Today's postings

  1. [Baren 31347] Additional source for blankets (Diane Cutter)
  2. [Baren 31348] off-topic: question about printing thumbnails (Cucamongie #
  3. [Baren 31349] Re: The whole "water-based" thing (Barbara Mason)
  4. [Baren 31350] Re: The whole "water-based" thing (Sharri LaPierre)
  5. [Baren 31351] buying local (Katie Bretsch)
  6. [Baren 31352] Scrunchy Plastic ("Tom Kristensen")
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Message 1
From: Diane Cutter
Date: Sun, 23 Jul 2006 06:45:37 -0700 (PDT)
Subject: [Baren 31347] Additional source for blankets
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Regarding felt blankets, Takach Press has a much more extensive online inventory now so that can also be added to your list of places to purchas:

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Message 2
From: Cucamongie #
Date: Sun, 23 Jul 2006 10:30:34 EDT
Subject: [Baren 31348] off-topic: question about printing thumbnails
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hi folks, this is off-topic so please respond to me offline.

I would like to print image thumbnails from a cd which contains images.
Anyone know of a simple way to do this (preferably on a pc) using Windows
Explorer, Photoshop or otherwise?

many thanks
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Message 3
From: Barbara Mason
Date: Sun, 23 Jul 2006 09:15:25 -0700 (PDT)
Subject: [Baren 31349] Re: The whole "water-based" thing
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I have used them a lot for both intaglio and block printing..also I have used the monotype akua kolor for moku hanga but I prefer the plain pigment as the akua kolor has a gum in it that makes it stiffer when added to water. They clean up with water, but you should not dilute them with water for this reason.
Once they are on the paper and dry they are not watersoluble so will not move on the paper or wash off. The one complaint I have heard is that if you layer them many times it is hard to get them to dry. I am a very thin transparent layer printmaker so have not had any trouble with them at all but others I know have had the drying problem.

You need to mix them up every time you use them as the pigments tend to settle out a bit, especially the earth colors. I have used them since they were new and the formula has changed about 5 times, each time getting easier to use as an intaglio ink.

The really great thing is you can print on dry paper with them with really good results, even intaglio work. I recommend arches 88 for dry printing, but I have used oriental papers also, especially kitakata paper and shin torinoko...the inexpensive one.
If you want more specific info, email me off list as it is more like oil based ink than water based ink in application and results.
Best to all,
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Message 4
From: Sharri LaPierre
Date: Sun, 23 Jul 2006 09:50:48 -0700
Subject: [Baren 31350] Re: The whole "water-based" thing
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Yes, the Akua Intaglio inks are wonderful - especially the colors. I
have not been that enthralled with the black, but they have come out
with a new one that is supposed to be much better. Barbara has used
them extensively and likes them very much. I have found it difficult
to regulate their transparency and they are quite opaque, but if that
is what you are after they might be the answer for you. Personally, I
prefer the oil based inks and clean-up with vegetable oil and rubbing
alcohol. It is just as safe and fast and and I prefer the results. As
far as permanence goes, pigment is pigment and each color will be equal
on the permanence scale.

Cheers from Sharri who is busily getting ready for the summit.
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Message 5
From: Katie Bretsch
Date: Sun, 23 Jul 2006 15:25:04 -0700
Subject: [Baren 31351] buying local
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Barbara is right. First best thing is to buy from local specialty
suppliers. Ciao. KB
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Message 6
From: "Tom Kristensen"
Date: Mon, 24 Jul 2006 12:29:19 +1000
Subject: [Baren 31352] Scrunchy Plastic
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Recent postings about felt have opened the way to discuss plastic bags, not quite standard to woodblock printmaking

My local art store will package goods in a carry bag that is like those you get from a frock shop. It is tough, thin and slightly scrunchy. I have found this plastic to be perfect for keeping my paper stack moist. Plus it helps me with handling the stack, which really speeds things up.

I take the bag and slit it down one side and across the bottom. I now have a large sheet with a crease in the middle. My print stack sits atop a tower of plywood boards, which I can move around and change in height to make a comfortable working arrangement. When I print sometimes I sit and sometimes I stand. So, I take a fold of my plastic sheet and secure it under the weight of the top board. The plastic then covers the top of the tower. Then I lay my moist paper stack on the plastic and flip the remaining plastic over the top. So, the plastic is folded twice. When I need to print a new sheet I pick up the plastic and take out a sheet. When I want to return the sheet to the bottom of the stack I pull the plastic forward, the whole stack slides and edges over the top of the plywood tower. I can now grab the whole stack with one hand and with my other hand slide the printed sheet to the bottom. I like to alternate the direction the sheets go in, to aid moisture dispersion, and this way I can check which way the new print should lie. With the sheet returned to the bottom of the stack I nudge the stack backwards where it is fully covered top and bottom by the plastic. I love my scrunchy plastic and it cost me nothing.