Baren Digest              Friday, 20 December 2002      Volume 21 : Number 2066


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

From: "Elizabeth B. Atwood" <elizuno#midcoast.com>
Date: Thu, 19 Dec 2002 17:00:24 -0500
Subject: [Baren 20174] Lucky, lucky 

I am one of the very lucky ones..........I have received the "Old Goat"
print in good shape....glue sturdy.  (I kinda suspect that there are some
print appreciators in the Postal service.) What a great print it is!

Soooooo far, Center, Leaf, Turner and Hauser have arrived with their
wonderful wooly presentations. Now to get busy on my block............ElizA



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

From: G Wohlken <blueman#pantek.com>
Date: Thu, 19 Dec 2002 17:07:08 -0500
Subject: [Baren 20175] Hanga Registration and Kentos 

I think my way of printing onto succeeding blocks is Maria's way.  But 
you hanga experienced people don't think we could put the carved guide 
board (which will  have been rolled up with black oil based ink) into 
the el shaped registration jig, then print that image  onto paper that 
has been taped down the left hand side of the registration board, and 
leave that paper taped down there after it is printed so we can print 
the image (which is now on that paper) onto each of the other boards 
that will be needed for the print we will be doing,  then afterward  
switch to hanga mode (after these new boards are carved) and print them 
all from then on in the hanga way?  We could still carve kentos into 
that first board and they would then be printed onto the succeeding 
boards. What would not work about this?  

I'm  familiar with this method of putting the image onto all the boards 
in this way and if I could do it for this project,  it would take some 
of the fear factor out of it.  For you who do it all the time, sure it's 
a snap, but think of us who are so new to this.  One session in Boot 
Camp doesn't make you an expert at all because you are handling so many 
new ideas at once.  It seems with hanga  there are  many variables and 
the paper is expensive and I don't want to waste $bucks$ on that mess I 
feel I am sure to make.  The idea of pasting something down (I aways end 
up with paste all over me, too!) and then rubbing it off to  " just so" 
without taking the whole thing off just seems like more nervous-making 
work than there would have to be.  I also don't like transferring using 
solvents (which is another viable way).  I have asthma which is set off 
easily and I prefer not to use anything like that near me.  

To summarize, I guess all I'm asking is WHY wouldn't it work to put the 
images on in the oily way, carve, then print the hanga way.  

I really like the idea of a kento jig, too.  I bought one a few years 
ago made by Matt Brown but it's the wrong size (much too small)  for 
this project.

Gayle      





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

From: Sharri LaPierre <Barebonesart#attbi.com>
Date: Thu, 19 Dec 2002 14:24:16 -0800
Subject: [Baren 20176] Re: Baren Digest V21 #2065 

Wowie Keflowie! After reading of everyone's Hanga problems I am not 
attempting anything until I get to Oz.

Sharri


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

From: "Maria Diener (aka Arango)" <maria#mariarango.com>
Date: Thu, 19 Dec 2002 14:28:00 -0800
Subject: [Baren 20177] RE: Registration and Puzzle

Gayle, I think I can see one little flaw in our method, which is why I chose
the transfer instead. If you oil-up your key block with ink, chances are it
later won't accept waterbased pigment. I'm told one of the key factors in
successful printing in hanga is to saturate the block with
moisture/pigment/paste just so. If your lines are sealed by the oil (which
will penetrate the wood and stay) then you won't be able to saturate that
baby with watery stuff.
Just a thought!

I acquired some wintergreen oil from my pharmacy and have used it to
transfer. It works excellent. But I'm still sold on the lacquer thinner
transfers, I figured one sniff every 2 years or so won't kill me any sooner
than the fumes of the city.

Okay, now for THE PUZZLE UPDATE everyone has not been waiting forrrrrr....
I finished cutting the block yesterday and lovingly buffed each piece today,
all 44 of them, after which they were marked and carefully wrapped in bubble
wrap-p-p-p-p (man, it's fun to pop that stuff). I just now finished input of
mail addresses in my very-loved-time-saving Stamps.com address book. They
will be mailed tomorrow by standard USPS. Even our non US friends should get
their blocks by the first week of January at the very latest (counting on
inevitable mail delays this time of year). I will not know who gets what
block, so I will count on each participant to mail me at
gottheblastedthing#mariarango.com when you receive it and tell me  the magic
number on the back of your block. This way I can keep track and prepare for
replacements if such a dire event were to happen.

I will update the web page sometime later today and post the instructions
which will also be included with your block. Some of you will be happier
than others, guaranteed, but just remember that any composition can fit into
any shape. And, dangit, we're artists! Think outside the box for sure, heh
heh heh.
I will ask that everyone sign the back of their block with a magic marker.
This instruction too will be along with your block.

Now I better get to MEGA PROJECT NUMBER 549587322, which is the moku-hanga
thing. And yes, Linda dear, I'm shaking in my boots. Seriously considering a
humidifier.

Maria

<||><||><||><||><||><||>
     Maria Arango
  Las Vegas Nevada USA
  www.1000woodcuts.com
<||><||><||><||><||><||>



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

From: Aqua4tis#aol.com
Date: Thu, 19 Dec 2002 17:55:49 EST
Subject: [Baren 20178] Re: Registration and Puzzle 



lolol  maria  you made my day    i love your address
gottheblastedthing#mariarango.com too funny   ill look forward to getting my block
merry christmas
georga
ps
   an extra thank you to you for all the help youve given me   its much 
appreciated
:-)


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

From: "Carole Baker" <caroleb#gustavus.ak.us>
Date: Thu, 19 Dec 2002 23:31:15 -0900
Subject: [Baren 20179] Re:   Baren Digest V21 #2065 

In response to Gayle's posting:

 as an alternative to the hanshita paste down, here's the way I do it.

First I cut my "key block"  (which since I usually don't use very many lines
the key block is the block with the most things adjacent to other things in
the print) I also cut the ditch around the image and the  kento marks.  In
this first block, I  carve a line around the edges of the image not included
in that block which will be cut off after the other blocks are cut.

Next, I roll oil base ink onto the carved block including the 2 kento marks.
Then print onto a good stiff  "vellum" tracing paper, or better yet, the
frosty side of a sheet of mylar...using a baren.

Off set this image including the edges of the kento marks to your 2nd block.
Repeat for other blocks, re rolling on oily ink and printing on a new piece
of tracing paper for each block.  I number each block and tracing sheet and
save.

I clean the ink off of the "key block" with paint thinner and use some
whiting (I think thats the same thing as talc) on the new blocks which dries
the ink so I can start carving immediately.  I make sure the kento marks are
well printed onto the wood, and that there was no shifting of the tracing
paper when I printed it.

After the other blocks are carved, I clean them off with paint thinner and
proof.

At times I might have to use one of these other blocks as a key for yet
another  block  or another area of one already cut...inking and off setting
as before...making sure to proof before this second key block is printed to
other blocks.

When I proof,  if there is some problem in registration  (and there usually
is) it is probably because my kentos weren't cut quite right.  Thankyou
Barbara for the suggestion of a cheap chisel from the hardware store as the
flat chisel I use just isn't wide enough .

So, if the registration is off,  I take the saved tracing paper prints  ,
and very exactly trim off the kento marks printed on to them and lay the
paper onto the block over the image and if the corner and other kento mark
don't line up, re cut the kentos.

There is a little bit of  oily ink left after cleaning the blocks, but after
a few proofs, doesn't show up on the prints.  I think it actually helps seal
the wood somewhat.  I've considered cleaning with cooking oil as I do my
roller, but am afraid it might affect the printing.

I was taught to trim the top  and side edge off of the wood also.  I think
this was because the edge was cut with a saw and therefore rough, or more
apt to be dinged up some.  Or in my case, maybe so it will  be crooked like
the other two sides I cut.

I discovered a great tool when i was laying out my key block for the #15
exchange. ..a quilters ruler.  They are flat clear plastic and ruled in 1/8
inches both ways...just the inch lines go all the way across.  One of mine
is 6x24, the other 5x 14...makes getting the kento marks straight with the
edge of the image a snap, good for the mathematically challenged.

Hope this helps.

Carole Baker
Gustavus Alaska


> Ohio


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

End of Baren Digest V21 #2066
*****************************