Today's postings
- [Baren 37829] Re: Heavy duty zip lock bags to keep paper damp. (Bette Wappner)
- [Baren 37830] Re: Year of the OX Exchange (Jan Telfer)
- [Baren 37831] Re: New Baren Digest (HTML) V46 #4664 (Jan 6, 2009) (Marilynn Smith)
- [Baren 37832] Re: keeping paper damp (ArtfulCarol # aol.com)
- [Baren 37833] wet paper and bags ("Bob & Sue Salsbury")
- [Baren 37834] Re: keeping paper damp (Graham Scholes)
- [Baren 37835] Re: keeping paper damp ("Maria Arango")
- [Baren 37836] Re: keeping paper damp (Graham Scholes)
- [Baren 37837] drying the prints ("Eva Pietzcker")
- [Baren 37838] keeping paper damp/39 format blues (Rosposfe # aol.com)
- [Baren 37839] Re: wet paper and bags (eli griggs)
- [Baren 37840] Re: drying the prints (Barbara Mason)
- [Baren 37841] RE: 39 format blues ("Maria Arango")
Message 1
From: Bette Wappner
Date: Wed, 07 Jan 2009 13:26:45 GMT
Subject: [Baren 37829] Re: Heavy duty zip lock bags to keep paper damp.
Send Message: To this poster
Please note that I only bought this heavy duty ziplock bag a couple
of days ago and have not tried it for a paper humidor yet.
I learned this "plastic bag poster board" method as a portable way to
make a humidor, so of course it is not meant to replace any
professional studio humidor which someday I hope to set up.
Ever since I started moku hanga printmaking I have been using a (non
zip) plastic bag for my humidor, which for me works quite well.
Inside of the bag I use white poster boards between my printing
papers. I lightly moisten the boards (using a mister with distilled
water) careful not to over-water and then let them set to absorb.
Then I place my trimmed printing papers between the poster boards and
let set an hour or more to absorb prior to printing.
This plastic bag humidor also fits nicely in my freezer to preserve
the paper from molding if I need to take some days or weeks between
printing. Please note however, that since I started using methyl
cellulose as a binder and distilled water, and have always used acid-
free paper of course, I have no problem with molding. And then
after I am done printing, I lay the poster boards out to dry.
Just my simple beginners methods, but I continually try to improve by
obtaining better tools, papers, and supplies, and learning more as I
go along.....thanks to Baren members.
of days ago and have not tried it for a paper humidor yet.
I learned this "plastic bag poster board" method as a portable way to
make a humidor, so of course it is not meant to replace any
professional studio humidor which someday I hope to set up.
Ever since I started moku hanga printmaking I have been using a (non
zip) plastic bag for my humidor, which for me works quite well.
Inside of the bag I use white poster boards between my printing
papers. I lightly moisten the boards (using a mister with distilled
water) careful not to over-water and then let them set to absorb.
Then I place my trimmed printing papers between the poster boards and
let set an hour or more to absorb prior to printing.
This plastic bag humidor also fits nicely in my freezer to preserve
the paper from molding if I need to take some days or weeks between
printing. Please note however, that since I started using methyl
cellulose as a binder and distilled water, and have always used acid-
free paper of course, I have no problem with molding. And then
after I am done printing, I lay the poster boards out to dry.
Just my simple beginners methods, but I continually try to improve by
obtaining better tools, papers, and supplies, and learning more as I
go along.....thanks to Baren members.
Message 2
From: Jan Telfer
Date: Wed, 07 Jan 2009 14:06:52 GMT
Subject: [Baren 37830] Re: Year of the OX Exchange
Send Message: To this poster
Talking about our Chinese New Year card exchange i noticed tonight
that the sign up form is still operational.
Does this mean that there could be more than 53 on the current list to
be included? I hope not too many more or otherwise I will need to
simplify my design.
Maybe because of the high number of cards to be printed and mailed it
is getting "too hard" for most people to get their cards done as well
as coping with work and family commitments .
In previous years I have done my cards well before Christmas....
knowing of course that the Chinese Calendar does not vary from its
format of the sequential animal "parade" and been able to get mine in
the post with the cheaper Christmas postage rates but I have missed out
this year and 52 (I don't have to send one to me, myself or I) will be
a "harder pill to swallow", so I will be thinking about 2010 mid year
to cash in on Australia Post's generosity again next year!!
So how many more will be signing on?
I have just been able to send out my FourOceansPress Exchange this week
and it is not like me to be running so close to the "deadline"..... or
having to print 8 hanga blocks (10 printings) in 100º heat..... Summer
is not a good time to be printing in Western Australia.
Down under Oxen driver soon to be put to work,
Jan
> From: Bette Wappner
> Date: Wed, 07 Jan 2009 03:28:46 GMT
> Subject: [Baren 37820] Monkeys, Roosters, Dogs New Year Exchange
>
> Charles, I was late with my New Year's Monkeys, Roosters, and Dogs.
> I felt embarrassed for a long time and have not signed up for any
> since the Dog. But last year I got caught up and sent them out.
> However, a couple of them came back with wrong addresses and I posted
> a couple of times on BarenForum asking for updated addresses and got
> a few responses but still have a handful of people that I still need
> to send Monkeys, Roosters, and Dogs to. So anyone who has not
> received these cards from me yet, please send me a PRIVATE email
> OFFLIST with your current address. I'd love do all of the New Years
> Exchanges but I have to be careful not to overload :) Thanks everyone.
>
that the sign up form is still operational.
Does this mean that there could be more than 53 on the current list to
be included? I hope not too many more or otherwise I will need to
simplify my design.
Maybe because of the high number of cards to be printed and mailed it
is getting "too hard" for most people to get their cards done as well
as coping with work and family commitments .
In previous years I have done my cards well before Christmas....
knowing of course that the Chinese Calendar does not vary from its
format of the sequential animal "parade" and been able to get mine in
the post with the cheaper Christmas postage rates but I have missed out
this year and 52 (I don't have to send one to me, myself or I) will be
a "harder pill to swallow", so I will be thinking about 2010 mid year
to cash in on Australia Post's generosity again next year!!
So how many more will be signing on?
I have just been able to send out my FourOceansPress Exchange this week
and it is not like me to be running so close to the "deadline"..... or
having to print 8 hanga blocks (10 printings) in 100º heat..... Summer
is not a good time to be printing in Western Australia.
Down under Oxen driver soon to be put to work,
Jan
> From: Bette Wappner
> Date: Wed, 07 Jan 2009 03:28:46 GMT
> Subject: [Baren 37820] Monkeys, Roosters, Dogs New Year Exchange
>
> Charles, I was late with my New Year's Monkeys, Roosters, and Dogs.
> I felt embarrassed for a long time and have not signed up for any
> since the Dog. But last year I got caught up and sent them out.
> However, a couple of them came back with wrong addresses and I posted
> a couple of times on BarenForum asking for updated addresses and got
> a few responses but still have a handful of people that I still need
> to send Monkeys, Roosters, and Dogs to. So anyone who has not
> received these cards from me yet, please send me a PRIVATE email
> OFFLIST with your current address. I'd love do all of the New Years
> Exchanges but I have to be careful not to overload :) Thanks everyone.
>
Message 3
From: Marilynn Smith
Date: Wed, 07 Jan 2009 14:22:07 GMT
Subject: [Baren 37831] Re: New Baren Digest (HTML) V46 #4664 (Jan 6, 2009)
Send Message: To this poster
Shelly, that pretty little studio up north, in Washington state does
not have any direct heat. We heat our house with a propane
fireplace. It does a fine job for the main part of the house, but my
studio space is off to the side and I like to shut the door that leads
to the living area. My husband runs his TV a lot and also his power
tools and I like the quiet. We had one of those oil filled heaters on
our boat and it was very effective. We decided the solution was to
buy me one for my studio. They are low cost to run, fire safe and
space saving. I do not have a fan in there, the air is just there and
it heats my space very well. I just leave it away from the walls and
not flat against any surface and the air circulates just fine. Your
person at the hardware store might have meant that you should not
place it flat against a wall or surface so the air can move through
it. It is an excellent solution for heating one room. I leave mine
turned fairly low all the time and crank it up a bit if I need to when
working. Good luck getting your space warm.
Marilynn
not have any direct heat. We heat our house with a propane
fireplace. It does a fine job for the main part of the house, but my
studio space is off to the side and I like to shut the door that leads
to the living area. My husband runs his TV a lot and also his power
tools and I like the quiet. We had one of those oil filled heaters on
our boat and it was very effective. We decided the solution was to
buy me one for my studio. They are low cost to run, fire safe and
space saving. I do not have a fan in there, the air is just there and
it heats my space very well. I just leave it away from the walls and
not flat against any surface and the air circulates just fine. Your
person at the hardware store might have meant that you should not
place it flat against a wall or surface so the air can move through
it. It is an excellent solution for heating one room. I leave mine
turned fairly low all the time and crank it up a bit if I need to when
working. Good luck getting your space warm.
Marilynn
Message 4
From: ArtfulCarol # aol.com
Date: Wed, 07 Jan 2009 14:22:25 GMT
Subject: [Baren 37832] Re: keeping paper damp
Send Message: To this poster
Water-based printers---how does this damp paper system work for rewetting
for second color, after the paper is totally dry, of course.
I only dampen once when I am using thick small size paper, actually running
water from the tap, then holding the corners and letting the excess
drip.(Maybe this is a no-no) I alternate wet paper with dry in a pile then put in a
plastic bag . It works to dampen all the papers. But I never tried rewetting
with watercolors.
Water-based printer
Carol Lyons
for second color, after the paper is totally dry, of course.
I only dampen once when I am using thick small size paper, actually running
water from the tap, then holding the corners and letting the excess
drip.(Maybe this is a no-no) I alternate wet paper with dry in a pile then put in a
plastic bag . It works to dampen all the papers. But I never tried rewetting
with watercolors.
Water-based printer
Carol Lyons
Message 5
From: "Bob & Sue Salsbury"
Date: Wed, 07 Jan 2009 15:54:14 GMT
Subject: [Baren 37833] wet paper and bags
Send Message: To this poster
Hi all,
I have used plastic bags for as long as I can remember for storing wet papers. I make my post on a plexi plate that is larger than the paper and then it slips easily into a bag with out help. If you don't have a plexi plate you can use any stiff material and cover it with plastic wrap to seal it.
Sue Salsbury
I have used plastic bags for as long as I can remember for storing wet papers. I make my post on a plexi plate that is larger than the paper and then it slips easily into a bag with out help. If you don't have a plexi plate you can use any stiff material and cover it with plastic wrap to seal it.
Sue Salsbury
Message 6
From: Graham Scholes
Date: Wed, 07 Jan 2009 15:54:26 GMT
Subject: [Baren 37834] Re: keeping paper damp
Send Message: To this poster
If you are doing the traditional moku hanga stuff... you know, the
baren burnishing thingie... and using a hosho or good cotton paper,
and waterbase pigments, there is no problem about rewetting.
Sometimes I have to dry my paper during a print run. Can anybody guess
why?... (no it is not because of mould).
I do not hold to paper under the tap..... much to wet for my liking.
Dampen (drybrush) with a large brush and put the paper in your “folded
over poly damp box”. I see some are sticking to the envelop
thingie.... Ugh..... No new tricks for those guys... (~ Water-based printers---how does this damp paper system work for
> rewetting for second color, after the paper is totally dry, of course.
> I only dampen once when I am using thick small size paper, actually
> running water from the tap, then holding the corners and letting the
> excess drip.(Maybe this is a no-no) I alternate wet paper with dry
> in a pile then put in a plastic bag . It works to dampen all the
> papers. But I never tried rewetting with watercolors.
> Water-based printer
> Carol Lyons
baren burnishing thingie... and using a hosho or good cotton paper,
and waterbase pigments, there is no problem about rewetting.
Sometimes I have to dry my paper during a print run. Can anybody guess
why?... (no it is not because of mould).
I do not hold to paper under the tap..... much to wet for my liking.
Dampen (drybrush) with a large brush and put the paper in your “folded
over poly damp box”. I see some are sticking to the envelop
thingie.... Ugh..... No new tricks for those guys... (~ Water-based printers---how does this damp paper system work for
> rewetting for second color, after the paper is totally dry, of course.
> I only dampen once when I am using thick small size paper, actually
> running water from the tap, then holding the corners and letting the
> excess drip.(Maybe this is a no-no) I alternate wet paper with dry
> in a pile then put in a plastic bag . It works to dampen all the
> papers. But I never tried rewetting with watercolors.
> Water-based printer
> Carol Lyons
Message 7
From: "Maria Arango"
Date: Wed, 07 Jan 2009 16:47:04 GMT
Subject: [Baren 37835] Re: keeping paper damp
Send Message: To this poster
> Not sure about the dimensions of the prints you are trying, but rather
> than plastic bags, etc., an actual 'box' might do the trick? Like this
> one:
> http://woodblock.com/scroll/progress/10_10.html
>
> Dave
Yes, I think it is time for me to build some type of a box for this. The
advantage of a rigid "clam-shell" will also make it very quick open and
close, which I need.
I have been using plastic, a very large double bag weighed down at the edges
and with only one opening and my paper sandwiched between damp double
blotters. If I just use a sheet of poly or anything that is open at the
edges, the edges of the paper dry out when opening and closing. Also,
because of the weight of the stack necessary to keep the dry air out of my
pile, and my inexperience in moku-hanga, the freshly printed pigment tends
to offset onto the back of the next print.
I think I need a box that is hermetically sealed and with a damp
sponge/board/blotter/something keeping the moisture even.
In fact, I think I will use my guitar case humidity meter to check a couple
of methods and see which keeps the moisture better. Or I will just be brave
and re-wet as Annie does.
I know I say this a lot but you really have to experience single digit
humidity to realize the magnitude of the problem. If I were to take a damp
sheet of paper out of a humid box or bag and take longer than, say, thirty
seconds to print a color, the paper would dry out.
I used damp paper for a large print similar in size to Dave's print when I
was still printing by hand. I placed the sheet on the block, started to
print on one side and literally watched the paper shrink in size and curl
off the block as it dried by the time I got to printing the other side.
I'm getting very...thirsty...can't...make it....to the kitch---
:-) Maria
O=O=O=O=O=O=O=O=O=O=O=O=O
Maria Arango
http://1000woodcuts.com
http://artfestivalguide.info
O=O=O=O=O=O=O=O=O=O=O=O=O
> than plastic bags, etc., an actual 'box' might do the trick? Like this
> one:
> http://woodblock.com/scroll/progress/10_10.html
>
> Dave
Yes, I think it is time for me to build some type of a box for this. The
advantage of a rigid "clam-shell" will also make it very quick open and
close, which I need.
I have been using plastic, a very large double bag weighed down at the edges
and with only one opening and my paper sandwiched between damp double
blotters. If I just use a sheet of poly or anything that is open at the
edges, the edges of the paper dry out when opening and closing. Also,
because of the weight of the stack necessary to keep the dry air out of my
pile, and my inexperience in moku-hanga, the freshly printed pigment tends
to offset onto the back of the next print.
I think I need a box that is hermetically sealed and with a damp
sponge/board/blotter/something keeping the moisture even.
In fact, I think I will use my guitar case humidity meter to check a couple
of methods and see which keeps the moisture better. Or I will just be brave
and re-wet as Annie does.
I know I say this a lot but you really have to experience single digit
humidity to realize the magnitude of the problem. If I were to take a damp
sheet of paper out of a humid box or bag and take longer than, say, thirty
seconds to print a color, the paper would dry out.
I used damp paper for a large print similar in size to Dave's print when I
was still printing by hand. I placed the sheet on the block, started to
print on one side and literally watched the paper shrink in size and curl
off the block as it dried by the time I got to printing the other side.
I'm getting very...thirsty...can't...make it....to the kitch---
:-) Maria
O=O=O=O=O=O=O=O=O=O=O=O=O
Maria Arango
http://1000woodcuts.com
http://artfestivalguide.info
O=O=O=O=O=O=O=O=O=O=O=O=O
Message 8
From: Graham Scholes
Date: Wed, 07 Jan 2009 17:22:04 GMT
Subject: [Baren 37836] Re: keeping paper damp
Send Message: To this poster
Maria Arango wrote:
>
> Yes, I think it is time for me to build some type of a box for this.
> The
> advantage of a rigid "clam-shell" will also make it very quick open
> and
> close, which I need.
> If I just use a sheet of poly or anything that is open at the
> edges, the edges of the paper dry out when opening and closing.
I put a piece of wood... 1½ x 1” on all three sides of the poly...
which gives you the clam shell you need.... works for me. (~ because of the weight of the stack necessary to keep the dry air out
> of my
> pile, and my inexperience in moku-hanga, the freshly printed pigment
> tends
> to offset onto the back of the next print.
This is a new one on me.... I have piled 22 x 30 - 25 prints on each
other
and never had offset. I wonder what is causing this - certainly not
normal.
> I think I need a box that is hermetically sealed and with a damp
> sponge/board/blotter/something keeping the moisture even.
More economical that moving to the Northwest.... ( I know I say this a lot but you really have to experience single digit
> humidity to realize the magnitude of the problem. If I were to take
> a damp
> sheet of paper out of a humid box or bag and take longer than, say,
> thirty
> seconds to print a color, the paper would dry out.
Maybe you should move or it would be cheaper to just do intaglio.
Graham
http://www.woodblockart.ca/how-to/
Message 9
From: "Eva Pietzcker"
Date: Wed, 07 Jan 2009 18:12:45 GMT
Subject: [Baren 37837] drying the prints
Send Message: To this poster
Dear bareners,
I would like to know how you are drying prints. What is the perfect way? I sometimes experienced getting buckles when drying prints in acidfree cardboards. And what to do when the paper is bigger then cardboards?
Thank you and kind regards--
Eva
----------------------------------------------------------
Eva Pietzcker
druckstelle - printmaking studio
Manteuffelstr. 103
D - 10997 Berlin
www.pietzcker.de
www.druckstelle.info
----------------------------------------------------------
I would like to know how you are drying prints. What is the perfect way? I sometimes experienced getting buckles when drying prints in acidfree cardboards. And what to do when the paper is bigger then cardboards?
Thank you and kind regards--
Eva
----------------------------------------------------------
Eva Pietzcker
druckstelle - printmaking studio
Manteuffelstr. 103
D - 10997 Berlin
www.pietzcker.de
www.druckstelle.info
----------------------------------------------------------
Message 10
From: Rosposfe # aol.com
Date: Wed, 07 Jan 2009 20:29:43 GMT
Subject: [Baren 37838] keeping paper damp/39 format blues
Send Message: To this poster
I've been using the folded poly method: damp paper pack made of newsprint
sandwiching my damp paper enclosed in a folded 2mm black poly and it works
ok....certainly better than the plastic bag that got unweildy trying to slip
paper in and out. However in the afternoons when it's dry I can notice a change
in the paper...especially if it's thinnish from when I get it out of the pack
to when I slip it back in...it's definitely dryer. I keep a damp kitchen
towel that I throw over everything from time to time or brush some water onto
the damp pack from time to time. My registration has been ok, usually hampered
more by my technique than differences in paper humidiy.
I've never tried the humidifier as I don't have electric current in my
studio but I'm hoping to move the printing part to our remodeled garage that is
a much bigger space and will buffer changes in humidity better.
Maria: RE: exchange 39. I've got two different designs glued onto
blocks and I start carving today! I just hope a lame drawing will be improved by
some spirited carving. I'll print whichever ends up being less of a disaster.
This long thin format has definitely been more of a challenge than I imagined.
RE: Zodiac signups: For each of the last two years I hesitated before
signing up and ended up missing the deadline. So I carved and sent out cards
to my relatives instead. It was good practice for the exchanges as I'd never
printed 50-60 copies of anything before.
Cheers,
Andrew
sandwiching my damp paper enclosed in a folded 2mm black poly and it works
ok....certainly better than the plastic bag that got unweildy trying to slip
paper in and out. However in the afternoons when it's dry I can notice a change
in the paper...especially if it's thinnish from when I get it out of the pack
to when I slip it back in...it's definitely dryer. I keep a damp kitchen
towel that I throw over everything from time to time or brush some water onto
the damp pack from time to time. My registration has been ok, usually hampered
more by my technique than differences in paper humidiy.
I've never tried the humidifier as I don't have electric current in my
studio but I'm hoping to move the printing part to our remodeled garage that is
a much bigger space and will buffer changes in humidity better.
Maria: RE: exchange 39. I've got two different designs glued onto
blocks and I start carving today! I just hope a lame drawing will be improved by
some spirited carving. I'll print whichever ends up being less of a disaster.
This long thin format has definitely been more of a challenge than I imagined.
RE: Zodiac signups: For each of the last two years I hesitated before
signing up and ended up missing the deadline. So I carved and sent out cards
to my relatives instead. It was good practice for the exchanges as I'd never
printed 50-60 copies of anything before.
Cheers,
Andrew
Message 11
From: eli griggs
Date: Wed, 07 Jan 2009 20:43:08 GMT
Subject: [Baren 37839] Re: wet paper and bags
Send Message: To this poster
For use with the large plastic bags or a simple
plastic cover, a new photographic darkroom tray might
just be the ticket for some printers. It should be
easy to slide in and out of the bag and you can use it
as a soaking bath for paper. They are available in
many common paper sizes. Don't try using one that was
used in a darkroom because of the possibility of
chemical contamination.
I suggest the type with raised dimples on the bottom
rather than crisscross lines just because of the build
quality is better in most cases, more rigid and the
upper lip is well rounded over for lifting as well as
sliding paper in and out if need-be.
Eli
plastic cover, a new photographic darkroom tray might
just be the ticket for some printers. It should be
easy to slide in and out of the bag and you can use it
as a soaking bath for paper. They are available in
many common paper sizes. Don't try using one that was
used in a darkroom because of the possibility of
chemical contamination.
I suggest the type with raised dimples on the bottom
rather than crisscross lines just because of the build
quality is better in most cases, more rigid and the
upper lip is well rounded over for lifting as well as
sliding paper in and out if need-be.
Eli
Message 12
From: Barbara Mason
Date: Wed, 07 Jan 2009 20:47:21 GMT
Subject: [Baren 37840] Re: drying the prints
Send Message: To this poster
Eva,
Here we have what are called blotters. They are heavy sheets of acid free paper-like stuff that absorb the water. You put your very damp prints in between two blotters, oil or waterbased inks. If oil based inks you need to put a piece or newsprint on top of the prints to keep the top blotter clean. Make a sandwich of blotter, print, newsprint, blotter, print and so on. After one hour change the prints to new blotters. They will dry perfectly flat with no buckles unless they were already buckled when you started. Sometimes prints start to dry around the edges, it this happens you need to dampen the back so they are flat and damp when you start. I never use weights and my prints are flat, flat, flat.
My best
Barbara
Here we have what are called blotters. They are heavy sheets of acid free paper-like stuff that absorb the water. You put your very damp prints in between two blotters, oil or waterbased inks. If oil based inks you need to put a piece or newsprint on top of the prints to keep the top blotter clean. Make a sandwich of blotter, print, newsprint, blotter, print and so on. After one hour change the prints to new blotters. They will dry perfectly flat with no buckles unless they were already buckled when you started. Sometimes prints start to dry around the edges, it this happens you need to dampen the back so they are flat and damp when you start. I never use weights and my prints are flat, flat, flat.
My best
Barbara
Message 13
From: "Maria Arango"
Date: Wed, 07 Jan 2009 20:57:00 GMT
Subject: [Baren 37841] RE: 39 format blues
Send Message: To this poster
Ah yes, that has always been my philosophy: "a lame drawing can be vastly
improved by spirited carving."
Seriously!
Good luck and GODSPEED!
Maria, busily carving the fourth and last color block.
O=O=O=O=O=O=O=O=O=O=O=O=O
Maria Arango
http://1000woodcuts.com
http://artfestivalguide.info
O=O=O=O=O=O=O=O=O=O=O=O=O
>Maria: RE: exchange 39. I've got two different designs glued onto blocks
>and I start carving today! I just hope a lame drawing will be improved by
>some spirited carving. I'll print whichever ends up being less of a
>disaster. This long thin format has definitely been more of a challenge than
>I imagined.
improved by spirited carving."
Seriously!
Good luck and GODSPEED!
Maria, busily carving the fourth and last color block.
O=O=O=O=O=O=O=O=O=O=O=O=O
Maria Arango
http://1000woodcuts.com
http://artfestivalguide.info
O=O=O=O=O=O=O=O=O=O=O=O=O
>Maria: RE: exchange 39. I've got two different designs glued onto blocks
>and I start carving today! I just hope a lame drawing will be improved by
>some spirited carving. I'll print whichever ends up being less of a
>disaster. This long thin format has definitely been more of a challenge than
>I imagined.