Today's postings

  1. [Baren 32893] Re: Harry's Latest Print (Annie Bissett)
  2. [Baren 32894] Re: Harry's Latest Print (David Harrison)
  3. [Baren 32895] Exchange 32 (baren_member #
  4. [Baren 32896] Cairn blocks received ("Maria Arango")
  5. [Baren 32897] Latest print : duplicate ("Harry French")
  6. [Baren 32898] Baren Member blogs: Update Notification (Blog Manager)
  7. [Baren 32899] Technical Printing Advice Please ("Orgren Alex C \(Alex\)")
  8. [Baren 32900] heavy metal press (David Harrison)
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Message 1
From: Annie Bissett
Date: Tue, 27 Feb 2007 09:23:18 -0500
Subject: [Baren 32893] Re: Harry's Latest Print
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I almost missed the opportunity to see Harry's new print, as for some
reason his post didn't make it into the Digest (New) format. Here is
the link for those who may have missed it, a powerful print of a
slave ship:
Great print, Harry.

And thanks to Jean for the link to Tomoko Murakami's web site. Very
interesting work.

Dan Dew, nice to see you again. And Alex, welcome. Looking forward to
seeing your "first real moku hanga." Like you, I too tend to see the
world as fields of color rather than line and I find moku hanga is a
great way to capture that vision. Enjoy your printing!

Annie B
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Message 2
From: David Harrison
Date: Tue, 27 Feb 2007 14:30:55 +0000
Subject: [Baren 32894] Re: Harry's Latest Print
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I'll second that! It's a moving print, on a topic that puts awful
shivers up the spine.

On a semi-related note, BBC Radio 4 had a cracking documentary on
Wilberforce that's still available for listening online. Unfortunately
they can't podcast this one, but it should be good for Tuesday and

all the best,

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Message 3
From: baren_member #
Date: 27 Feb 2007 17:08:57 -0000
Subject: [Baren 32895] Exchange 32

I am sure glad that I am not the coordinator on this exchange as they have to mail them back by March 1 and we do not have to get them to them untill May 1 ! What exactly is the deadline to send the prints in? Thanks,

Dale Phelps
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Message 4
From: "Maria Arango"
Date: Tue, 27 Feb 2007 10:32:50 -0800
Subject: [Baren 32896] Cairn blocks received
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Barbara Patera, your email bounced. I vaguely recall you changing
your email addy? I think I shredded that memo; could you reply to me offlist
and update your email?

Your very handsome block was received. I love the image.
Thanks for playing!


PS 12 blocks received so far, the rock pile is growing...

Maria Arango
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Message 5
From: "Harry French"
Date: Tue, 27 Feb 2007 21:03:29 -0000
Subject: [Baren 32897] Latest print : duplicate
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Greetings to you all,

My posting to you did not make it to the digest yesterday so I'll send it again.

My apologies if it is a duplicate

*My latest relief print is a transposition of stowage in a slave ship that I saw in the William Wilberforce Museum in Hull well over 25 years ago. The original print must rank amongst one of the most successful anti-slave campaign prints of the 19th century. It still makes me shudder just looking at it.

From March and throughout 2007 there are events, particularly in the City of Hull to commemorate the 200th anniversary of the abolition of slavery in our (former) British Empire.

William Wilberforce of Hull was one of the main advocates.

My latest print:

William Wilberforce website:

Kind Regards,




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Message 6
From: Blog Manager
Date: 28 Feb 2007 04:55:25 -0000
Subject: [Baren 32898] Baren Member blogs: Update Notification
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This is an automatic update message being sent to [Baren] by the forum blog software.

The following new entries were found on the listed printmaker's websites during the past 24 hours. (30 sites checked, five minutes before midnight Eastern time)


Site Name: Woodblock Dreams

Author: Annie B
Item: Letting It Rest


Site Name: Mellissa Read-Devine

Author: Miss
Item: Another supine dog
"Sleeping Pup" Linocut.


Site Name: Belinda Del Pesco Fine Art Blog

Author: Belinda Del Pesco
Item: Dry Point Etching & Colored Pencil: Bird on her Shoulder

Author: Belinda Del Pesco
Item: Monotype, Watercolor & Colored Pencil: Oscar Night

Author: Belinda Del Pesco
Item: Watercolor on Pine Block: Laddie

Author: Belinda Del Pesco
Item: Watercolor & Colored Pencil: Reading on Sunday

Author: Belinda Del Pesco
Item: Watercolor & Colored Pencil: Attentive


Site Name: Blue Notes - A Printmaking Sojourn

Author: Jenn
Item: Back to Work


[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:

For reference, sites/blogs currently being checked are:
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Message 7
From: "Orgren Alex C \(Alex\)"
Date: Wed, 28 Feb 2007 00:44:14 -0500
Subject: [Baren 32899] Technical Printing Advice Please
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I've just finished a trial run of my first moku hanga, and I'm
interested in getting some technical advice before I do some real
printing. I'd appreciate hearing whatever you have to see. This post
is a bit long-winded, but I'm not sure yet how much I can leave out and
still get reliable feedback. I promise not to make a habit of being
this verbose.


Brief Description of Method
I used unmodified Akua Kolor ink on Rives Heavyweight paper that was
moistened according to David B's single point lessons. It uses 5
impressions from three 4x6 all-shina blocks on Rives Heavyweight paper
using the Kurosaki plastic disk baren. Since the blocks are small, I
used an L-shaped kento-ban (with kagi on the left for left-handed

The colors don't reproduce well in these photos, but there are two
two-color gradations: from red to red-brown on the lower part, and from
yellow to red on the upper part. I applied the lower red-brown with a
maru bake, the other gradations were done with hanga bake loaded with
ink on one end. I made about 18 prints on this paper, and a similar
number on bad paper. In stubborn flouting of tradition, I printed the
key block last (see comment 4 below).

This may seem like a lot to aim for in one piece. I reasoned that with
many things to learn, some would come easier than others and with one
medium-sized time investment I could get a start on most of them while
identifying some areas to concentrate on. Also, I originally meant
this to be throwaway work only on cheap paper before I ruined some nice
washi. The few trials I did on other paper confirmed everything I've
read about how pointless that is, so I dashed out and found some Rives.
Still, I'll save my good paper until I hear what advice you might have.

1. It was much more difficult to get enough paste in the gradation than
in a flat-color region. I got a little better at it
over time, but this still has me a bit baffled. Pointers anyone?

2. Another contrast to flat color printing is that brushing out the
gradation pushes a lot more paste into the moat, enough that I sometimes
have to blot the moat before printing. Hmm, this seems connected to
Item 1.

3. This is sort of a corollary to Item 2: brushing gradations creates
lot more ink/paste buildup on the shoulders of the cut because I can't
seem to lift the brush the same way. Do I just need more practice?
Should I clean up the shoulders with another brush before printing?

4. This is a big one: the black ink (applied to lines without paste)
behaved much differently than the others. It was the only one that bled
on paper that seemed properly moistened. If anything, the paper was a
bit drier when I printed the black, since it was done last. The
pictured prints don't show this bleeding much, since I adjusted by using
far less ink. This caused weak impressions, which I tried with limited
success to counteract with re-inking. I'm sorely tempted to thicken
with paste or gum arabic, or maybe just evaporate the black ink more.
Are there any other suggestions?
I guess David B. is right in saying you have to learn how to print black

5. How do you use the baren at the edges of the block. I worry about
having too much of it unsupported. I also feel a greater need to steady
the block with my free hand when working near the edge, but then my
fingers are in the way. How do you deal with this?

6. I used wood islands in strategic areas. Not only do they emboss into
the print, they seem to attract ink, no matter how careful I am. I'll
try rolls of paper next time.

7. The lower color block still needs some trimming.

8. Before a real printing, I'm going to be a lot pickier about the
colors. The yellow will be just a touch more red. The brown will have
a little more blue.

9. With a few individual exceptions, I didn't try re-inking the
gradations. I'll explore this some more. It will take a lot of
printing to develop anything resembling competency at gradations.

The print that doesn't match is the linocut that made me decide to try
different technology. Getting a single clean impression with speedball
ink on cardstock was nearly impossible.

Alex Orgren
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Message 8
From: David Harrison
Date: Wed, 28 Feb 2007 12:27:38 +0000
Subject: [Baren 32900] heavy metal press
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Hi all,

The daftest thought just popped into my head. While reading up on
homemade presses, I've seen mention of cars, hydraulic jacks, one's own
weight, and so on.

Has anyone here ever tried a large lawn roller? Strikes me that if you
can get it started on some sort of slightly raised track, and perhaps
roll it over hefty plywood 'sandwich' that was clipped together to
prevent shear, you'd have the Mother of All Cylinder Presses...

Just my tuppence-worth :-)


David H