Baren Digest Saturday, 30 June 2001 Volume 15 : Number 1475 ---------------------------------------------------------------------- From: GWohlken Date: Fri, 29 Jun 2001 09:48:37 -0400 Subject: [Baren 15023] Re: Baren Digest V15 #1474 Julianne said: > Any tips for doing test prints? I'm really confused around this area, > how to do just one print to check everything is OK. I imagine it will > be a pain rolling out each colour ink, inking up each colour block, > and just doing one print, making a few adjustments, and repeating > it over again. Since I do my whole editions one entire print at a time, Julianne, the test proof is no different. I usually roll out on large glass panes all the colors I will use, so I just roll up the blocks and go through the whole process at once while the paper is taped down with removable tape (that's how I keep it registered). For me that works best, so proofing is no different than the actual printing except I might not do it on the best paper until I'm certain I have the colors right. Since I use a darker color paper, I have to find a proofing paper with the same tone or my colors don't work. There are some newsprint colors that are close to the color of my edition paper, and I use those for proofing. I really like that I can do a whole print at once because I feel satisfied seeing a finished piece right away. If you have enough brayers and panes of glass, the process goes rather quickly. The first time will seem awkward, but it gets better as you get into the groove of it. It seems whenever I tried doing just one color on all prints, then another color on all of them, etc., I had many more misregistrations. The way I do it, I hardly ever have a misregistration and there is the joy of wet color on top of wet color and the blending that happens. Everyone works differently, though, so that's just my take on it. * * * David Stones mention Fumi's hakobi and I will attest to their being well made and so attractive I was afraid to use them :-) but they are very nice and work beautifully. And speaking of the Baren Mall, can we still order even though the Mall needs a manager? I was checking out the sharpening stones the other day and didn't know if I should or shouldn't. I didn't, but I want to. Gayle Ohio, USA ------------------------------ From: Cucamongie@aol.com Date: Fri, 29 Jun 2001 10:16:03 EDT Subject: [Baren 15024] Transfer brushes Ishita, I was shown a very economical type of transfer brush by April, little 1/2 " (I think!) cheap brushes which you can buy at the hardware store for anywhere from 25 cents to a dollar each, depending on where you buy them. Sarah ------------------------------ From: "bemason" Date: Fri, 29 Jun 2001 08:02:07 -0700 Subject: [Baren 15025] mall By all means, order from the mall. It is still working well and soon will be run from here in Oregon if we can get the visa bank think worked out. Will let you know soon! Barbara ------------------------------ From: "Maria Arango" Date: Fri, 29 Jun 2001 08:38:56 -0700 Subject: [Baren 15026] mall charset Hello all, The Baren Mall will be down on >>Sunday, July 1st<< due to maintenance and upgrade of the shopping cart software by the credit card processing provider. Also, orders continue to come in without shipping charges added. This delays the processing of the order. Please review the How To Shop page and the Shipping Charges page before checking out. Remember that most of the products are coming directly to you from Japan, and there are no "handling" charges added, that is, you pay only the cost of shipping. Thanks! Maria ------------------------------ From: "Alan Basist" Date: Fri, 29 Jun 2001 15:14:53 -0500 Subject: [Baren 15027] Re: Any tips for doing test prints? There's lots of self starters so relax and dig in. I'd suggest you get cheap paper to make your test prints on as you will obviosly see that the first few or first ten will need adjustments. You might need to carve out more, or adjust your inks... > Graham I always knew I had a guardian angle somewhere - unfortunately > the first half of your message was jumbled - words on top of words - > but I got the gist of it. Yes I would love some help with my first > woodblock print! I'm OK right now - The story so far is that in > a fit of madness I actually signed up for Print Australia's > exchange G, so I'm in it for real this time - gulp. I've chosen a > piece to illustrate, and am cutting the key block at the moment. I > know I should keep it simple, but I seem to think I need at least 4 > colours, as well as the key block. My husband Simon has made me a > registration board. It's a board with a raised side and top to hold > the block, with a row of nails at the top to hold the paper. > > I lashed out last week & invested in a number of lithographic inks - > too late to go with water based ones as you suggested I'm afraid. > Barbara Mason kindly replied to me saying she likes litho ink better > - so that was good enough recomendation for me. I know what you are > saying about water based inks - I've gotton the impression though > reading some of Baren members discussions that it is not so easy > getting it off in soapy water as it should be? - I'm hoping that > clean-up with vegetable oil won't be too dificult. > > Anyway, my next step - Using some greaseproof paper(?) and my trusty > new registration board, I plan to transfer my key block (I'm cutting > out of Japanese Maple) onto several blocks of lino I've already cut > out to size, ready and waiting. A question:- > > Q. If I get a block of cardboard & stick on or paint on some texture > to print as background for my keyblock - is this 'allowed' in the > exchanges? Is this cheating? Are there any woodblock purists out > there to be offended by this? > > Any tips for doing test prints? I'm really confused around this area, > how to do just one print to check everything is OK. I imagine it will > be a pain rolling out each colour ink, inking up each colour block, > and just doing one print, making a few adjustments, and repeating > it over again. > > I'd be grateful for any helpful tips about this. Anyone like to share > their first time (printing a woodblock) experience? > > James Mundie wrote:- > 'It was especially helpful to point out to these new and > somewhat shy printmakers who the first-timers were in the > exchange packages. So, rest assured in the knowledge that > your work is serving to inspire and invigorate printmakers > afar'. > > Oh dear am I really going to stand out so obviously as a first-timer! > > Julianne ------------------------------ From: "Alan Basist" Date: Fri, 29 Jun 2001 15:27:24 -0500 Subject: [Baren 15028] bookmark exchange I am also doing the bookmark exchange in belgium. The coordinator's email address is hugues.prsysiu@adval. The info site is to be found at http:/home.tiscalinet.be/printmaking-in-be/pr-in-be/exchange.html. Hope that's it. Jerelee ------------------------------ From: Sunnffunn@aol.com Date: Fri, 29 Jun 2001 16:54:02 EDT Subject: [Baren 15029] Re: Any tips for doing test prints? I read this and felt like I am a cheater because I did a very simple woodblock for my first one and left it all one color, black and am press running it. Julianne you are a brave soul all the luck to you. Paper ahhhhh paper. I went wild today. I thought I had half my prints for the #10 done. They had come out a bit crinkled but I thought the weight would dry them flat. OOOPs not so they were still all crinkley. I had used a cheaper lightweight paper and I was not pleased. Not only did it not take the ink well but it creased in the press. I thought I had the press too tight, not so, it was definitely the paper. How do I know that. Well I thought hmmmm do yourself a favor and try a piece of good old rives BFK and see what happens and it was perfect. I had 2 sheets in my portfolio, folded in half and got 4 perfect prints per sheet, so now I have 8. The trials of printmaking. The rest of the paper resides in Nahcotta Washington, three hours away and who knows when i will get there. Soo Art store Art store will you please hold me some Rives til Monday when I can get in to pick it up, yes yes they can and they will. Barbara, since you know them, my thanks to art media and a 30% off coupon on one item in July, Rives! What did I learn, use the best paper you can even if you think your print is not the best, it sure makes it look better and work better. Something I already knew, but I tried to do it the other say any how. Next time I will start with a fine paper and forget cutting it to something a little less costly. I want my work to shine like everyone elses does! Take pride in our art and in our professionalism all the way! I am determined to get this exchange piece done and sent in time! Marilynn ------------------------------ From: ArtfulCarol@aol.com Date: Fri, 29 Jun 2001 17:41:49 EDT Subject: [Baren 15030] Re: Any tips for doing test prints? Testing carving with crayon rubbing over tracing paper is fast and shows just where the adjustments are needed . That way you can handle one process at a time. And no waiting for the wood to dry before working on it. Carol ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Fri, 29 Jun 2001 16:47:52 -0500 Subject: [Baren 15031] Re: July's Baren-suji Newsletter 06/29/2001 04:47:45 PM Last chance to get your articles, upcoming exhibit info, for sales, wanted, show & tell or whatever into this issue of the Newsletter. If you have emailed me before, I got it...If you are thinking about it....don't !.....just send it over and I will try to make run for it. Pics are always welcome. thanks...Julio ------------------------------ From: FurryPressII@aol.com Date: Fri, 29 Jun 2001 19:45:11 EDT Subject: [Baren 15032] Re: July's Baren-suji Newsletter On proofing I always proof the block the same way I intend to print it. Same ink same color, same paper, etc. I leave the residue of ink on the block this makes it easier to see what I need to cut to finish the block. (this is one of the areas were oil based ink and its application is a plus). I am usually working on a number of things so I can wait for the ink to dry. Another plus here is that the block is improved in its capacity to hold the correct amount of ink the wood wants to absorb a certain amount of ink. When I am finished I do clean the block with solvents. In my cutting style I am not looking for accidents to add texture to the prints such as the more expressionist cutting style so I find printing is the only way to see what is in the block such as did I cut an area deep enough so it will not pick up ink, rubbing will not show me that. I find tinting the block also helps in seeing the fine details i cut. After my image is on the block I take a highlighter marker (usually pink or light blue) and cover the whole block this makes it easier to see where i have cut very detailed cuts (this is a modified trick borrowed from woodengravers they used very diluted ink but i find the color to work even better as the highlighter is very transparent) John of the furry press ps to get up early on the weekend to sign up for the excange furry likes to sleep in on the weekend oh well ------------------------------ End of Baren Digest V15 #1475 *****************************