Baren Digest Tuesday, 4 February 2003 Volume 22 : Number 2117 ---------------------------------------------------------------------- From: "Jeanne N. Chase" Date: Mon, 3 Feb 2003 10:19:52 -0500 Subject: [Baren 20613] Re: Baren Digest V22 #2115 Jean Any way we can see your latest hanga project, the one with the six blocks. I am an admirer of the hanga process (especially since I am a failure at this type of printing) and would love to examine a good print done this way. Regards Jeanne N. ------------------------------ From: GraphChem#aol.com Date: Mon, 3 Feb 2003 10:19:46 EST Subject: [Baren 20614] Re: Ink cleanup Try Invisible Glove (used to be called Pro-Tek). I've experimented with most of the barrier creams available, and find this one to work better than others. Additionally, if you use The Masters Hand Soap when cleaning up, you have an unbeatable combination. Doesn't matter if you're working with water based or oil. Both work extremely well on their own, but in combination, you won't find a better wat to clean up. Not so amazingly, both products are available from Graphic Chemical & Ink. Dean ------------------------------ From: "Maria Diener (aka Arango)" Date: Mon, 3 Feb 2003 08:07:00 -0800 Subject: [Baren 20615] Re: Ink cleanup Agree with using the cream/glove products. I used to use them when I mixed enamels and lacquers (and polyurethane enamels and other nasty things) back in my body shop supply store days. My job was custom color matching for spot repairs on repaired vehicles. For that, you have to begin by placing a finger dab on the vehicle/part itself to see where you are going with the paint. Once the dab is close enough, then I adjusted the tints and sprayed a metal piece for the final perfect match. The point of all this being that I was elbow deep in automotive paints and there isn't an artist material that comes close in terms of penetration of skin or permanence of staining. So we wore the chemical barrier cream/glove stuff, pretty much up to my elbows. I went home clean and spiffy daily after about 30 custom color matching jobs. For those of you that wonder about my brain, yes, I wore chemical charcoal mask too, although some people still wonder...:-) Cleanup now is a breeze and I guess after a while I do get less stuff on myself. After an oil based print, all I have are few spots usually from the cleanup part. Orange automotive clean up stuff is all I use, followed by the discovery of the century: liquid Lava soap. The orange stuff comes in a bottle with a spout and sits in the studio until empty, no water required, just rub and rinse. It is available at any auto supply store, home supply store, grocery store or your nearest Walmart. For the occasional fingernail cleanup I use a plastic brush with the orange stuff smeared on it. As for hanga cleanup...I repeat my comment: WHAT CLEANUP? Just lick the rice paste off your fingers and you're good to go, don't forget to add sugar. Maria <||><||><||><||><||><||> Maria Arango Las Vegas Nevada USA www.1000woodcuts.com <||><||><||><||><||><||> ------------------------------ From: Myron Turner Date: Mon, 03 Feb 2003 21:10:47 -0600 Subject: [Baren 20616] Apropos politics and art Apropos politics and art: I heard a news item this afternoon about someone named Knox, somewhere in the U.S., who is administering a poster or print competition for students. I was working at the studio and by the time I realized what was being said, it had gone by too quickly for me to gather in all of the details. But apparently this Knox has excluded Canadian students from his "international" competition because he disagrees with the Canadian government's stand on Iraq and a teacher who was being interviewed was saying that she'd have to hold a session with her kids in order to air the issue with them. What is the Canadian stand on Iraq? Very moderate. It's not that of the U.S. But it's certainly not that of Germany or France. Myron Turner ------------------------------ From: Cucamongie#aol.com Date: Mon, 03 Feb 2003 22:18:16 -0500 Subject: [Baren 20617] "fine print" question Hi folks, I recently received this email, I'm assuming that this is a sleazy operation whereby they make endless machine-made copies of your handmade prints. Anyone else heard of this operation? Of course their website doesn't even really tell what they do. here's the email they sent me. Subj: Fine Art Print Publishers Date: 2/2/2003 6:11:31 AM Eastern Standard Time From: Larry Winters To: Sent from the Internet (Details) I came across your Artwork at www.sarahhauser.womanmade.net and feel that your art would be ideally suited for the Fine Art Print Market. The Royalty Print market is extremely profitable, and we can get your work seen by over 750 publishers. Please click below for more information. http://www.sponsoranartist.com/publish.htm ------------------------------ From: michael schneider Date: Tue, 04 Feb 2003 11:02:09 +0100 Subject: [Baren 20618] Re: Apropos politics and art No matter what the position of Canada is in that matter, the behaviour of the teacher/ artist tells more about bigotry than about the how printmakers should deal with politics in art. Unfortunately such stupidity occurs again and again in places where there should be exactly the opposite to expect. I remind on the Iraqi filmmaker who was not allowed to attend a film festival in the US, a Palestinian film that was not allowed on the academy award entry list, etc.. In most cases it can be assumed that artist represent a critical and open minded part of the public in their respective community. Especially in times of crisis and political friction, it is vital to lend an ear to artist from home and abroad. It is difficult to make oneself being heard in public but when even artists deny their colleges a opportunity for a dialogue, we ourselves leave opinion making to politicians and the press alone. I would like to emphasize, how important and useful the printmaking biennials in the former communist countries have been in promoting contacts between artists, exchange of information and mutual support. This was a forum to build trust, establish personal ties and create understanding that helped in many ways to overcome friction's that had been created trough politicians. Michael Myron Turner wrote: > Apropos politics and art: I heard a news item this afternoon about > someone named Knox, somewhere in the U.S., who is administering a > poster or print competition for students. I was working at the studio > and by the time I realized what was being said, it had gone by too > quickly for me to gather in all of the details. But apparently this > Knox has excluded Canadian students from his "international" > competition because he disagrees with the Canadian government's stand > on Iraq and a teacher who was being interviewed was saying that she'd > have to hold a session with her kids in order to air the issue with them. > > What is the Canadian stand on Iraq? Very moderate. It's not that of > the U.S. But it's certainly not that of Germany or France. > > > Myron Turner > > > ------------------------------ From: "Ignasi Serrahima" Date: Tue, 04 Feb 2003 11:26:40 +0100 Subject: [Baren 20619] Water-based paint Hello, Here goes my first question to the forum (and sorry if it's a pretty basic one)... I use water-based paint in my prints, and it works fine for me when I have to print solid colours. But I have trouble with fadings; if I try to dilute the pigment, the texture becomes irregular and patchy, with little droplets and bubbles forming on the block surface. So lately I have been using white paint, so that it's easier to go from, say, dark blue to white in a more or less smooth pattern. Works OK, but the problem is that I hate white paint! Probably because I've always liked watercolour painting, I like the paper to shine through instead of smudging it in white... And the thing is, I don't know what the rice paste is really for and if it is usable with the type of paint that I use, or it's just good for Japanese pigments... I don't know if I make any sense, but I would like to know what your thoughts are on this. Thank you very much! Ignasi Madrid (Spain) ------------------------------ From: michael schneider Date: Tue, 04 Feb 2003 11:52:49 +0100 Subject: [Baren 20620] Re: Water-based paint Hello Ignasi, the rice paste is holding the function of a binder. Usually when making a Bokashi (fading) you dilute the pigment not only with water. but also with rice paste. This makes the process more controllable. The rule is the more water the greater the unpredictability. The rice paste also creates a more even surface of the ink. I sometimes use starch glue instead and it works fine for me. When using the rice paste, you have to take care of the consistence. Dilute the paste with hand warm water, until it not sticky anymore, but drops still stay on the board. Be careful not to use too much because this can clot the block. Good luck, Michael Vienna Ignasi Serrahima wrote: > Hello, > > Here goes my first question to the forum (and sorry if it's a pretty > basic one)... > > I use water-based paint in my prints, and it works fine for me when I > have to print solid colours. But I have trouble with fadings; if I try > to dilute the pigment, the texture becomes irregular and patchy, with > little droplets and bubbles forming on the block surface. So lately I > have been using white paint, so that it's easier to go from, say, dark > blue to white in a more or less smooth pattern. Works OK, but the > problem is that I hate white paint! Probably because I've always liked > watercolour painting, I like the paper to shine through instead of > smudging it in white... > > And the thing is, I don't know what the rice paste is really for and > if it is usable with the type of paint that I use, or it's just good > for Japanese pigments... I don't know if I make any sense, but I would > like to know what your thoughts are on this. > > Thank you very much! > Ignasi > Madrid (Spain) ------------------------------ From: =?iso-8859-1?q?Melissa-unjaded?= Date: Tue, 4 Feb 2003 12:38:16 +0000 (GMT) Subject: [Baren 20621] Re: Water-based paint > And the thing is, I don't know what the rice paste > is really for and if it > is usable with the type of paint that I use, or it's > just good for Japanese > pigments... I don't know if I make any sense, but I > would like to know what > your thoughts are on this. there is a wonderful book that came out at the end of 2001 by Rebecca Salter. i was fortunate enough to be part of one of her workshops. she works completly with the japanese method of printing. Will send you the isbn number if you are intrested, or could photocopy the relevent bits and send them to you? do email me if you are interested? melissa jade ------------------------------ From: =?iso-8859-1?q?Melissa-unjaded?= Date: Tue, 4 Feb 2003 12:43:43 +0000 (GMT) Subject: [Baren 20622] Re: Ink cleanup hi im new so this may have already been suggested, but two methods i have found good for cleaning up ink is. soap and sugar/sand/ground oats/rice flour for cleaning plates use plain cooking oil and then take the last oily residue off with white spirit/turps. I am working on some recipies for all natural barrier cream and hand scrub at the moment. Will post the recipies soon if anyone is interested?? melissa jade xx ------------------------------- From: rhudson#together.net Date: Tue, 4 Feb 2003 11:08:57 -0800 (PST) Subject: [Baren 20623] preserving lino blocks Does any one have any suggestions on ways to preserve old carved lino blocks that may be cracking? Had a friend ask and as I'm a wood person I could make any suggestions other than perhaps treating them like floor tiles. Thanks! Ray Hudson ------------------------------ End of Baren Digest V22 #2117 *****************************