Baren Digest Tuesday, 26 March 2002 Volume 18 : Number 1777 ---------------------------------------------------------------------- From: "marilynn smih" Date: Mon, 25 Mar 2002 07:37:56 -0800 Subject: [Baren 17668] Re: Baren Digest V18 #1772 I have taken many clases, with different approaches. I have found that those teachers who encouraged the use of quality products to students and often the students are professional artists trying out something new, well they get better results. It is very frustrating to work with a poor product and get poor results when spending a bit more can make work blossom and give the student the idea that maybe this new medium is for them. I had a bad experience with a whole can of red oil based ink from one of your famous suppliers, so i do not go much by name, but I do want professional grade so that I am not unhappy with the results. it is horrid when you open a huge can of ink and find that after using it only one time, the day before, that it is all blotchy, yes with bits of dried pigment coming up. Yes I covered it and sprayed it with anti skin. It came out not the best on the paper either, I was highly disapointed and felt I must have been sent an old can of ink. That is what I mean by a poor supply, you can get disapointed and frustrated and ruin good paper in the process. If i spend weeks on a project i want the effort to be as good as I can make it and good quality products give me a greater assurance that this will happen. Marilynn ------------------------------ From: "marilynn smih" Date: Mon, 25 Mar 2002 07:55:46 -0800 Subject: [Baren 17669] Re: Baren Digest V18 #1774 I love my PRAGA etching press. It was made in Canada and with my US dollars it was more affordable and NAFTA made it so I paid no import taxes. i do not have an email address but am certain if you put in PRAGA in a search engine it will comeup. Marilynn ------------------------------ From: "marilynn smih" Date: Mon, 25 Mar 2002 08:10:50 -0800 Subject: [Baren 17670] Re: Baren Digest V18 #1776 Dan, what brand of litho? and is there a difference with offset and well whatever? I often work delicate and get frustrated if the fine lines fill, i am using intaligio ink, dan smith to be exact. Marilynn ------------------------------ From: "Maria Arango" Date: Mon, 25 Mar 2002 08:15:27 -0800 Subject: [Baren 17671] RE: materials for the craft On materials for our beloved craft, my opinion is that we tend to "marry" a certain way of doing things and then defend our choices. We look so silly when we do that. I have nothing against Speedball itself, in fact I confess to having tried the stuff before seeking out alternatives (and I didn't inhale); however, I would recommend to every printmaker to try different materials before becoming so adamant about one particular brand/supplier. The "works for me" approach is comfortable and it is a good thing to explore fully the qualities of any one ink, paper, block, etc. However in order to seek out the possibilities of this craft and exploit one's own work to its fullest potential, it is sometimes necessary to "move on," and at least try out a diversity of quality materials. THEN marry your favored brand, although after experimenting I dare predict that different materials will be found "ideal" for different purposes. Yes, Speedball flows well, so do Rembrandt and Handschy inks, with the advantage of having a wider variety of additives available to modify the inks. Graphic Chemical's inks are also adaptable to flowing as well as desired with additives, with the added advantage of having a much wider variety of colors and perfectly formulated suitable additives. In fact with additives any litho or etching ink can be used for relief prints, thus opening up the world to the clean transparent process colors and the magical world of metallic flakes, micas and pearls. As far as expense, inks are the least of the printmaker's problem, at $7-14 per lb. can, I really don't see the expense issue except in favor of the can stuff. Same goes for paper choices, wood versus lino, solid cherry versus Home Depot birch, chisels and knives, pigments, etcetera ad infinitum. I hear sometimes how "this and only this paper" is the "best" for relief prints and about have to hold my insolent keyboard from typing a response on its own. But that's another issue, isn't it... Having said all that, I think after a while we all tend to go back to things that work well for us. There are also space and monetary limitations and storing only lino or only one type of paper is mentally much healthier than...my studio, for example. But discounting the wide range of possibilities in woodcuts is like sailing in a bathtub--safe but boring. Viento en popa a toda vela, Maria <><><><><><><><><><><><><><> Maria Arango Las Vegas, Nevada, USA http://www.1000woodcuts.com maria@mariarango.com <><><><><><><><><><><><><><> ------------------------------ From: Daniel Dew Date: Mon, 25 Mar 2002 11:23:28 -0500 Subject: [Baren 17672] Re: Baren Digest V18 #1776 Great, now I'll get blasted again. White, skinny box, says "Offset Litho" and very lttle else. I will check the package better later on and see if a manufacturer is listed in small print. I bought mine at Pearl Art Supplies. Daniel L. Dew Suncoast Equipment Funding Corporation http://www.dandew.com/ ddew@tampabay.rr.com > From: "marilynn smih" > Reply-To: baren@ml.asahi-net.or.jp > Date: Mon, 25 Mar 2002 08:10:50 -0800 > To: baren@ml.asahi-net.or.jp > Subject: [Baren 17670] Re: Baren Digest V18 #1776 > > Dan, what brand of litho? and is there a difference with offset and well > whatever? I often work delicate and get frustrated if the fine lines fill, > i am using intaligio ink, dan smith to be exact. > Marilynn > > > > _________________________________________________________________ > Send and receive Hotmail on your mobile device: http://mobile.msn.com > ------------------------------ From: Daniel Dew Date: Mon, 25 Mar 2002 11:25:40 -0500 Subject: [Baren 17673] Re: materials for the craft As always Maria, the perfect response. Thank you. Daniel L. Dew Suncoast Equipment Funding Corporation http://www.dandew.com/ ddew@tampabay.rr.com ------------------------------ From: Graham Date: Mon, 25 Mar 2002 09:21:25 -0800 Subject: [Baren 17674] Re: materials for the craft Thanks Maria.... very well expressed. In print making the material cost is such a small part of "value added" that it usually, and can, allow the use of good material. Graham >On materials for our beloved craft, my opinion is that we tend to "marry" a >certain way of doing things and then defend our choices. We look so silly >when we do that. >I have nothing against Speedball itself, in fact I confess to having tried >the stuff before seeking out alternatives (and I didn't inhale); however, I >would recommend to every printmaker to try different materials before >becoming so adamant about one particular brand/supplier. The "works for me" >approach is comfortable and it is a good thing to explore fully the >qualities of any one ink, paper, block, etc. However in order to seek out >the possibilities of this craft and exploit one's own work to its fullest >potential, it is sometimes necessary to "move on," and at least try out a >diversity of quality materials. THEN marry your favored brand, although >after experimenting I dare predict that different materials will be found >"ideal" for different purposes. >Yes, Speedball flows well, so do Rembrandt and Handschy inks, with the >advantage of having a wider variety of additives available to modify the >inks. Graphic Chemical's inks are also adaptable to flowing as well as >desired with additives, with the added advantage of having a much wider >variety of colors and perfectly formulated suitable additives. In fact with >additives any litho or etching ink can be used for relief prints, thus >opening up the world to the clean transparent process colors and the magical >world of metallic flakes, micas and pearls. >As far as expense, inks are the least of the printmaker's problem, at $7-14 >per lb. can, I really don't see the expense issue except in favor of the can >stuff. >Same goes for paper choices, wood versus lino, solid cherry versus Home >Depot birch, chisels and knives, pigments, etcetera ad infinitum. I hear >sometimes how "this and only this paper" is the "best" for relief prints and >about have to hold my insolent keyboard from typing a response on its own. >But that's another issue, isn't it... >Having said all that, I think after a while we all tend to go back to things >that work well for us. There are also space and monetary limitations and >storing only lino or only one type of paper is mentally much healthier >than...my studio, for example. But discounting the wide range of >possibilities in woodcuts is like sailing in a bathtub--safe but boring. > >Viento en popa a toda vela, >Maria > ><><><><><><><><><><><><><><> >Maria Arango >Las Vegas, Nevada, USA >http://www.1000woodcuts.com >maria@mariarango.com ><><><><><><><><><><><><><><> ------------------------------ From: "Maria Arango" Date: Mon, 25 Mar 2002 10:08:49 -0800 Subject: [Baren 17675] transfer I read once on one of these lists a trick to transfer ink-jet (water-based) printouts onto a block. Lacking the proper acetate suggested, I simply printed the desired image onto a transparency for laser printers I had laying around. Lo and behold, my printout was fairly clear and the ink stayed wet for nearly an hour. I simply placed face down on the block and pressed with my palm to obtain a perfect transfer. Once on the absorbent wood block it dries quickly. Oh boy, new toy! The ink does smudge a bit, since the laser transparency is not water-based ink receptive, so the transfer just "sits" on top of the plastic. Also, don't scratch your nose after touching the wet ink. M <><><><><><><><><><><><><><> Maria Arango Las Vegas, Nevada, USA http://www.1000woodcuts.com maria@mariarango.com <><><><><><><><><><><><><><> ------------------------------ From: "Lee and Barbara Mason" Date: Mon, 25 Mar 2002 10:32:25 -0800 Subject: [Baren 17676] ink > Dan, what brand of litho? and is there a difference with offset and well > whatever? I often work delicate and get frustrated if the fine lines fill, > i am using intaligio ink, dan smith to be exact. > Marilynn Marilyn, I use Graphic Chemical liho ink with transparent base and setswell. The secret is to have lots of very thin layers when rolling up the block. Roll from the center of the block to the outside, using only the pressure of the roller. Keep your ink thin and use lots of rolls, going back to the slab often. If the lines fill in, you can try stiffer ink. Add a bit of mag carbonate to the ink to make it stiffer. But the real trick is in rolling up the block and this just takes experience. Litho ink for printmakers should have no driers in it. Best to all, Barbara ------------------------------ From: "April Vollmer" Date: Mon, 25 Mar 2002 15:06:54 -0500 Subject: [Baren 17677] Invitation to a hanging You are invited...of course I don't expect you all to come, but nevertheless, you are invited to my opening April 12. I DO expect you attend virtually, by checking out the additions to my website. Later this month I'll have installation shots, but I have already put up pics of most of the work in the show. The show is called "Iteration: Woodcuts from Digital Plans" and is all woodcuts from designs created in the computer. It includes some large (27" x 27") hanga prints and many mandala shapes. I even cut my first cherry block for this show, COMPLETELY different from cutting shina ply. It gives a detail and clarity that shina can't come near, though the shina ply is a must for doing the large prints. Check it out: www.aprilvollmer.com ------------------------------ From: Shireen Holman Date: Mon, 25 Mar 2002 14:54:17 -0500 Subject: [Baren 17678] Re: ink Litho ink is great to use, and I use it a lot because I have it. But if you are starting out planning on buying new ink, I would rather choose to buy relief ink because it's not as stiff (if you want it stiffer you can add a little magnesium carbonate) and rolls out beautifully. As Barbara said, the trick is thin layers. Shireen At 10:32 AM 3/25/02 -0800, Barbara wrote: >I use Graphic Chemical liho ink with transparent base and setswell. The >secret is to have lots of very thin layers when rolling up the block. Roll >from the center of the block to the outside, using only the pressure of the >roller. Keep your ink thin and use lots of rolls, going back to the slab >often. If the lines fill in, you can try stiffer ink. Add a bit of mag >carbonate to the ink to make it stiffer. But the real trick is in rolling up >the block and this just takes experience. Litho ink for printmakers should >have no driers in it. >Best to all, >Barbara *********************************************** Shireen Holman, Printmaker and Book Artist email: shireenh@earthlink.net http://www.shireenholman.com *********************************************** ------------------------------ From: "PHARE-CAMP,PATTI (HP-USA,ex1)" Date: Mon, 25 Mar 2002 15:26:36 -0500 Subject: [Baren 17679] Hello from a new subscriber Greetings: I signed up last week for the lists, "After 5" and "Baren." Since I'm using a computer at work I've signed up for a daily update rather than the instant message. I may change my mind later. I have to say I'm intrigued. So many woodcut/block printers in one place! I don't run into my peers so often where I live. It's only just recently becoming a respected here. With the exception of Japan where I know the craft is still highly revered how about the rest of you? Any way: Who I AM - I'm Patricia Phare-Camp. My Mother is a painter so I grew up with the art bug and thank God a classical education; Mom taught me to draw! While in College I of course took a general printmaking class where I had my first experience with wood...15 (or so) years later and the passion still burns. Since I've moved to Sacramento, California, most of my work has been experimental as there are few woodcut artists in my area who I can actually learn other techniques from. I did learn a really cool reduction method from a peer who teaches at UC Davis. I haven't done anything with it since though I have in mind a new project that will lend itself beautifully to the techniques. I've done color separation on separate plates, reduction and on hand colored plates. Though I still prefer to work with monotones. I've mainly worked with speedball inks, simply because I didn't't know of any others till I met the peer I mentioned above. Now I use speedball; I prefer the oil base over the water base, it handles better, covers better and the color is richer, use it straight from the tube NO ADDITIVES. When I'm doing very fine work that I want to have a lasting quality I use Daniel Smith litho inks. The color is yummy; the texture is luscious and clean up is a snap with cooking oil and orange cleaner or alcohol. I do amend them, I can't remember what the additive is, I'll have to look it up when I get home. I learned to use it from a friend and I've had my first can for years as a little goes a long way. Unused Daniel Smith inks will also last forever with out drying out if you keep the skin...I also stumbled on using acrylic paints when I was researching something nontoxic and inexpensive for teaching children. They work great straight from the tube. Immediate cleanup is necessary though and they dry VERY quickly. The higher grade the paint is, the better the pigmentation. I prefer to use Japanese papers as they are strong, durable, flexible, and you don't need to soak them. I have an antique newspaper proofing press (Challenge), but I still prefer a baren and rice paddle and never have to worry about warpage, so the press has become a towel storage surface until I feel like doing a monoprint... Well! I think that was more than enough. I will be lurking, and post only if I have anything to add or if I run into any obstacles one of you may have more experience in overcoming. Nice Meetin' Ya'll Patti Phare-Camp ------------------------------ From: ArtfulCarol@aol.com Date: Mon, 25 Mar 2002 15:30:22 EST Subject: [Baren 17680] Re: Invitation to a hanging In a message dated 3/25/02 2:54:36 PM Eastern Standard Time, april@aprilvollmer.com writes: << www.aprilvollmer.com >> April. Congratulations! Viewed your Virtual gallery and it is all stunning. "Here, Now" is especially magical. "Generation" a beauty. Carol ------------------------------ From: "PHARE-CAMP,PATTI (HP-USA,ex1)" Date: Mon, 25 Mar 2002 12:42:18 -0800 Subject: [Baren 17681] Graphic Arts I am having such a great time exploring your web pages! It's a miracle I can get any real work done... I love David Bull's page and I will experiment with the techniques he demos, as I am very intrigued with the process. I also love reading about the different techniques you all use to complete steps in the same medium...so many paths to the same place! How exciting to explore these new waters! I've been thinking about the statement from David Bull that he is not an artist...David yes you are, you are a traditional graphic artist, what my mentors would call a master printer. Before the computer, artists who wanted to reproduce a work for mass market would go to a master printer to do the work, be it serigraph, etching, lithograph or woodcut. Do you think Dali actually printed all of his prints, some, he often worked hand in hand with a trusted master printer though. Why would a great artist go to a master printer if he or she were not an artist, someone with a practiced touch in printing consistent reproductions. There are still artists who seek out master printers (those with integrity, I have very strong opinions about offset fine art prints!) The graphic arts these days have become confused with commercial art There was a time when that line actually was blurred and master printers earned their bread and butter producing posters, stationary and other marketing materials for vendors. Even many of today's fine artists earn a living in commercial design. I did for years so I know it takes very little talent to click a mouse and have Photoshop create an effect. In these computer driven days the commercial arts involve very little craft. Heck you don't even have to know how to draw anymore! Nor are plates even burned. Now we go straight from computer to press. Not much craft in that! Fine artists with integrity and not a lot of printmaking skill still need true graphic artists. To this day several of my mentors are still reproducing true limited edition fine art prints for other artists. David I admire that you are reproducing ancient master works. It takes great skill and craftsmanship to do so with honor and it is obvious, even on the computer, that you revere the great works. And thank you for such an informative web page! I know the tremendous amount of time it takes to publish and maintain such a high quality web site, I respect your efforts. Patti P-C ------------------------------ From: Graham Date: Mon, 25 Mar 2002 13:14:46 -0800 Subject: [Baren 17682] Re: Hello from a new subscriber And greeting back to you. You will enjoy the group. >Greetings: I signed up last week for the lists, "After 5" and "Baren." >Since I'm using a computer at work I've signed up for a daily update rather >than the instant message. I may change my mind later. I have to say I'm >intrigued. So many woodcut/block printers in one place! I don't run into >my peers so often where I live. It's only just recently becoming a >respected here. With the exception of Japan where I know the craft is still >highly revered how about the rest of you? > Working the fingers to the bone as they say. Graham/Sidney BC A Island in the Pacific Home of the Boot Camp http://woodblock.info ------------------------------ From: "kate courchaine" Date: Mon, 25 Mar 2002 21:50:59 Subject: [Baren 17683] Studio Lighting: Incandesant vs Halogen Hi! Has any one out there used halogen track lighting in their studio or gallery space? If so, did you like it. Incandesant looks good, but halogen uses less electricity and I am wondering if the light works out for displaying art or studio work. It seems like it may be a little blue. Any thoughts on lighting? Kate katecourchaine@hotmail.com ------------------------------ From: Charles Morgan Date: Mon, 25 Mar 2002 14:22:49 -0800 Subject: [Baren 17684] lighting Kate, We just did a major renovation on an old house, and in the process, we put in a large studio. Of course, now it does not seem to be so large since I have to share it with my sweetie!!! Anyway, we opted for florescent fixtures, in part because the lighting is much more economical, and in part because there are a wide variety of fixtures available. We found some nice wood-box-type fixtures that look vaguely oriental and installed them on the 8 ft high ceiling. You can get a wide range of bulb types, in terms of the spectrum of light emitted. We chose solar spectrum, which is of course the most expensive in terms of bulbs. But now we have LOTS of light any time of day, any weather conditions. The light is flat, without bright and dull patches, and there is no noticeable color shift when viewing paintings, prints, fabrics, inks, or whatever. Two colors that look alike in the studio will still look alike outside in the sun. Florescent lighting is cheaper per lumen, and emits less heat, than halogen. The down side is that there is some hum from the ballast in the fixtures. But the hum from our fixtures does not bother either myself or my partner. Just our experience .... We are not running a gallery, so the idea of being able to use track lighting to spotlight a particular work was of no concern. Maybe in a gallery, you would be more concerned with the directional aspect of your lighting fixtures. Good luck! Cheers ....... Charles >Hi! >Has any one out there used halogen track lighting in their studio or gallery >space? If so, did you like it. Incandesant looks good, but halogen uses >less electricity and I am wondering if the light works out for displaying >art or studio work. It seems like it may be a little blue. Any thoughts on >lighting? > > >Kate >katecourchaine@hotmail.com > ------------------------------ From: "Lee and Barbara Mason" Date: Mon, 25 Mar 2002 14:41:26 -0800 Subject: [Baren 17685] Re: Studio Lighting: Incandesant vs Halogen > Has any one out there used halogen track lighting in their studio or gallery > space? If so, did you like it. Incandesant looks good, but halogen uses > less electricity and I am wondering if the light works out for displaying > art or studio work. It seems like it may be a little blue. Any thoughts on > lighting? > Kate, Haolgen lights are the way to go, they give you spots of light, lots of directable lighting where regular lights don't seem to go out to the wall. You can get help at a local lighting store. The systems are not cheap but worth it in the end. Be sure to wear cotton gloves when you change the lights, do not get your fingers on the lights as the oil from your hands will cause a hot spot on the silver part and make it wear out faster. Write the date on the light with a sharpie pen and if they do not last the amount of time advertised, take them back. We have done this successfully in the gallery where they are on all the time. If they do not let you take them back, find another source to buy them. We get some mail order but I am unsure where. If you need me to I will find out. Best to you, Barbara ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Mon, 25 Mar 2002 16:51:34 -0600 Subject: [Baren 17686] Re: Graphic Arts 03/25/2002 04:51:40 PM Welcome to Sirima, Maria, Patti P-C and all the other new members. Yes lots & lots to look at in the barenforum webpages....and when you get tired of that..... jump over to the members links (recently updated by Maria Arango) to have a peek at the members own pages and art work. Patti, let us know if there is a web site to view your work. Welcome onboard. Sirima, enjoyed very much your tree series & other work....wonderful b&w and such large size! Very interesting how your work is either very large or on the small. Where do you get linoleum in such large sizes ? Is that a custom order ? The price on Rives light seems very good ($1.75), here (Chicago) it runs about $2.19 & up. I pay $2.39 locally for Rives Heavy but it's only 20X27". Of course it is no substitute for the nice Yamaguchi hosho paper sold at the Baren-mall. April, congratulations on your upcoming exhibit, I have followed your crossover to digital-woodcut and I am amazed at some of your latest work. Hope to meet you in KC. Julio Rodriguez (Skokie, Illinois) ------------------------------ From: Mike Lyon Date: Mon, 25 Mar 2002 16:54:58 -0600 Subject: [Baren 17687] Re: lighting I have florescent -- daylight color, but I paid just a bit extra and got high frequency ballasts -- instead of flickering on and off 60 times per second (gives me a headache! -- like looking at the computer screen all day), mine run at 20,000 hertz. Nice glow. Regarding incandescent lights: the low and high voltage halogen variety were both too expensive for me -- I use the cheapest track fixtures (black socket and ring with common floods) they are more orange than daylight, but cost only about $15 per light and I can still aim them. Mike At 02:22 PM 3/25/2002 -0800, you wrote: >Kate, > >We just did a major renovation on an old house, and in the process, we put >in a large studio. Of course, now it does not seem to be so large since I >have to share it with my sweetie!!! Anyway, we opted for florescent >fixtures, in part because the lighting is much more economical, and in >part because there are a wide variety of fixtures available. We found some >nice wood-box-type fixtures that look vaguely oriental and installed them >on the 8 ft high ceiling. You can get a wide range of bulb types, in terms >of the spectrum of light emitted. We chose solar spectrum, which is of >course the most expensive in terms of bulbs. But now we have LOTS of light >any time of day, any weather conditions. The light is flat, without bright >and dull patches, and there is no noticeable color shift when viewing >paintings, prints, fabrics, inks, or whatever. Two colors that look alike >in the studio will still look alike outside in the sun. Florescent >lighting is cheaper per lumen, and emits less heat, than halogen. The down >side is that there is some hum from the ballast in the fixtures. But the >hum from our fixtures does not bother either myself or my partner. Just >our experience .... We are not running a gallery, so the idea of being >able to use track lighting to spotlight a particular work was of no >concern. Maybe in a gallery, you would be more concerned with the >directional aspect of your lighting fixtures. Good luck! > >Cheers ....... Charles Mike Lyon mailto:mikelyon@mlyon.com http://www.mlyon.com ------------------------------ End of Baren Digest V18 #1777 *****************************