Baren Digest               Tuesday, 30 April 2002       Volume 19 : Number 1814


----------------------------------------------------------------------

From: Cucamongie@aol.com
Date: Mon, 29 Apr 2002 09:55:49 EDT
Subject: [Baren 17982] methyl cellulose 



Kat, once I mix my methyl cellulose I store it in the refridgerator when not 
in use to keep it fresh.  I have never had it go moldy yet-
best wishes
Sarah


------------------------------

From: Charles Morgan <cmorgan@uvic.ca>
Date: Mon, 29 Apr 2002 07:16:39 -0700
Subject: [Baren 17983] John Ryrie exhibition 

Hello John,

I really liked your show. As with other artists I like, you manage to 
capture the "bones" of your subjects without trying to be photographic 
about it. It is not exactly realism, but it is not "abstract" at all. I 
suppose part of being a good artist is learning what to leave out, and 
learning what to exaggerate. I really liked the toes on "my own garden" (is 
that the right title ... I have forgotten what it is like to have a good 
memory!) Some of your etchings look like they could have been woodblock 
prints, such as the introductory piece "Transition". The description says 
it is etching, steel and copper. I suppose it took several plates. I would 
really appreciate it if you could describe the process.

First, did you use standard acid etch, or did you use Bordeaux etch, or did 
you use electro etch, or some other process? I am particularly interested 
in how you did the steel.

How many plates did it take. Did you do some sort of reduction technique, 
or did you use all separate plates?

Why use both steel and copper? Why not use all steel or all copper?

How did you get such good registration?

I presume the large color areas (as opposed to the lines) were printed as 
relief rather than intaglio. Did you really etch away all of the other 
areas? ... just mask off the other areas when inking?

What sort of inks did you use for the relief printing?

Why did you choose etching as opposed to woodblock for this print?

Anyway, let me say again that I liked your stuff a lot.

Cheers ...... Charles

------------------------------

From: Myron Turner <mturner@Ms.UManitoba.CA>
Date: Mon, 29 Apr 2002 10:21:19 -0500
Subject: [Baren 17984] Wall paper printing 

Michael,

Have you anything to report about solutions to printing wall paper on your 
special press?

Myron


------------------------------

From: "PHARE-CAMP,PATTI (HP-USA,ex1)" <patricia_phare-camp@hp.com>
Date: Mon, 29 Apr 2002 09:28:02 -0700
Subject: [Baren 17985] Graphite 

The use of pencil dust or graphite paper is ok, if you don't have issues
with resists...Though not so important with woodcuts,  graphite can be oily
and create a resist with water based pigments or in the case of litho you
may get an oil based pigment attraction where you don't want one.   I tend
to be very practical, especially since I spend extra money on good pigments
and papers, so where ever I can save money and use items for more than one
application I do so.  That's why I love using the conte/pastel to make my
own transfer paper. 

There is another method I've used in the past to transfer photocopies to
wood.  I would lay the copy face down on the wood then dampen a paint brush
with acetone (just barely damp) then lightly rub the back of the photocopy,
gently lift a corner and if necessary run the brush over the back again.
The image will transfer beautifully, as long as you don't soak it.  Of
course you need good ventilation when doing this and definitely wear gloves
as acetone absorbs through the pores.  I don't do this so often anymore as
1-I'm trying avoid toxics and 2-the newer toners don't always transfer this
way.  But if you have access to an older copier machine, give it a try and
don't forget to put registration marks on the original before you copy it!

Patti Phare-Camp

------------------------------

From: Cucamongie@aol.com
Date: Mon, 29 Apr 2002 20:47:44 -0400
Subject: [Baren 17986] solarplate in NYC area 

sorry for reposting about this, but... we're looking for a few more folks to 
take a solarplate printmaking workshop which will be this Saturday and Sunday 
at Karen Fitzgerald's studio in LIC near New York City, taught by master printmaker 
Dan Welden.  It's a relatively simple, less toxic method of producing plates which 
can look like etchings, lithography, photogravure, etc. - If you're interested, 
email me offlist - Cucamongie@aol.com, and I'll give you the full rundown.
Sarah

------------------------------

End of Baren Digest V19 #1814
*****************************