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Message 1
From: David Harrison
Date: Thu, 31 Jul 2008 14:51:43 +0100
Subject: [Baren 36277] printing with shallow carving
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I'm catching up at the last minute on my Exchange print, and have finally
finished carving. There's more detail than originally intended. Some of it is
small, shallow cuts using a 1mm (1/32) grooving tool. Now to print the thing
as fast as possible...

In most of my prints so far I've over-inked the block and have filled in some
of the very small details. What's the best way to avoid this? I'll be using
water-washable, oil-based ink, middling-weight western style paper and a 3"
dia. soft roller.

Here are my ideas... please could you tell me if they're wide of the mark?

1. Spreading the ink as thin as possible when rolling it on my glass block,
then maybe building up on the block with a couple of passes from the roller.

2. Damping the paper so the ink will take better.

3. As thin a 'sandwich' in the press as possible, so that the paper isn't
forced into the cut away areas.

Thanks in advance,

David H

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Message 2
From: reneeaugrin # aol.com
Date: Thu, 31 Jul 2008 11:17:32 -0400
Subject: [Baren 36278] Re: printing with shallow carving
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Hi David,

Try printing upside down. Place the paper on the press, flip the block
and place on the paper in down (of course), no sandwiching needed.
Carefully adjust the pressure and carry on with the other things you
mention, very thin on the roll up -- I usually print dry for reliefs,
so I won't comment on the damp paper. Good luck and am looking forward
to seeing your prints!

Renee

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Message 3
From: "Clive.ca"
Date: Thu, 31 Jul 2008 11:25:17 -0400
Subject: [Baren 36280] Re: Off Topic Question
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As to printing that manhole cover, Daniel, it'd be a relief just to
get it on and off my press without hurting myself.

But what would you call it when you ADD to the wood or lino and print
the surface?
Is it still called relief printing?
Or inking up and printing a manhole cover? Relief?

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Message 4
From: David Harrison
Date: Thu, 31 Jul 2008 16:27:40 +0100
Subject: [Baren 36281] Re: printing with shallow carving
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HI Renee,

What a good idea! It can't hurt to try a few that way and see how it goes.

As for the design, it's a case of ambition far beyond my abilities, so there
will be some mistakes in there. But they say that's how you learn :-)

Thanks,

David

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Message 5
From: Daniel Dew
Date: Thu, 31 Jul 2008 11:27:48 -0400
Subject: [Baren 36282] Re: Off Topic Question
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Heck no, I was gonna dodge traffic and do it in the road, as the
Beatles would say!

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Message 6
From: ArtfulCarol # aol.com
Date: Thu, 31 Jul 2008 11:23:39 EDT
Subject: [Baren 36279] Re: printing with shallow carving
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David, did you try making the last brush strokes against the grain of the
wood.?
Along with many others I also use water mixable oil color, Winsor and
Newton Artisan and am happy with it.
Good Luck.
Carol Lyons

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Message 7
From: Shireen Holman
Date: Thu, 31 Jul 2008 11:43:59 -0400
Subject: [Baren 36283] Re: printing with shallow carving
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Dampening the paper would enable you to print with a much thinner
layer of ink. The ink will also dry faster and look better because it
would be more absorbed into the fibers rather than being a thick layer
on top of the paper. Also, you might want to try a roller that isn't
as soft. Soft rollers can roll right into the shallow areas.

Hope this helps.
Shireen

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Message 8
From: David Harrison
Date: Thu, 31 Jul 2008 16:45:11 +0100
Subject: [Baren 36284] Re: printing with shallow carving
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Carol,

I'll be using a roller rather than a brush, but do you think the same would
still apply?

All the best,

David

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Message 9
From: "Maria Arango"
Date: Thu, 31 Jul 2008 09:30:31 -0700
Subject: [Baren 36285] RE: printing with shallow carving
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Hi David,

All of your strategies are sound and will work, similar as when printing
delicate engravings.
Build up the block slowly, this drives me crazy because I'm the type to jump
in quickly into a print. But with engravings or delicate carvings you really
have to be patient and ink lightly, print, ink lightly, print, ink lightly,
print, until the block is printing properly. I notice in some of my
engravings that the first "good" prints come around the 15th to 20th of the
edition. Agh.

I would also maybe try a "harder" tympan or packing, rather than a soft one.
If you print with blankets, ditch them and use a backing of blotter paper
and smooth matboard. Add blotter paper if you fail to get an even print
until you get just enough detail to print without obliterating the lines.

The paper needs to be barely dampened, cool to the touch and soft, rather
than actually damp. Certainly much drier than for standard woodcuts. Smooth
paper is also a big key in printing detail successfully (tip from Andy
English).

Also, there are sometimes those blocks that you will just have to clean up
every so often. Every five or so prints, run a print with waste/newsprint
without inking and that will do wonders on limiting the ink build up.

Hope this helps!
Maria


Maria Arango
http://1000woodcuts.com
http://artfestivalguide.info

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Message 10
From: "Maria Arango"
Date: Thu, 31 Jul 2008 09:32:44 -0700
Subject: [Baren 36286] Cairn thank yous
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My Cairn thank yous are growing!

Please see the revised financials with new names (Thanks Jean Womack and
Baren).

http://1000woodcuts.com/projects/cairn/financereport.html

Thank you everyone for all your nice notes and especially the notices that
your Cairn has arrived.

Maria

Maria Arango

http://1000woodcuts.com

http://artfestivalguide.info

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Message 11
From: "Ellen Shipley"
Date: Thu, 31 Jul 2008 09:34:34 -0700
Subject: [Baren 36287] Re: printing with shallow carving
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When all else fails, you can always recarve the finer lines. I usually have
to do that, as I like fine line work.

Ellen

-(>-----~
Ellen Shipley
Trompt As Writ

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Message 12
From: Marilynn Smith
Date: Thu, 31 Jul 2008 09:43:32 -0700
Subject: [Baren 36288] Re: New Baren Digest (HTML) V44 #4449 (Jul 31, 2008)
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Hi,

I have cut plates and forgotten about a border. In this situation I
make a jig to slip the plate into. It can be an L shaped piece of
wood, a piece of mat board or foam board. I actually have 2 sets (one
south and one north) that my husband cut for me out of particle
board. Take some masking tape, make a kento L shape using 2 layers of
tape, it is enough thickness to hold the edge of your paper. It is
easy to do and if the L is cut square all your blocks can be pushed
into it and the paper dropped. You can even adjust it very easily if
one block is off. I also took a piece of mat board, drew around each
block and cut that out for a template. Each block had the exact same
place to sit each time I ran them. If I make another template I will
use foam core because the mat board broke down and shifted just a
bit. A jig is just an extension of your plate that fits around it and
you can reuse them. I prefer this method because if I cut kento marks
I seem to get them off every darn time.

I have been reading though my newest Daniel Smith catalog. I ran into
a new digital mixed media product made by golden. You use a digital
ground either matte or gloss and print over it. They were using an
inkjet printer. I am wondering if this product would work with oil
based printing inks and a woodblock. They also have gel from soft to
heavy weight. It states that golden Heavy gel "is thick and stiff and
great for impasto applications. It holds shapes more accurately than
regular gel and remains flexible and translucent, even when applied
thickly." I am wondering if one could put this stuff on paper, use
the digital ground on top of it and than print a woodblock on top.
Sounds very interesting.

I am also very interested in the pearlescent, iridescent and
luminescent pigments that have been emerging in the last few years. I
think they could be used in both oil and water based pigments with
some very interesting results. You can even buy some in powder form.
All this conjecture and no studio to experiment in! I may have to get
out the checkbook and place an order and hope that studio will be done
by fall.

Mariynn

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