Baren Digest Thursday, 5 December 2002 Volume 21 : Number 2050 ---------------------------------------------------------------------- From: G Wohlken Date: Wed, 04 Dec 2002 10:00:36 -0500 Subject: [Baren 20045] Book Presses for Printing When you people are speaking of book presses, do you mean nipping presses, or is the screw type press altogether different? I have a nipping press which has a wheel on top (like a steering wheel), that brings the top plate down to the bottom plate. Would this work? I have only used it in bookbinding. By the way, thank you for the information on colors to mix to get rich black ink and pigments. Gayle Ohio ------------------------------ From: "PHARE-CAMP,PATTI (HP-USA,ex1)" Date: Wed, 4 Dec 2002 10:47:02 -0500 Subject: [Baren 20046] RE: Baren Digest V21 #2049 Shimizu - san: loved your web page! It's very elegant. I find web pages with lots of animation, banners and stuff, stuff, stuff to sort through; to bothersome and I usually click on to other pages. Yours is what it is, uncomplicated, easy to navigate; I love the separate galleries. Now for the best part, the art; awesome stuff. My favorite is "Hong Kong Revisited." "Penny on the Bench" has so much character it made me chuckle aloud. I really enjoy your command of composition. Great stuff! Furry Press and Lyon Press: I haven't worked in hanga so I can't say for sure, but I think my experiments with rolling acrylic paints on my blocks just may be a melding of the oily and water worlds. You can overprint to your hearts delight, with exciting effects. I guess I'll have to start taking notes on my experiments with acrylic paints. The past few prints have been mostly successful, with some problem solving-as with any new medium-but most snags had quick solutions, though a few took more thought (more like fumbling). I'm really beginning to like this medium. It's very flexible and a variety of effects can be achieved, it's like having a whole studio in one tube (watercolor, watery inks, viscous inks, gouache, metallics, paint). Depending on the type of mixing mediums used; it dries quickly and stays dry (no traveling into other colors), layers beautifully, can be opaque or translucent, can be tacky or a wash. I haven't used 26 colors yet...that will have to wait till after final exams...NOT! Someone else can experiment with obsessive numbers of blox, I just don't possess that degree of patience. I'll start keeping a studio journal, prosperity and all that you know. Happy carving, Patti P-C ------------------------------ From: Charles Morgan Date: Wed, 04 Dec 2002 08:00:09 -0800 Subject: [Baren 20047] Re: Book Presses for Printing Yep, that is the kind of press I am talking about. Some have a wheel, and some have a cross bar with balls on the ends. Works great for lino. Also works for woodblock if the block is FLAT. Cheers .... Charles At 10:00 AM 12/4/02 -0500, you wrote: >When you people are speaking of book presses, do you mean nipping presses, >or is the screw type press altogether different? I have a nipping press >which has a wheel on top (like a steering wheel), that brings the top >plate down to the bottom plate. Would this work? I have only used it in >bookbinding. > >By the way, thank you for the information on colors to mix to get rich >black ink and pigments. > >Gayle >Ohio > > ------------------------------ From: "Maria Arango-Diener" Date: Wed, 4 Dec 2002 10:00:16 -0800 Subject: [Baren 20048] puzzle and wood Someone asked what is a puzzle? Not just _a_ puzzle, but THE Puzzle project is here: http://www.1000woodcuts.com/puzzle/project.html Now, let me put my rookie-hat on and ax a question: In preparing my 7456 blocks for this exchange 15, should I design with the grain of the wood running lengthwise to the design or across? I know Mike, I know, you just explained this a bit ago...gosh, we students jusss don lisssen. TIA <||><||><||><||><||><||> Maria Arango Las Vegas Nevada USA www.1000woodcuts.com <||><||><||><||><||><||> ------------------------------ From: Mike Lyon Date: Wed, 04 Dec 2002 12:32:24 -0600 Subject: [Baren 20049] Re: puzzle and wood At 10:00 AM 12/4/2002 -0800, you wrote: >Now, let me put my rookie-hat on and ax a question: >In preparing my 7456 blocks for this exchange 15, should I design with the >grain of the wood running lengthwise to the design or across? I know Mike, I >know, you just explained this a bit ago...gosh, we students jusss don >lisssen. I don't think I have explained this. But here's my two cents... Wood does not expand or contract along the grain but does expand and contract across the grain (different species have different coefficients of expansion, but as a practical matter, that rarely is a factor). Trees don't get taller or shorter as they get wetter and dryer, but they do get skinnier and fatter (I'm speculating here as I try to make an intelligible visualization). Like wood, washi also has a grain and expands and contracts more across the grain than with it. Western rag papers don't have much (if any) grain. If you're uncertain which way the grain runs, tear the washi in both directions. It will tear more easily with the grain than across it. For best registration the grain of the wood and the grain of the paper should both run parallel to the LONG dimension of the print. By the way, I think that 7,456 blocks the traditional number for a rookie moku-hanga printer -- that's the traditional way they have always taught the art, and the reason there are so few moku-hanga printers working today :-) - -- Mike Mike Lyon mailto:mikelyon#mlyon.com http://www.mlyon.com ------------------------------ From: "Maria Arango-Diener" Date: Wed, 4 Dec 2002 10:54:32 -0800 Subject: [Baren 20050] Re: puzzle and wood - -----Original Message----- By the way, I think that 7,456 blocks the traditional number for a rookie moku-hanga printer -- that's the traditional way they have always taught the art, and the reason there are so few moku-hanga printers working today :-) - -- Mike - ------------------------------- DON'T BOTHER ME, MAN!!!! I'M CARVING.... <||><||><||><||><||><||> Maria Arango Las Vegas Nevada USA www.1000woodcuts.com <||><||><||><||><||><||> ------------------------------ From: FurryPressII#aol.com Date: Wed, 4 Dec 2002 15:59:40 EST Subject: [Baren 20051] Re: puzzle and wood Western machine made paper does have a grain not as much I guess as eastern paper only hand made western paper has no grain. In western printing the grain does not matter as it is printed dry but in book binding the grain matters a great deal. Sort of like the blind man and the elephant both eastern and western style printers use the elephant but our out look is different. Anyone want a trunk, leg, tail or rough skin. here. It would seem that the inking is more difficult in eastern style printing thus those with that out look value it more. In western wood cut tradition the cutting is more important. But western printing has as many variables as eastern printing plus there are many ways to over come build up of it if that bothers you. But to me that is an esthetic question. You could print a "flat" of transparent base or add stuff to the ink to take away the gloss of ink build up. The reason western printing uses oil based ink and eastern relief printing doesn't has little to do with the relief printing but because of how type was printed. In western printing the use of lead type required the use of oil based ink as water based ink would not work on lead. And eastern books were printed with wood blocks up until the modern period as it was easier to cut a page out of a wood block than to have thousands of sept wood blocks for movable type. Commerical printing in both the west and east was not that different from art printing in 1800 but is greatly differernt now so the connection may seam to be lost to the average viewer. john center ------------------------------ From: Cucamongie#aol.com Date: Wed, 04 Dec 2002 18:55:15 -0500 Subject: [Baren 20052] Lynita's website Hi all. Lynita, love seeing your website and all your lovely work, including of course, the delightful prints you made of Penny! Bravo! best wishes Sarah ------------------------------ From: Mike Lyon Date: Wed, 04 Dec 2002 18:47:58 -0600 Subject: [Baren 20053] EXCHANGE 14a Gallery -- WOW !! Hey everybody!! Marilynn Smith's Exchange 14a (salon de refuse from Exchange 14) is now available for viewing in the exchange gallery at http://www.barenforum.org/exchange/exchanges.html Take a look -- there are some TERRIFIC prints up there! And for SpeedBall Ink nay-sayers-- check out Dan Dew's Speed Ball tour-de-force -- it'll make believers of us all -- very beautiful print in person, too! - -- Mike Mike Lyon mailto:mikelyon#mlyon.com http://www.mlyon.com ------------------------------ From: "April Vollmer" Date: Wed, 4 Dec 2002 20:08:00 -0500 Subject: [Baren 20054] Miniature Print Call Dear All, I just got this notice from the Center for Contemporary Printmaking in CT. It's a great place for prints, and Susan Rostow and I helped them with their fundraiser Monothon recently. I put some pics up at http://www.aprilvollmer.com/monothon/ if anyone wants to see what the place is like. best, April www.aprilvollmer.com CALL FOR ENTRIES International Miniature Print Exhibition Juror: Reba White Williams, Ph.D. President, The Print Research Foundation send for prospectus Center For Contemporary Printmaking 299 West Avenue, Matthews Park Norwalk, CT 06850 USA Contemprints#snet.net Deadline for entries February 1, 2003 ------------------------------ End of Baren Digest V21 #2050 *****************************