Today's postings

  1. [Baren 38866] Re: gold leaf on prints (Diana Moll)
  2. [Baren 38867] gold leaf (Cucamongie # aol.com)
  3. [Baren 38868] Re: gold leaf on prints (Barbara Mason)
  4. [Baren 38869] Re: selling prints on line (Graham Scholes)
  5. [Baren 38870] photopolymer plates (Barbara Mason)
  6. [Baren 38871] Re: photopolymer plates (Graham Scholes)
  7. [Baren 38872] Re: Paul Binnie print and F. Morley Fletcher in Project Gutenberg (Julio.Rodriguez # walgreens.com)
  8. [Baren 38873] Michelangelo (Eileen Corder)
  9. [Baren 38874] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Diana Moll
Date: Wed, 13 May 2009 13:34:33 GMT
Subject: [Baren 38866] Re: gold leaf on prints
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I tried gold leaf, I got a little kit with the adhesive and the
leaf. You put the adhesive on then burnish the leaf, it seemed
pretty stable. I ended up just painting on gold ink because the area
(a toad's eye) was too small not to mess up half my attempts.

Al Best,
Diana
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Message 2
From: Cucamongie # aol.com
Date: Wed, 13 May 2009 14:01:55 GMT
Subject: [Baren 38867] gold leaf
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I think April told me that she used transparent base to adhere gold leaf,
running it through the press to stick it on. April, can you clarify this?

I have also used rice paste for tiny areas but found it to be not so
consistent for larger areas. I have also used 1-Shot which is an oil size, but
that was used after gessoing the areas of the print which were going to be
gilded. I did this after the print was made. Due to the delicacy of the
gold leaf I personally would not roll it but it probably depends on the size
of the gilded area etc. Any other thoughts on this?

Sarah
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Message 3
From: Barbara Mason
Date: Wed, 13 May 2009 14:27:22 GMT
Subject: [Baren 38868] Re: gold leaf on prints
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Georgina,
If you go to the archives of Baren you will find a lot of past discussion about this...just be sure you search within the barenforum
http://www.google.com/custom?q=gold+leaf&sa=Google+Search&cof=AH%3Acenter%3BGL%3A0%3BAWFID%3A3616837a5692b03a%3B&domains=barenforum.org&sitesearch=barenforum.org
My best
Barbara
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Message 4
From: Graham Scholes
Date: Wed, 13 May 2009 15:59:43 GMT
Subject: [Baren 38869] Re: selling prints on line
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Sharri LaPierre wrote:
> My experience told me that my work doesn't belong on Etsy - I think
> it is a great place to shop for crafts, jewelry, baby gifts, etc.,
> but maybe not so great for fine art. Having said that, I realize
> that I risk being called a snob, so I may as well add that
> representational artwork also probably has a better chance of
> selling. Well, now I've done it — Foot is firmly lodged in mouth.

You are quite right Sharri.... You mentioned a price of $25.00 as the
limit for these trinket sites....
Actually the price is $37.95. according to research by my buddy who
does this all the time.

Snobbery has nothing to do with your assessment.... Practical common
sense about the reality of the situation may be a better snob
phrase !!!!!

The way I define it is....
“If you have a item and sell it in a junk shop .... it is a piece of
junk
If you sell this same item in a antique shop.... it is an antique”.

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Message 5
From: Barbara Mason
Date: Wed, 13 May 2009 17:40:49 GMT
Subject: [Baren 38870] photopolymer plates
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These plates were used first in the commercial printing industry in India, so I think they must be available if one know what they were called. If you put photopolymer printing plate into the internet I think you might find a lot of suppliers for different types. They all have their own learning curve as are all a bit different but they all work well. Solarplate is a brand name for one type.
My best
Barbara
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Message 6
From: Graham Scholes
Date: Wed, 13 May 2009 18:26:46 GMT
Subject: [Baren 38871] Re: photopolymer plates
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Actually Barbara.... these were originally called dycrel plates which
was a new material invented by Dupont as far back as the late 50’s.
It was a very innovative material which was to replace copper plates
in the commercial printing industry. It had a much better release of
ink onto the substrate which meant that finer screens (150) could be
used for illustrations and photos.

Graham
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Message 7
From: Julio.Rodriguez # walgreens.com
Date: Wed, 13 May 2009 21:24:13 GMT
Subject: [Baren 38872] Re: Paul Binnie print and F. Morley Fletcher in Project Gutenberg
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While checking an old link to the Ukiyoe Gallery website (and while most
of the info there is related to selling, collecting and more advanced moku
hanga explorations ) there is a link that gives inside to Paul Binnie
(english printmaker) making of his print "Red Fuji"......a 22+ impression
that took over three months to complete in 2002.

http://www.ukiyoe-gallery.com/fuji.htm

While there, be sure to check Gallery #4 at the same website for images of
prints by Bareners Tom Kristensen (Obama series) & Mike Lyon plus Paul
Binnie and others.

http://www.ukiyoe-gallery.com/gallery4.htm#kristensen

and also for more informative articles......
http://www.ukiyoe-gallery.com/library.htm



Looks like woodblock printmaking made it into Project Gutenberg......there
are free ebook downloads available.

http://www.gutenberg.org/etext/20195

Of course the same book is available for free download from the
Barenforum.org library (courtesy of David, Fumi & Himi) ......and if I say
so in a much more pleasant format !

http://woodblock.com/encyclopedia/entries/011_03/011_03.html

thanks....Julio
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Message 8
From: Eileen Corder
Date: Thu, 14 May 2009 02:58:45 GMT
Subject: [Baren 38873] Michelangelo
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When I saw the thumbnail, I thought it was Japanese comic book art. But it's
³The Torment of St. Anthony² painted by a 12 year old Michelangelo! Check
out the slide show, too.

http://www.nytimes.com/2009/05/13/arts/design/13pain.html?_r=1

Peace,
Eileen

Digest Appendix

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

Subject: Studio Soundscape - with Kingfisher
Posted by: Dave Bull

How would you like to drop by my workroom for a visit? Do you live too far away? No fear ... with the 'Studio Soundscape' recording that was made this afternoon (with my new Zoom portable digital recorder), you can sit by my side as I work on one of the prints, and 'listen in' to what is going on.

The Soundscape is linked from a new page in the 'Diversions' section of the Woodblock.com website. In order to make the recording a bit more understandable, I have created a photo 'essay' to show and explain just what it is that you hear during the 30 minute session, which was recorded while I sat at my bench working on a print from my 'My Solitudes' series - with the windows wide open ...

The recommended way to listen to the Soundscape is by downloading it to your computer and then playing it in your favourite music player with headphones. This will give you the best stereo effect, and will put you 'right there' at the printing bench. But the audio can of course also be played directly in your browser too.

I should mention that there is a very special 'bonus' included in this Soundscape. No sooner had I turned the recorder on, than I had a visit - an extended visit - from the local kingfisher. He flew back and forth all during the time I was printing. It was almost as though he knew that I was recording!

I . . .
[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: Hierophant Blue Block and Lovers Key Block
Posted by: Phare-Camp

The blue block for the Hierophant is carved


These are the printed proofs of the adjusted keyline for the Hierophant.


[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: Go with the Flow
Posted by: Amie Roman

I am pretty sure that my Exposed print is of sufficient value to cover the "cost of entry" to the Oceans of Art exhibition at the Nanaimo Art Gallery, opening reception on Thursday June 11, 7-9 pm; however, I also thought that a few smaller pieces may be appreciated, as it can sometimes be difficult to sell large pieces.

I had done a sketch of a piece of kelp (Macrocystis) that I'd photographed on Brady's Beach that I've had sitting in the back of my mind since I did it, with the intention of a reduction cut.

I started off with a yellow ochre layer (didn't photo it), then later did a separate set of prints with a blend (rainbow) roll using yellow ochre, carbazole violet, and phthalo green:

Amie Roman as burnishings on Flickr
Flow II
MDF block print, Dremel carved
Daniel Smith water soluble inks on green kitakata paper
© Amie Roman

and then for some reason, printed the remaining ink on the block (not reinking the block) over the ochre layer and got this:

Amie Roman as burnishings on Flickr
Flow I
MDF block print, Dremel carved
Daniel Smith water soluble inks on green kitakata paper
© Amie Roman

After I finished enough prints for editions for those two, I decided to mess around a little and ended up with these two monoprints:


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

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