Today's postings

  1. [Baren 26295] paper stretch (Solarplate #
  2. [Baren 26296] reductive block (Reneeaugrin #
  3. [Baren 26297] Re: paper stretch (Barbara Mason)
  4. [Baren 26298] Re: reductive block (Barbara Mason)
  5. [Baren 26299] reduction block for #22 again (Barbara Mason)
  6. [Baren 26300] Re: reductive block (Reneeaugrin #
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Message 1
From: Solarplate #
Date: Sat, 23 Oct 2004 10:43:32 EDT
Subject: [Baren 26295] paper stretch
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Hi Barbara,
Calendaring the paper is a great way to reduce stretch. Along with that, it
would be better to print your paper in the proper direction. Most European
papers have the grain running parallel to the deckle. In other words, try and
print your paper with the deckle running with the press bed. I wish you luck
Dan Welden
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Message 2
From: Reneeaugrin #
Date: Sat, 23 Oct 2004 11:47:54 EDT
Subject: [Baren 26296] reductive block
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Hi Barbara,

I have been printing reductive prints with wood and oil base ink on my press
. I have my press pressure set as exactly as I can manage because I do not
use anything to buffer the paper or the block. I was thinking that the mat
board might be the problem? My prints are -- shall we say more primative -- so
that any tiny mistake is absorbed into the great jumble of imagry. I place the
paper down first, line up the edges of the previous color and drop the block
and pray. If the pressure is too much there is sometimes a little skid on
the edge but a little adjusting with the pressure usually correct
that--usually--sometimes I think that the dried oil base ink is so smooth that the newly
inked block slides a little anyway??? So many mysteries--so little time.

I can't wait to see this print--it's for the next exchange? Mine are drying,
and ready for the hand painted sky.

Best to all!!

Renee U.
in rainy leaf cluttered Damascus
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Message 3
From: Barbara Mason
Date: Sat, 23 Oct 2004 09:44:42 -0700 (PDT)
Subject: [Baren 26297] Re: paper stretch
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This was a real good idea, I am using Kitakata paper and think I had the deckel to the was paper left from a large size exchange (maybe more than one exchange) and it was a strip with a deckel down the side. I would normally put the deckel at the bottom, but the piece was not long enough and I had a lot of it. (fouond with the studio move) I know it comes from Japan but do not think it is handmade. Maybe that is part of the problem...stretching in the wrong way. When all of you get #22, I'll bet you don't even notice is only my obsessions that make this a problem...I guarantee that 20 years ago I probably would not have fussed either. Think I am getting old and way too critical of my own work. I only do relief work for these exchanges so maybe I just don't get enough if this was a solarplate I would be home free! Ha.
Best to all,
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Message 4
From: Barbara Mason
Date: Sat, 23 Oct 2004 09:54:40 -0700 (PDT)
Subject: [Baren 26298] Re: reductive block
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How the heck do you register this upside down??? I want a lesson right away in this.

I got the idea or using the mat board from Ruth Leaf and it works really, really well. I have a kento corner block I am using for registration and just slip the inked block into the L to print. This is the fastest and most accurate registration I have ever used for relief.

Renee lives close enough to me to actually get this lessson, maybe an hour away. I will post the directions eventually...I just cannot imagine this working but seeing is believing and Renee's work is vital and exciting with no jumbles that I remember!
Best to all,
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Message 5
From: Barbara Mason
Date: Sat, 23 Oct 2004 17:10:06 -0700 (PDT)
Subject: [Baren 26299] reduction block for #22 again
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Just thought I would let you know how it is going with the stretchy paper....I am down to 54 prints from 66........but 5 are probably usable, so maybe 59. I am on the last color (#6)and think I have solved the paper stretch problem by backing off the pressure a bit. Tomorrow bright and early I will finish this up and will think long and hard before doing another reduction block.....a challenge to be sure! I can see where I could have made it a lot better and think probably more blocks are the answer. My brain just does not think more than one or two colors ahead. Doing more of these is the answer....I think you could get really good at this with practice.
Best to all,
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Message 6
From: Reneeaugrin #
Date: Sat, 23 Oct 2004 22:18:27 EDT
Subject: [Baren 26300] Re: reductive block
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Hi Barbara and All,

Thank you Barbara for the compliment on my work!,my head is still a little
puffy from the handsome man who said my work was lyrical at the Ray Trayle show
--he was probably just flirting ;-) .

I'll try to discribe how I register--I use the entire block for the image, no
kento. I then roll the ink on the block, flip it over and 'eyeball' the
placement of the block for the first printing, with the paper on the press bed.
Then, I run it through (not a fencing reference ;-). On most reductives
there is a color that meets the edge of the block and this is what I use to
align the next printed color. I like to keep things very simple, and still
there are so many surprises in printmaking that I am utterly entranced.

Best to everyone,

Renee U.
in rainy, stormy, new plants waiting to be planted, Damascus