Today's postings

  1. [Baren 40814] blog post and conor's questions (Amanda Miller)
  2. [Baren 40815] Re: Traveling with ink (graphchem # aol.com)
  3. [Baren 40816] paper ate your blue (Linda Beeman)
  4. [Baren 40817] Re: Traveling with ink (Diane Cutter)
  5. [Baren 40818] Re: Traveling with ink (l k)
  6. [Baren 40819] Re: blog post and conor's questions (Marilyn Anderson)
  7. [Baren 40820] Re: blog post and conor's questions (Amanda Miller)
  8. [Baren 40821] RE: paper ate your blue ("Maria Arango Diener")
  9. [Baren 40822] Re: Three questions (Getting rough textures, reductive preferences, and a plexiglass problem) (Sharri LaPierre)
  10. [Baren 40823] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Amanda Miller
Date: Thu, 11 Mar 2010 13:22:02 GMT
Subject: [Baren 40814] blog post and conor's questions
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I have a blog post that didn't make it to the list. It's:
http://amandagordonmiller.blogspot.com/2010/03/nest-etc-block-and-printing-on-handmade.html.


Conor,

There are all kinds of acrylic mediums that have different textures, or
maybe you could try mixing sand into acrylic medium.

There is a solvent you can apply to two pieces of plexiglass. They melt a
little and you can fuse them together. I don't remember the name, but maybe
your plastic supplier will sell it.

Amanda

--
Amanda Gordon Miller
www.AmandaGordonMiller.com
EdamamePress.etsy.com
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Message 2
From: graphchem # aol.com
Date: Thu, 11 Mar 2010 13:43:41 GMT
Subject: [Baren 40815] Re: Traveling with ink
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There are a lot of misconceptions about oil-based products - if you do pack oil based inks, put an msds sheet with them. They indicate a flashpoint at which there may be a potential problem...high enough that if the temperature gets that high it's a moot point. Of course, that depends upon who's screening and if they know what they're doing.
Susan
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Message 3
From: Linda Beeman
Date: Thu, 11 Mar 2010 13:45:00 GMT
Subject: [Baren 40816] paper ate your blue
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Maria,
I use Kihada all the time. Yes, as it dries it might fade a little but I've never had it go like that. I'm wondering if you are using too much water and not enough pigment. I learned that when I try to make a light color using water it goes bye-bye. Mix it full strength and use less on the block and it stays pretty much the way I want it. If, after it dries, it is too light I just re-wet the stack and print that block again. I don't have any problems with the paper. Kihada is awesome paper.
Linda Beeman
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Message 4
From: Diane Cutter
Date: Thu, 11 Mar 2010 13:54:24 GMT
Subject: [Baren 40817] Re: Traveling with ink
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I fly back and forth between Puerto Rico and New Mexico several times a year and often have tubes in my suitcase. (Takach is not far from my parents' place.) I never put anything in carry-on except for the non-threatening brushes, baren, etc. Inks and oil paints go tiple-bagged in my luggage. I always include a little inventory list with them, referring to them as 'artist colors'. Every time I fly I have a lovely note (form letter, not personal) from the screeners letting me know my luggage was searched. Nothing has ever been taken but I know the copper plates, etc. certainly are a red flag alerting them.

My advice would be to take the inks if they are in tubes. If you have used tubes, take those if they have enough in them to complete your project just in case you get the one screener who is in a super vigilant mood.


Diane

www.DianeCutter.com
www.theitinerantartist.blogspot.com
www.DCutter.etsy.com
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Message 5
From: l k
Date: Thu, 11 Mar 2010 14:39:47 GMT
Subject: [Baren 40818] Re: Traveling with ink
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I haven't read every post about this one,
but, having had run-ins with screeners...
having lost paints, acrylics,watercolors in tubes...
I've taken to Federal Expressing supplies I want
and I can not buy to have sent to my destination.
Linda
lindakelen-artings.blogspot
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Message 6
From: Marilyn Anderson
Date: Thu, 11 Mar 2010 15:03:53 GMT
Subject: [Baren 40819] Re: blog post and conor's questions
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Hi Amanda,

Please tell me where to obtain drafting vellum?

THANK YOU!

Marilyn Anderson
proartemaya.org
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Message 7
From: Amanda Miller
Date: Thu, 11 Mar 2010 15:11:31 GMT
Subject: [Baren 40820] Re: blog post and conor's questions
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Hi Marilyn,

I bought my drafting vellum at Blick Art Materials. Here is the link for
the kind I used to transfer:
http://www.dickblick.com/products/clearprint-1000h-drafting-vellum/.

McClains also sells inkject transfer paper, which looks like it does the
same thing. I ordered some but haven't tried it yet.

Amanda
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Message 8
From: "Maria Arango Diener"
Date: Thu, 11 Mar 2010 15:55:13 GMT
Subject: [Baren 40821] RE: paper ate your blue
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Yes, I thought about the pigment or pigment mix being the culprit, but why
ONLY on the kihada?

The hosho prints look just as good as when I printed them.

And why only the blue or blue component of the pigments?

Honestly, I'm baffled.



Today I will try to overprint some of the colors on a few test prints and
see what happens.



Thanks,

Maria



[=o=][=o=][=o=][=o=]

www.1000woocuts.com

ww.artfestivalguide.info

[=o=][=o=][=o=][=o=]
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Message 9
From: Sharri LaPierre
Date: Thu, 11 Mar 2010 17:50:09 GMT
Subject: [Baren 40822] Re: Three questions (Getting rough textures, reductive preferences, and a plexiglass problem)
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Conor,
I've forgotten what you said this print was on, woodblock or lino, but
something I've done on wood, when printing with oil based inks, is to
run through the press a piece of really, really rough sandpaper (rough
side down) on the block where you want the texture. This works really
well if printing where you brayer the ink onto the surface, I'm not
sure it would work with moku hanga.

As for using stencils: I tend to do all one color before I move on to
another. I make a matrix with tape, matboard & the stencil so that I
can slap the plate into the matrix, flip down the stencil, roll on the
color and print. This eliminates all the futzing over getting the
darned thing in exactly the right place each time - it just goes there
automatically
If you want all the dirty details & photos contact me off-forum & I'll
see what I can do.

Cheers ~
Sharri

Digest Appendix

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

Subject: Caleb & Joel Went to Harvard, 1665 - Final Print
Posted by: Annie B

click image for larger view

CALEB & JOEL WENT TO HARVARD, 1665

Japanese woodblock (moku hanga)
Paper size: 14.5" x 20.5" (37 x 52 cm)
Image size: 11.5" x 17.75" (29.2 x 45 cm)
5 shina plywood blocks
7 hand-rubbed impressions
Paper: Nishinouchi
Edition: 9

It's impossible to know from this vantange point whether Caleb Cheeshahteaumuck and Joel Iacoombs, the first two Native students to attend the Harvard Indian College, felt honored to be there or if they felt resistance, as Native Americans felt in the late 1800s when they were removed from their families and placed in government-run boarding schools. What we do know is that as early as the 1640s Puritan missionaries like John Eliot were establishing Indian "praying towns" in Massachusetts. Indians in praying towns dropped their Indian names and adopted English names (like "Caleb" and "Joel"), cut off their long hair, and wore English clothing.

The story of Caleb and Joel was forgotten once the Harvard Indian School was torn down in the 1690s, but in 1970 the Harvard University Native American Program (HUNAP) was established and the story was rediscovered. In a 1997 ceremony in Harvard Yard, sponsored by HUNAP, a plaque was unveiled marking the spot of the ancient Indian College. The plaque reads:

"Near this spot, from 1655 to 1698, stood the Indian College. Here American Indian and English students lived and studied in accordance with the 1650 Charter of Harvard College calling for 'The Education of the English and Indian Youth of this Country."

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


Subject:
Posted by: Diane Cutter


'Flying South' ~ 'Volando hacia el sur'
Woodcut ~ Grabado en madera
Edition/edicion: 75
Size/Tamano: 4" x 6" / 10 cm x 15 cm


New Mexico has a magic place called Bosque de Apache National Wildlife Refuge where each fall thousands upon thousands of birds (sandhill cranes, Arctic geese, myriad species of ducks) gather to winter. Feeding birds may erupt in explosions of wings at a moments notice and, at dusk, flight after flight of geese and cranes return to roost in the marshes. It's an awesome sight which should be experienced and was my inspriation.

This simple little black and white woodcut was done for the SSNW09 print exchange, a twice annually exchange celebrating the solstice.

~~~~~~~~~~~~~

En el estado de Nuevo Mexico (EEUUA) hay un sitio magico llamado El Refugio Nacional del Bosque de Apache a lo cual millares de pajaros migran cada otono (grullas sandhill, gansos articos, una variedad de patos) para pasar el invierno. De golpe habran explosiones de alas y, a la nochecer, vuelo tras vuelo de gansos y grullas vuelven para descansar en los pantanos. Es tan impresionante verlo y me inspiro.

Este grabado sencillo en blanco y negro fue hecho para el intercambio de grabados del SSNW09, lo cual occure dos veces al ano para celebrar el solsticio.






This item is taken from the blog The Itinerant Artist.
'Reply' to Baren about this item.


Subject: Psalm 18
Posted by: Daniel L. Dew


By far, one of the easiest images to create and one of the hardest to illuminate!

This is also one of my favorite images I have created. The verses virtually sang to me the imagery. I wanted to depict God saving me from the "pit" and the "cords" that attempt to hold me down.

I am not totally satisfied with the cross-hatching, maybe at some later date I will go back and thin out more lines to help with the shading, or maybe I will leave it be, because the arm is being rescued from below where it is not all smooth and nice.

Again, printed with Graphic Chemical black on Zerkal book vellum
(which I found out is hand made in Germany). Carved in lino, mainly with an exacto knife (although my U gauge and V gauge are getting lonely.

The decorative initial was easy enough:

Once again going retro, I decided to do everything
in India ink and brown ink. I didn't add any other
colors because I was very satisfied with the way
the image looked as is.

Also, I had in the back of mind what the final
product would look like once the illumination
was completed. The main problem was yet to
come; how was I going to fit all the text
on one piece of paper?

After much consideration, and 5 trial runs of writing the Psalm out, in calligraphy form, I decided that unless people were going to look at this with . . .
[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog A Psalm Quest.
'Reply' to Baren about this item.