder puffs, and they
>traditionally had a handle coming out the back,

My Webster "New World Dictionary"  states...

daub,  1. a person who daubs; a mediocre or inexpert painter. 2. a thing to
daub with.

dauber,  Painting or work done in an inartistic or unskillful manner.

Hummmmmmm,  I resemble that remark....

I know this is totally unrelated but I couldn't resist....

Graham

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From: Graham Scholes <gscholes@home.com>
Date: Tue, 30 Nov 1999 10:35:18 -0800
Subject: [Baren 6907] Re: NEW MEMBER! 

>Hello everyone!  I'm just doing as told and writing a short email to
>introduce myself.
>My name is Jandi Lea Goshert,

Welcome.....
You will enjoy the forum...

Just to start you off.....
<I've just ordered a Dick Blick press>

I think we had a discussion at one point about these presses...
Am I right in saying they got a thumbs down....
Maybe some of you pressers can help.
Recommendations are for a Patrick press out of Canada.
Can some one fill in here.....The prices are sure good for the Yanks.

> The reason I like the reduction
> the prints you have made are all there will and can be!

The same is true with no reduction method....
The integrity of the printer/artist is invloved.... deface the plates and
presto no more prints.
The plus is you end up with a lovely piece of art....the carved plate.  Not
to be sneezed at.

Graham

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From: Aqua4tis@aol.com
Date: Tue, 30 Nov 1999 14:53:23 EST
Subject: [Baren 6908] Re: NEW MEMBER! 

hi graham and everyone
   graham you are probably correct about the dick blick press as compared to 
the patrick presses    but  ive had mine for 6 years now   and although 
limited i like it very much      the advantage of the dick blick is that the 
whole thing cost around $500       when i was buying mine thats all i could 
spend and also i really didnt know of any other presses except the $2000 or 
more  models      i have used my little press for wood, lino, monoprints, 
collagraphs and even etchings    and so far it has worked great       im 
actually very happy with it        i must admit however that someday i also 
hope to have a large press   until then ill keep printing on this little 
fellow
  georga
ps
  i too would be interested in plans for your printing bench
       thanks

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From: Bryan James <bryan.james@alliedpress.co.nz>
Date: Wed, 1 Dec 1999 09:09:49 +1300
Subject: [none]

Amanda wrote asking why would a woodcutter oil the block.
My own experience of this is as follows:
We do not have cherry blocks available in New Zealand so I
turned to local hardwoods 30 years ago, particularly a
long-grained fairly dense and slow growing wood called by
the natice Maori name here "rimu". It takes about 300
years to grow to maturity. I have used this wood for
virtually all my key blocks over the years. I found by
experimentation that if I was planning a key block with a
great many fine lines or a lot of detail, it was easier to
cut these if I oiled the block (lightly) first using
linseed and rubbing it on with a rag, then letting it
stand a day or so. There are two advantages that I can
see: the cut lines stand out better because they contrast
slightly with the excavated surfaces, and the knife slips
through the wood slightly easier, with less "fraying".
There appear to be no subsequent problems with printing
(ie oil and water do not mix etc) as the linseed dries
quite quickly, providing not too mucb is applied.
I hope this is of some use.

Dave noted that my e-mails were over-long in width (!)
Makes a change. I've adjusted the template to 60
characters as requested and I hope this one is OK. However
all, I did warn Dave that I am digitally disadvantaged, so
to speak.

Welcome to Jandi.

Can't offer any suggestions to the bareners on printings
tables etc. I stand when printing and sit when cutting
with my nose very close to the block due to poor eyesight.
I understand those of you who suffer aches and pains, as I
have done too for years, but I have found getting up and
walked around the garden every hour or so is excellent for
the body, as well as the mind. Also, I always cut blocks
first up on any day when mind and body are fresh
(supposedly), and I do not continue cutting if I feel at
all tired.....that's when the the slips will inevitably
occur.

Bryan James

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From: "Jeanne Norman Chase" <studiojnc@prodigy.net>
Date: Tue, 30 Nov 1999 15:48:15 -0500
Subject: [Baren 6911] Re: NEW MEMBER! 

Welcome Jandi

This is a great group and as the posts fly in, you will start to become
familiar with us. the eccentric, the prosaic, the ..... well, all kinds of
neat people.
If you want to jump right in and participate in an exchange; well Pete has
started a neat Dragon exchange to celebrate the year of the Dragon, 2000.
Go to ;   http://www.geocities.com/Area51/5426/dragon.html

Jeanne N.

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From: B Mason <bemason@concentric.net>
Date: Tue, 30 Nov 1999 13:12:44 -0800
Subject: [Baren 6912] Sander dust 

Jean,
Get a shop vac and hook the nozzel close to where you are sanding, that
should do the trick. Be very careful with plastic bags, could get caught
and yank your hand or arm into the sander.
Barbara

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From: Graham Scholes <gscholes@home.com>
Date: Tue, 30 Nov 1999 13:26:28 -0800
Subject: [Baren 6913] Re: NEW MEMBER! 

> Graham you are probably correct about the dick blick press as compared to
>the patrick presses    

I have a price list here and the 18 x 30 job cost 850 Can.
That works out to be $500 US  and I understand it is a much better press.
Can the guys who have bought this press enlighten Jandi... I would be a
shame for him/her not to take advantage of a much better press.

Graham

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From: Graham Scholes <gscholes@home.com>
Date: Tue, 30 Nov 1999 13:34:30 -0800
Subject: [Baren 6914] Re:  

Bryan wrote....
>it was easier to cut these if I oiled the block (lightly) first using
>linseed and rubbing it on with a rag, then letting it stand a day or so.

Sound like a neat idea.   It should work like a tin whistle.
I used a piece of Dogwood for my last piece and is fairly hard.... I just
bet the oil will ease the cutting.
It is much harder than Basswood or cherry.


>Can't offer any suggestions to the bareners on printings tables etc. I
>stand when printing and sit when cutting with my nose very close to the
>block due to poor eyesight.

I require special prescription glass..... 2x magnification.   I also have a
commercial head unit that will magnify 4 times.   Wonderful tool.

Graham

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From: Maria Arango <Maria@mariarango.com>
Date: Tue, 30 Nov 1999 14:59:32 -0800
Subject: [Baren 6915] Re: registration and oil 

Amanda,
Bryan is absolutely right, I use linseed oil to ease the cutting task
for one. Also, the climate is so dry here in Vegas (and also in Arizona,
although I think we beat you guys on the dryness scale) that the wood
tends to dry out too much. Linseed oil makes it alive again. I hate that
ccccccccrrrrrrrgggggg sound the knives make when cutting dry wood.
Another reason to use oil is to seal the block a bit before printing.
This will save on printing inks quite a bit and allows the block to
"accept" the ink more readily.
On registration, you're in luck, I just got a digital camera for my
birthday. Oh boy! I just finished some explanations of registration
methods that will avoid masking, margin blemishes, etc. and even work
with a press.
Go to:
http://www.mariarango.com/studionotes/registration/resgister1.html
There's a picture of my new press on the second page (I know register1
is misspelled, that's how I uploaded it!). Let me know if any questions
remain. I believe Jeanne or Jean published an Encyclopedia entry on
registration a while back also. It's a neat method.
And for an alternative treat, go to:
http://www.mariarango.com/studionotes/woodcut/shroombarens.html
Enjoy. Let me know if you have additional questions.

Let Jandi enjoy her press in peace please? I said please.

Health to all,
Maria

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From: Maria Arango <Maria@mariarango.com>
Date: Tue, 30 Nov 1999 15:06:20 -0800
Subject: [Baren 6916] Links 

Forgot about the main business:
I am updating my links page tomorrow with more artists and a couple of
new suppliers. If anyone wants to be included, please e-mail me your
link and a "ditty" off list so that I can add your name and beautiful
site. Also if you have a favorite site and would like to give it a
"plug" feel free to send it to me. You can see what the links page looks
like at:
http://www.printmakingstudio.com/links.html
Cut, dangit, cut!
Maria

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From: Julio.Rodriguez@walgreens.com
Date: Tue, 30 Nov 1999 17:12:01 -0600
Subject: [Baren 6917] re: Registration for Amanda 

Amanda writes:
>Also I am having a hard time understanding the way you register.  

I don't think there is a right/wrong way of doing registration as long as it
works and you are happy with it. A lot depends of what type of work you are
doing  (B&W, a few color blocks, or a Dave/Graham 28 block extravaganza) and
your level of skill. Are you using the keyblock method or non-keyblock like Matt's 
prints ?

 Maria A. has some photos on her site explaining her registration methods and
other bareners have added a ton of info
on the encyclopedia about their special ways...( I think Ruth had a pretty good
explanation a while back, also Jean E. on her site). I think Maria uses the L
shaped moulding stops to align the corner of her paper and the inside foamboard
strips to align/center the woodblock itself thus creating a blank margin between
the edge of the paper and the edge of the image.

I prefer to use the kento method (check the pedia and dave's/Graham's photo
examples)  as is something that becomes part of the block(s)  itself and will
follow the blocks along their lifetime.  It just takes a few extra minutes of
time. If you use other methods it could be tricky to comeback a year or two
later and try to recreate the exact registration method (assuming you want to
duplicate your previous effort) if you need to recreate the exact print.  Maybe
not ! Whatever works for you!

For my last two prints I have tried to use the best of two worlds. I used a
baren to print the keyblocks and small color areas and then my recently acquired
Vandercook proofing press to print the larger solid color blocks. Registration
was not a problem even using this crazy method and the press saved time and my
"arm"  when doing the larger/even colored areas.

Good luck.....Julio

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End of Baren Digest V9 #803
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