Baren Digest Wednesday, 27 June 2001 Volume 15 : Number 1472 ---------------------------------------------------------------------- From: Sunnffunn@aol.com Date: Tue, 26 Jun 2001 12:09:10 EDT Subject: [Baren 14983] Re: intaglio woodblock John I have done intalgio printing and was wondering how a wood cut could be printed in this manner . That is why I asked the question. With a collagraph plate I usually have a raised surface and many textures to hold the ink. In a woodcut or linocut the piece is cut into the plate and the white is the area that is cut out. I would think to wipe this plate clean like one does with dry point and collagraph would leave little to print??? Marilynn ------------------------------ From: Greg Carter Date: Tue, 26 Jun 2001 14:24:48 -0400 Subject: [Baren 14984] Re: intaglio woodblock Marilynn, Just as in etching were you can not etch large aeras or the ink will wipe out, you can not ink large carved aeras in the wood and have them hold much ink. The intaglio printing works best with line carvings. I have not run into the wood being stressed by wet paper but I do not print large editions and I seal the wood. Greg >John I have done intalgio printing and was wondering how a wood cut could be >printed in this manner . That is why I asked the question. With a >collagraph plate I usually have a raised surface and many textures to hold >the ink. In a woodcut or linocut the piece is cut into the plate and the >white is the area that is cut out. I would think to wipe this plate clean >like one does with dry point and collagraph would leave little to print??? >Marilynn ------------------------------ From: Brian Lockyear Date: Tue, 26 Jun 2001 11:31:45 -0700 Subject: [Baren 14985] Re: intaglio woodblock I did a really nice "intaglio" woodblock print a couple of years ago. I used oil based ink in on a shellac'd piece of "seaswhirl" from McClains (which they unfortunately cannot get anymore). The seaswhirl was a heavy grain plywood with maybe 1/32" to 1/16" deep grain variations between the top surface and the bottom of the grain regions. It was made from old growth cedar which is no longer available. When I wiped the top surface the shellac held onto the ink which left a lot of plate tone. Meanwhile, the recessed areas of the grain held ink and came out boldly as intended. I chine colle'd a heart onto it (yeah, yeah, this was a Valentine's card :-) ). So was this intaglio or relief? Given the amount of plate tone I left I was really printing both surfaces at the same time. Either way, it was a neat effect. Which ever it was, I know for sure that it was giclee! - Brian - ------------------------------ From: FurryPressII@aol.com Date: Tue, 26 Jun 2001 15:24:33 EDT Subject: [Baren 14986] Re: intaglio woodblock i printed a wood engraving like a intaglio how i did it inked the block like i would an etching pushing the ink into all of the cuts etc. then i wiped it with a tarlitan (starched chease cloth) and then with ne\ws print leveing the ink in the cuts and plate tone on the top will not wipe as clean as a copper plate. locked the block into a Vandercook proofing press I had taped etching blankets to the drujm of the vandeercool press, disingaged the inking rollers put the dampened paper in the gripper bars and ran i9t through the press under more presure than normal. after you run it through you have your print problems; i got ten good copies before the block showed ware due to the exter pressure and esp the mosture from the paper. john of the furry press ------------------------------ From: "Maria Arango" Date: Tue, 26 Jun 2001 12:34:55 -0700 Subject: [Baren 14987] intaglio-relief charset="iso-8859-1" Another technique to add to the intaglio-relief discussion. A woodcut can combine large mass areas of black and white with more detailed work, similar to wood engraving work. Such a block can then be printed with an excess of ink (any ink will do although I am partial to Rembrandt's inks for this technique). The result is that the detailed lines will fill with the tacky ink, while the less detailed masses will print as usual. The detailed lines will print much darker as an ink ridge, giving a unique impression of actual "relief." A dry climate is an advantage for drying the ink ridges, although a couple of drops of Cobalt drier will also do the trick. Just make sure you use something as the thick ink will take a while to dry. Adding transparent base gives yet another dimension. The more transparent the ink, the more contrast between the color in the mass areas and the filled in darker detailed lines. Wood engravings are particularly pre-disposed to printing with this method, although the combination of mass/line is very attractive in woodcuts. When the ink is very very transparent, the large masses print as a wash rather than solid. Woah, dude, like--neato! There is no need to wipe the block when doing this, as the pressure of the printing implement (either hand or press) will fill in the lines with ink. Planning the block accordingly obviously yields better results (but who wants to plan such experiments!), keeping in mind that the line work will be dark and not light. You just have to think half-way in intaglio and half-way in woodcut. MariaairaM ------------------------------ From: Sunnffunn@aol.com Date: Tue, 26 Jun 2001 19:37:08 EDT Subject: [Baren 14988] Re: intaglio woodblock so a linocut that is just lines and not large areas might print well in intalgio? I assume woodcut would as well. This is interesting and something to pursue.thanks for the education. Marilynn ------------------------------ From: "bemason" Date: Tue, 26 Jun 2001 16:57:05 -0700 Subject: [Baren 14989] intaglio woodcut I tried to print a woodcut as an intaglio a few exchanges ago, the one "10 people 10 colors" and I nearly went nuts. This is just very hard to do well and repeat it 30 times. Perhaps if you were using a very hard cherry and very fine lines it would work. I found the ink pulled out of the lines unless I was very careful and I had a lot of plate tone on the top of the wood. It was very hard to wipe it cleanly. So eventually I just gave up and carved more blocks and printed it in the regular way. I was using shina plywood, it just plain and simply did not work. Of course I could also admit that I have no experience doing this, possibly that was the trouble. No, it was the wood. Barbara ------------------------------ From: "Philip Smith" Date: Tue, 26 Jun 2001 17:27:44 -0700 Subject: [Baren 14990] Re: intaglio woodcut charset="windows-1250" Barbara thanks for the invite last Friday sorry I couldn't make it. As for your plate wiping experience. You must shellac/poly-coat to get that smooth surface, otherwise it won't happen. And as I recall shina is very absorbent wood right? Good luck. Philip Hammond, OR USA ------------------------------ From: Wanda Date: Tue, 26 Jun 2001 17:41:19 -0700 Subject: [Baren 14991] Simple Printmaking The Lark published book with a whole bunch of Barener's work in it? Wonderful to see prints from my Baren friends, by the way! Does anyone know Warren Chriswell of Benton, AR? A friend of mine is very taken with his work & would like to contact him. Wanda ------------------------------ From: amanda yopp Date: Tue, 26 Jun 2001 18:42:29 -0700 (PDT) Subject: [Baren 14992] Re: Baren Digest V15 #1471 John of the furry press ps Has anyone ever been to the Hamiliton wood type musium in Two Rivers, Wi? John, I have not been to this museum nor have I heard of it. I am in Madison and would love to know more about it if you or anyone else knows anything about the museum. - -Amanda Yopp __________________________________________________ Do You Yahoo!? Get personalized email addresses from Yahoo! Mail http://personal.mail.yahoo.com/ ------------------------------ From: slinder@mediaone.net Date: Tue, 26 Jun 2001 21:24:11 -0500 Subject: [Baren 14993] Re: Baren Digest V15 #1471 This weekend we saw some of John's work. He's an impressive carver. I'm currently doing a lot of thinking and reading about wood type. John has hand carved wonderful and elaborate alphabets, and had used them in some of his magnificent books. Some were large and detailed, but some were beautifully tiny and intricate! I hope that John will be able to show some of his work to you! I would also like to know of this museum! Sharen > John of the furry press > > ps Has anyone ever been to the Hamiliton wood type > musium in Two Rivers, Wi? ------------------------------ From: "kate courchaine" Date: Wed, 27 Jun 2001 04:38:05 Subject: [Baren 14994] Re: Salon de Refuse Thanks Barbara, Sharen, Sharri, and john, for the print flattening techniques. I have been printing on dry paper for years, and discard creased and bruised prints from my editions. However, it seems like there are a number of flattening techniques out there. For waterbased prints Ð can they be wet? Will that make the ink travel? Maybe slight dampening as opposed to immersion would be the best choice? Sharen, Kris, and Wanda, thanks for offering to swap. I will try the flattening first Ð hopefully that will work. (it may take me a while to get to it) In a almost morbid way, it was interesting to see how different papers that were subjected to the same folding reacted. For instance- ClaudeÕs print that was in the crease zone, did not hold a crease at all. She used a soft thick textured paper that looks to be handmade. The thin papers and the stiff papers seemed to suffer the most. Dimitris, I really do like your print. The whole exchange produced great prints. The problem with a non-standard size print in a size specified print exchange is that if the paper has over-sized outer dimensions is that it may not fit in the shipping containers, and print portfolios provided by exchange participants. Then there are increased odds of; A) The larger print being folded or trimmed to fit -or- B) Other prints being repackaged. This can put a lot of extra work on the print coordinator, and there is the possibility that the prints may be insufficiently packaged to avoid damage. If reusable packaging is provided by participants and used by the coordinator, then it takes some of the burden off the coordinator. Either way it is more likely that either the oversize print or other participantÕs prints can be damaged. It is a sad, sad thing to see any wonderful Baren prints damaged. Kate Courchaine _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ------------------------------ From: "Bea Gold" Date: Tue, 26 Jun 2001 21:56:14 -0700 Subject: [Baren 14995] Re: Dimitris email, printmaking alive inEvanston, weekend get together in Chicago charset="iso-8859-1" Dan, I thought your packaging was excellent - I don't know how it could have been torn up - We need to ask Kate just what happened . Don't stop coordinating Dan - you've been terrific! Bea - -----Original Message----- >I'm not very encouraged to host any more exchanges after this experience! >I tried my best and am glad that most were satisfied with the effort. >Oh well........ >dan dew ------------------------------ From: "bemason" Date: Tue, 26 Jun 2001 22:26:07 -0700 Subject: [Baren 14996] Fw: Giclee fraud Printmakers, I apologise if you get this message more than once, but I wanted everyone to see this. It just did my heart good to see this expose.....so it is going out on all my lists! This is in response to the Ebay sale discovered by a Barenforum.org member a couple of weeks ago. Very best to all, Barbara - ----- Original Message ----- From: "Alan Bamberger" To: "bemason" Sent: Tuesday, June 26, 2001 7:59 PM Subject: Re: Giclee fraud > I have taken one of this person's listings and dissected it as part of the > "art picks from eBay" series on artbusiness.com. > > http://www.artbusiness.com/eBayhits6.html > > best, > AB > > Alan Bamberger > 2510 Bush St. > SF CA 94115 > 415.931.7875 > 415.922.3580 FAX > alanb@artbusiness.com > http://www.artbusiness.com > > > ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Wed, 27 Jun 2001 00:34:31 -0500 Subject: [Baren 14997] Re: Hamilton Wood Type Museum 06/27/2001 12:34:24 AM here is the website for the museum in Wisconsin... http://www.woodtype.org/ It is the site of the Hamilton type factory responsible for the manufacturing of a large number of the type used during the 1800's thru the turn of the last century.....there is also a book or two about the history of the company. Julio ------------------------------ From: "bemason" Date: Tue, 26 Jun 2001 22:34:23 -0700 Subject: [Baren 14998] flattening prints Kate, You can dampen water based prints, carefully from the back. Either spray them or lay them on damp newsprint and put a piece of plastic over them for a time, until the paper dampens. When I am printing with water based inks and I need to keep paper damp I sometimes lay it on a piece of damp newsprint and lay plastic over it so it will not change shape. Dave lays his prints in between about 10 layers of damp newsprint, offsetting the prints several inches. He does about 5-10 prints per layer, then more newsprint and more prints. This damp newsprint keeps the paper at exactly the right dampness. He lays a piece of plastic bag over the top to keep the top layer from drying out. He can keep the paper perfect this way for a couple of days. Let us know how this turns out for you and I am sure if you cannot get the prints flat everyone will send a new one! Best to you, Barbara ------------------------------ From: ArtfulCarol@aol.com Date: Wed, 27 Jun 2001 08:01:11 EDT Subject: [Baren 14999] Re: Salon de Refuse Dear Kate, You asked about flattening water-baased prints. When necessary, I have been flattening watercolors on Arches 140 lb. On plexi ,turn paper over and wet with a brush until paper is saturated. Clamp down on the four corners and dry. Each one is done individually. Hope that helps. Carol (Rodin Thinker--Salon de Refuse) ------------------------------ From: "pwalls1234" Date: Wed, 27 Jun 2001 07:15:33 -0500 Subject: [Baren 15000] Re: Dimitris email, charset="iso-8859-1" YES DAN!! You did a most excellent job with organizing the likes of us!! All my prints made it safe and I just know from experience that sometimes the mail does not arrive in pristine condition, nothing to do with your job! Please don't feel any frustration with this and PLEASE don't give up on your coordinating!!!!!! Thanks again- mr. coordinator sir pete baton rouge >Dan, I thought your packaging was excellent - I don't know how it could >have been torn up - We need to ask Kate just what happened . Don't stop >coordinating Dan - you've been terrific! Bea >-----Original Message----- > ------------------------------ End of Baren Digest V15 #1472 *****************************