[Baren] the mailing list / discussion forum for woodblock printmaking Baren Digest Sunday, 6 August 2000 Volume 12 : Number1104 ---------------------------------------------------------------------- From: Gayle Wohlken Date: Sat, 05 Aug 2000 09:43:30 -0400 Subject: [Baren 10829] Re: Baren Digest V12 #1103 Does anyone know anything about a deeper in tone paper than kitakata but with the same strength, yet thin-ness. (I don't know the word for thin paper). I've pasted lace on a board and want to roll ink over it and use that for the background for the woodcut image and handset lettering on a poster I'm doing for the local theater production of Arsenic and Old Lace. I want the lace to be white against a darker background (but not real dark) and I like kitakata paper the best for woodcuts, yet the lace doesn't show up enough. I tried white paper with a darker, more antique looking lace, but didn't like it. I like the warm tone of the kitakata. Aside from the vandercook proofing press (which I can't use yet), I have a small table model which I will use for this. I don't like thick paper at all, so I'm not looking for any of those heavy ones people usually use with their presses. Gayle ------------------------------ From: Greg Carter Date: Sat, 05 Aug 2000 13:31:03 -0400 Subject: [Baren 10830] Re: Waterless Litho There has been a lot of discussion about Waterless Litho(Silography) so I just thought I might just mention that I think waterless is somthing you can learn at home without taking a course (if you want) There are two different varations of the process - the Tamarind methode as taught by Jeffery Sipple and discussed in detail in the new litho book they have recently published. and the Semenoff methode as practiced by the one and only Mr inventor Nick Semenoff. (I was taught by Jeff at the Tamerind Institute but am familiar with Nicks process) I really love the process and would be happy to send attachments of my class handouts on the subject or answer any question about the the key steps that can go wrong. I know this is a woodblock listserve but I am a big fan of alternative lithographic processes and thought there has been enough intrest in Waterless to comment on it. Greg Carter ------------------------------ From: Brad Schwartz Date: Sat, 05 Aug 2000 15:05:44 -0700 Subject: [Baren 10835] Re: Waterless Litho I have a demo of waterless litho on my website if anyone is interested. It was given by Mark Mahaffey @ Barbara Mason's studio last fall in Portland, OR. BS - -- Brad Schwartz http://www.baschwar.com/ -- Printmakers List ------------------------------ From: Mike Lyon Date: Sat, 05 Aug 2000 18:09:17 -0500 Subject: [Baren 10836] Re: Baren Digest V12 #1103 At 10:00 PM 08/05/2000 +0900, you wrote: >Hello everyone Hi... that swastika discussion seemed to jump start me, and I've started putting together some web pages -- mostly trying to explain myself, it seems -- anyway, those of you who expressed an interest in my tile design project can see what I'm thinking about here: http://www.mlyon.com/mike/tiling.htm If you're interested, you can follow the 'Up' link to find a little more stuff, but really -- I've barely begun... Mike Mike Lyon mikelyon@mlyon.com http://www.mlyon.com ------------------------------ From: Mike Lyon Date: Sun, 06 Aug 2000 01:21:21 -0500 Subject: [Baren 10837] Re: Baren Digest V12 #1103 At 10:00 PM 08/05/2000 +0900, you wrote: >I have covered barens, but they are always rather loose. I have watched >several experts tie them, and each person has a slightly different >approach. Some seem to beat up the takenokawa sheath a lot, smashing the >lengthwise fibers with the back of a scissors and rolling the sheath over >the edge of a table to soften it. > >It seems quite important to have it damp and supple before you stretch it >over the ategawa/back. Wrap it in a damp towel for half an hour or so, and >blow warm moist air through it like a straw. Hi, April... For what it's worth, I use the scissors method, running the edge of the handle back and forth over the back of the takenokawa in close-together stripes. But I soak the sheathes under warm water in my bathtub, weighted down and held flat by water glasses for an hour or three before breaking down the fibers and covering the baren. They seem to dry very tight. Mike Lyon ------------------------------ From: David Bull Date: Sun, 06 Aug 2000 15:52:54 +0900 Subject: [Baren 10838] Re: baren tying Mike wrote: > ... For what it's worth, I use the scissors method, running the > edge of the handle back and forth over the back of the takenokawa in > close-together stripes. Mike, can I question something here, without seeming to be too picky? The scissors method is also in common use here, and works very well. But the side of the takenokawa that needs to be treated this way is the _outside_ - the side that will come into contact with the paper. When you say 'the back of the takenokawa' it makes me wonder if you're working on the wrong side ... > They seem to dry very tight. But that's the important thing ... By the way, thanks for the link this morning: http://www.mlyon.com/mike/tiling.htm Very interesting material there. (Could you perhaps consider programming the Shockwave images to rotate a bit slower? Just when you see a 'good one' it disappears instantly!). Please let us know when more updates are ready ... Dave ------------------------------ From: "Perry Riley" Date: Sun, 6 Aug 2000 02:37:03 -0500 Subject: [Baren 10839] Waterless Litho *** concerning waterless litho discussion, etc. ...*** Hello, I am new to this group. My name is Perry Riley. I have a MFA in = printmaking and enjoy working in a wide range of the printmaking = mediums, especially alternative processes and surfaces. I did my = graduate work at the University of Texas at San Antonio. While there, = one of the things I explored was the Waterless Litho process under the = guidance of Professor Dennis Olsen and Kent Rush. Waterless Lithography = is an amazingly simple process compared to other types of photo plates = and emulsions or any printmaking process for that matter. The stability = of the plates is excellent. The printing is straight forward. For an = experienced printmaker, it is possible to print a four color 22" x 30" = image of 20 or 30 prints including developing the plates in just one = afternoon. It is also a great technique to share with photographers and = those who explore digital images. The processing of developing the = plates is straight forward. Just a friendly reminder to regard safety = measures with wearing the proper personal protective equipment during = the processing. =20 I do not have any of my slides of my work available on line yet. If = anyone has any tips on affordable ways to scan slides please feel free = to let me know. Perry ------------------------------ End of Baren Digest V12 #1104 *****************************