Today's postings

  1. [Baren 38113] Re: (Eileen Corder)
  2. [Baren 38114] Re: New Baren Digest (HTML) V46 #4705 (Feb 11, 2009) (Marilynn Smith)
  3. [Baren 38115] paper for ghost prints ("Maria Arango")
  4. [Baren 38116] Re: paper for ghost prints (carol Montgomery)
  5. [Baren 38117] Re: paper for ghost prints ("DePry Clan")
  6. [Baren 38118] Firemen Prints Portfolio (cucamongie #
  7. [Baren 38119] OX cards ("Oscar Bearinger")
  8. [Baren 38120] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Eileen Corder
Date: Wed, 11 Feb 2009 17:28:35 GMT
Subject: [Baren 38113] Re:
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Thanks, Diane, for the link to Different Strokes... Very cool! Maybe a baren
themed exchange could be set up on the same line with one photo as sole
inspiration. You rendering is very nice.

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Message 2
From: Marilynn Smith
Date: Wed, 11 Feb 2009 18:37:26 GMT
Subject: [Baren 38114] Re: New Baren Digest (HTML) V46 #4705 (Feb 11, 2009)
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I have made an interesting discovery about my drying prints. I
changed the paper I had been using and they have been a great deal
better. I have been drying them interleaved in a phone book and they
are clear, no high amount of fading and no color seeping into the
white areas. The other day the phone book was crinkled and a bit
damp. So, I used the newspaper and weighed it down with a phone
book. Today I pulled out these prints and they are more faded and the
pigment did bleed some into the white areas. Interesting, as I
thought this batch was very clean, crisp and clear when I pulled
them. I can think that it is either the newspaper kept them too damp,
as many were still not quite dry and usually overnight is all they
need or the extra weight of putting the phone books on top shut out
air and made them stay too damp. That might have resulted in more
fading and some bleeding of pigment. Not at all sure. I can say that
Barbaras method of interleaving and than changing out the paper after
about 45 minutes is excellent and does result in nice flat prints.
But, I forgot to change them out and perhaps that is the problem???
This is simply a problem that I have never had before. I am thinking
that when using water pigment one needs to be certain to dry the
prints in a manner that will allow them to be totally dry overnight.
And, maybe not weigh them down too much as that might cause bleeding.

By the way I have one of those nice new printers. Now all I need is
photoshop and I won't ever have to carve a print again. Nor will I
have to worry about how to dry prints or any other technical items.
Than all these weird little problems will never exist. What a relief!
(pun intended here too) But, a bit boring.

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Message 3
From: "Maria Arango"
Date: Wed, 11 Feb 2009 20:46:34 GMT
Subject: [Baren 38115] paper for ghost prints
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I am currently working on an 8 large block series from my Goldwell Adventure
last year. Eight larger blocks, one color prints probably, although later in
life I may add a puzzle color block to each. But anyway...

Goldwell is near a ghost town and so I thought I would maybe print a special
edition of, say, 10 prints as "ghosts", that is, deep embossing only and no
ink. I am looking for a very "chunky" ghost-white paper that will allow very
deep embossing. I know that Arches 88 is pretty good and soft for embossing,
as is Mangani Pescia and the every beautiful Rives de Lin (but who can
afford THAT!).

Any other good candidates for embossing? The thicker the better? I need them
in ('merrican) full sheet sizes of 31 x 40 inches (79 cm x 102 cm) to
accommodate the larger blocks.

Thanks for any suggestions!

       Maria Arango
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Message 4
From: carol Montgomery
Date: Wed, 11 Feb 2009 20:49:26 GMT
Subject: [Baren 38116] Re: paper for ghost prints
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Hi, Maria - Fabriano Tiepolo is pretty big and thick. Carol Montgomery
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Message 5
From: "DePry Clan"
Date: Wed, 11 Feb 2009 21:57:04 GMT
Subject: [Baren 38117] Re: paper for ghost prints
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LENOX is your best bet for the price.
Give it a whirl.
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Message 6
From: cucamongie #
Date: Thu, 12 Feb 2009 02:35:50 GMT
Subject: [Baren 38118] Firemen Prints Portfolio
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Hi again folks, regarding the email which was previously sent by Carol Lyons trying to get in touch w/the participants in the Firemen Prints portfolio about a book which Loren Ellis is compiling about 911, I now have further information from her.? She is only looking for people who were in the area of where 911 occurred, namely NYC's five boroughs or Connecticut area (some parts of New Jersey may be eligible as well, you'd have to ask).

So, sorry about that.? Only portfolio participants who were in the area should contact Loren.? Any further questions, feel free to email me offline.

many thanks
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Message 7
From: "Oscar Bearinger"
Date: Thu, 12 Feb 2009 11:10:50 GMT
Subject: [Baren 38119] OX cards
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Hello every-inky-one,
Aahhh, of course now I wish I had signed up for the OX card exchange. I was
in the middle of finishing a difficult woodcut so I didn't feel I could do
it justice BUT I did do an OX as a kind of lark (comic image, ox head on
male nude). I will carve it and print for some friends yet. However, it is
lovely to receive cards through the year and there is no need to be "guilty"
about being late (in my humble opinion.)

Soooo, I really appreciate folks who post their cards. The colours of your
card, Carole, are just wonderful. Your process comments are also very
useful to us beginners! Eventually I will arrive at colour printing too!!!
And I really loved your card, Andrew, and your attached research about
Chinese cattle.

Thank you, everyone. What a wonderful group to stimulate my learning


Digest Appendix

Postings made on [Baren] members' blogs
over the past 24 hours ...

Subject: [Seacoast in Winter - 12] : Impressions 14 ~ 15
Posted by: Dave Bull

Continued from [Seacoast in Winter - 11] | Starting point of the thread is [Seacoast in Winter]

Step #14 - Now we put some shadows onto the rocks, bringing them to life!

That'll be it for the rocks I think. I think I could have laid the black on a bit heavier, as the shadows could certainly be a bit darker under the main large rock, but that would probably make the other parts a bit too dark. By doing the rocks with only 4 blocks, as opposed to the six for the water, we're a bit limited in how much subtlety we can catch ...

Step #15 - And the final touch on the water, bringing out the transparency on the underwater rocks.

[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Woodblock RoundTable.
'Reply' to Baren about this item.

Subject: Me in a tree in progress
Posted by: Maria

The key block, on the hanshita paper ready to be transferred. This hanshita paper is a huge time and head-ache saver! I just print the carved key block, kentos and all, as many times as there will be color blocks.

I pasted down my hanshitas with rice paste, ready made and purchased from Dick Blick , search for Nori. I then stack the blocks and put weight on them so the hanshita won't wrinkle. It dries perfectly flat. The hanshita is composed of two layers, a thick backing sheet and a thin sheet.

Once dry, the thick sheet peels off and the thin sheet remains on the block. A few drops of oil and the paper disappears (visually speaking) leaving just the perfect image on the block to be carved right through the paper.

The first picture is the key block printed in blue with the green block, leaves background printed as well. Fun working with such transparent inks and certainly very different from using oil-based inks. The second is the sienna block printed over the key block on the tree trunk. I printed the leaves and the tree twice to achieve saturation.

[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog 1000 Woodcuts Updates.
'Reply' to Baren about this item.

Subject: Me in a tree...
Posted by: Maria

Here is my latest attempt at moku-hanga, the traditional Japanese technique.

I actually had fun this time! I enjoyed working with transparent colors even though some need to be printed twice for my preferred saturation.

I used the Baren Mall's hanshita paper to transfer the key block to the color blocks, kento and all. Then a mixture of tube watercolors, raw pigment also from the Baren Mall and Akua suspension pigments for tinting.

All in all, a fun image to work with. I tried for "goma" on the tree blocks, but the truth is that I can't control it quite yet. No problems with registration, actually got 46+ good prints out of 48 pieces of New Hosho paper.

When I was a child I used to clim trees, mostly as an escape from the "cliques" and "groupies" that children form around each other. I was a bit of a loner...and a great tree climber! While I was printing with my Murasaki Baren (in dire need of a new skin) I got swept by the rhythm of the printing action and a poem came to me. My husband says it's sad but I didn't really see it that way.

Me in a tree
No one looks up
No one can find me
Or laugh at me

The gory details:

[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog 1000 Woodcuts Updates.
'Reply' to Baren about this item.

Subject: Empress: Getting Ready to Proof the 4 color blocks
Posted by: Phare-Camp

"Hook 'em Horns"
Happy Year of the Ox
Hope it Rocks!!!

[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Phare-Camp Art Journal.
'Reply' to Baren about this item.

Subject: Relief Printmaking Workshop at the Greenbelt Community Center
Posted by: Amanda

I have a workshop coming up at the Greenbelt Community Center. If you're interested, please sign up soon, or let me know you'd like to attend, because the workshop is dependent on enrollment.

Relief Printmaking Workshop
Sunday, February 22, 1-5 p.m.
In relief printing, the artist starts with a block and then cuts away the background to leave a raised image that is inked and printed. Try your hand at this try your hand at this time-honored tradition with your choice of wood or a soft-rubber-like material that is easy to cut. Each student will design and hand-carve a block, print a small edition, and experiment with color variations. Residents: $45, Non-residents: $55

Sign-up information is available in the Greenbelt Recreation brochure.

This item is taken from the blog Amanda's Art Blog.
'Reply' to Baren about this item.