Baren Digest              Thursday, 3 October 2002      Volume 21 : Number 1981


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

From: Julio.Rodriguez#walgreens.com
Date: Wed, 2 Oct 2002 17:11:20 -0500
Subject: [Baren 19401] Re: Hanga Design 10/02/2002 05:15:23 PM 

Welcome to Carol M. and Brenda. Please let us know more about your work and
background.

One more challenge with hanga came to mind. I was always very impressed (no
pun) with how
deep some of the blacks are in traditional prints.  For example, the large
works by Hiratsuka have lot of big black
areas which are really well done. I was not very successful at getting good
coverage on my initial tries.

It was after reading thru some of the baren encyclopedia and books that I
discovered that such works required multiple impressions....in the case of
Hiratsuka...as many as 10-15 to get those really deep blacks!!!!

Usually large areas of color will require at least a second pass. Once
again many variables come into play...baren quality,
paper, expertise...etc.

Coverage wise, I think in the western style...the oil ink sits on top of
the paper. In hanga the pigment gets abosrbed into the paper..thus the
characteristic bleedthru on the backside of the japanese papers.

thanks..Julio




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

From: Sharri LaPierre <Barebonesart#attbi.com>
Date: Wed, 2 Oct 2002 15:54:40 -0700
Subject: [Baren 19402] Re: Baren Digest V21 #1978 

Yeah, Dan - but think of what they could look like with good ink!!! If 
they look this good with Speedball, what would they look like with 
Gamblin or Graphic Chem?

I tend to disagree with Mike (I think it was Mike) who said everything 
shows up with the waterbased - well, sort of, but I find that oil base 
inks print crisper and more precisely than the waterbased.  The oil inks 
are more forgiving if you over ink, and you can always blot with paper 
towel.  Those evil cutting mistakes show up with any kind of ink - or at 
least they do for me :-)

Oooops, I think I said I'd shut-up about this issue after I vented.
Sharri


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

From: "lmhtwb" <lmhtwb#prodigy.net>
Date: Wed, 2 Oct 2002 16:19:08 -0700
Subject: [Baren 19403] Hanga Paper 
>From Julio:


> Coverage wise, I think in the western style...the oil ink sits on top of
> the paper. In hanga the pigment gets abosrbed into the paper..thus the
> characteristic bleedthru on the backside of the japanese papers.


Thanks for bringing this up.  I was going to ask this later, as in when I
get closer to printing, but why wait?!

I understand that it's the sizing which in part controls the absorption of
the pigment, at least when the paper is untouched.  But, after doing
serveral impressions, hasn't all the moisture disolved the sizing?  Or to
put it another way -- if you start out with a sized paper, will it still be
sized by the time the edition is done?

How big is the difference in printing between sized and unsized?  Should a
beginner used sized papers to learn on?

BTW, why am I the only beginner asking questions?  I'm feeling a bit dumb
and lonely here.  Hahaha.

Linda


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

From: "Maria Arango" <maria#mariarango.com>
Date: Wed, 2 Oct 2002 16:40:26 -0700
Subject: [Baren 19404] beginner 

You are not alone, Linda! BTW, thanks for the very interesting
softwood/hardwood thing, that was quite impressive for someone wearing
camouflage pants (as we speak, am I right?).
Anyhow, I asked a lot of dumb questions too once upon a time and then I
downloaded and read every book in the Baren Encyclopedia. Then I got to the
part where it said that the paper had to be kept damp throughout the
printing process and I am still (laughing and) wondering how the heck I'm
going to do that. So I crawled back into my oily pot and now I'm softly
cursing myself for having signed up. But, hey! a challenge is a challenge
and I am up to the task even if I have to rig a humidifier in my studio.

Maria

PS  Oh, and I don't have anything against camouflage pants!
<><><><><><><><><><><><><><>
Maria Arango
Las Vegas, Nevada, USA
http://www.1000woodcuts.com
maria#mariarango.com
<><><><><><><><><><><><><><>


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

From: "lmhtwb" <lmhtwb#prodigy.net>
Date: Wed, 2 Oct 2002 17:27:01 -0700
Subject: [Baren 19405] Re: beginner 

Yo Woman (that's Maria to the rest of the list),


> You are not alone, Linda! BTW, thanks for the very interesting
> softwood/hardwood thing, that was quite impressive for someone wearing
> camouflage pants (as we speak, am I right?).


Hmph!!  I think I resent the implication that just because someone wears
camouflage, he/she can be intelligent.  And just for the record, I'm still
wearing shorts!  It's not cold enough for pants yet.


> Then I got to the
> part where it said that the paper had to be kept damp throughout the
> printing process and I am still (laughing and) wondering how the heck I'm
> going to do that.


Actually, I have foolishly begun to believe (and I don't want to hear
otherwise!) that keeping the paper moist isn't going to be that much of a
problem, since I figure I'll over moisten the block everytime.  Planned
mistakes can lead to other solutions!

Linda,
thinking how nice the Remington does go with desert camo


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

From: FurryPressII#aol.com
Date: Wed, 2 Oct 2002 20:40:13 EDT
Subject: [Baren 19406] Re: Hardwood / softwood question:  LONG BORING Answer 

JUST CALL ME KUNNEY LEMAL   (WOODEN HEAD)
JOHN

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

From: pulpfic#sunshinecable.com
Date: Wed, 02 Oct 2002 19:53:19 -0700
Subject: [Baren 19407] Re: Speedball inks 

Barbara wrote:

> The colors are very limited and the inks are not highly
>pigmented. This leaves a lot to be desired for most artists. However, I like
>these inks and certainly use them a lot with good results. I admit it do not
>use them in the work I exhibit as I desire more colors and work with very
>transparent inks. Speedball will not hold up to either of these criteria. 


I get all the colours I'm after just by mixing the basics and and a few
secondaries. I use a Lot of the Transparent Extender, as transparent is
Mostly what I want.

By doing most of my printing in the winter months, I find there is enough
humidity in the house to keep the rolled-out inks open for a sufficient
time. Summer printing is more frustrating than it's worth, though, but I
have Many other things to be doing then, anyway.

All best,
        Randi


- -- 
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * 
Randi DeLisle - papermaker, bookbinder & publisher
                pulp fictions & pulp fictions press
Grand Forks BC  Canada    pulpfic#sunshinecable.com
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *


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

End of Baren Digest V21 #1981
*****************************