Today's postings

  1. [Baren 41028] Harry's print, white line printing, washing blankets (Marilynn Smith)
  2. [Baren 41029] Re: white line printing day 2 (Louise Cass)
  3. [Baren 41030] Re: white line printing day 2 (Darrell Madis)
  4. [Baren 41031] Re: Washing felt blankets (Sharri LaPierre)
  5. [Baren 41032] Re: white line printing day 2 (l k)
  6. [Baren 41033] Re: white line printing day 2 (Louise Cass)
  7. [Baren 41034] UK Members Paper Choices and Supplier (Hideki Arichi)
  8. [Baren 41035] Re: white line printing day 2 (John Steins)
  9. [Baren 41036] Re: white line printing day 2 - oil treatments ("Ellen Shipley")
  10. [Baren 41037] Re: white line printing day 2 - oil treatments (l k)
  11. [Baren 41038] Re: Print Exhibitions in Chicago, Illinois, and Fort Wayne, Indiana (l k)
  12. [Baren 41039] Re: picasso prints in NYC (Juergen Stieler)
  13. [Baren 41040] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Marilynn Smith
Date: Sun, 11 Apr 2010 15:47:48 GMT
Subject: [Baren 41028] Harry's print, white line printing, washing blankets
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Harry wonderful print. I find your images delightful. They seem to
have a sense of playfulness about them.

Viza if you are painting the entire block first why not drop damp
paper on it? That is how I do my monotypes. I paint on plexi with
water based pigment. Often it dries before I print it. I have found
arches 88 is a wonderful paper for this. I dunk in water and put it
in a blotter to squeeze out excess water and than plop it on my
plate. it picks up pigment beautifully. Don't soak Arches 88 it will
dissolve the paper.

I learned the hard way not to wash my press blankets in a washer. I
would take them to the dry cleaners. Like Barbara said if you must be
a do it yourselfer, be cautious.

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Message 2
From: Louise Cass
Date: Sun, 11 Apr 2010 16:19:15 GMT
Subject: [Baren 41029] Re: white line printing day 2
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Linda -I'd still like to know what sort of oil 'Velvet Oil' is that you
mentioned using to harden the shina? I still have a fair amount of shina
I bought from McClain's some time ago which I find so easy to cut -but
it is of course a bit on the soft side!
Louise C
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Message 3
From: Darrell Madis
Date: Sun, 11 Apr 2010 16:37:08 GMT
Subject: [Baren 41030] Re: white line printing day 2
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Probably this, huh?

           Madis Arts
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Message 4
From: Sharri LaPierre
Date: Sun, 11 Apr 2010 18:01:15 GMT
Subject: [Baren 41031] Re: Washing felt blankets
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Just to add confusion to the topic - I wash the blankets for my
etching press in the washer. Maybe having a front loading type makes
a difference. I use the gentle cycle, cold water, and Ivory flakes
or Woolite, or some other gentle cleanser. To dry I lay them over
several lines so that they are almost flat, but the air can circulate
freely around them. I have had no adverse effects and have been doing
this for years. Come to think of it, I used a top loading washer for
most of the washings. I think the secret is not to leave them in too
long, wash as gently as possible, and dry fairly flat. (I've never
washed the "cushion" as it is protected by the "pusher" and the
"sizing catcher", so it has never seemed to need it.)

On a related topic: if you purchase some clear vinyl at a fabric
store and cut a blanket the same size as your others and use it on the
bottom of the stack on the press bed it will save your sizing catcher
a bunch. It does not affect the quality of the print, but does
prevent any ink from getting on the blanket - and, of course, any
sizing from damp papers. It also helps to keep the blanket dry and
prevent mold or mildew, especially if you live in a humid climate.
That's my tip 'o the week. ;-)

Cheers ~
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Message 5
From: l k
Date: Sun, 11 Apr 2010 18:49:22 GMT
Subject: [Baren 41032] Re: white line printing day 2
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I can't seem to get the can into the house to the computer,
to copy exactly off the can, so, to the best of my ability
I'll tell you that it's a very tough penetrating finish made from tung and linseed oils, and some phenolic resins. I learned about it from neighbor and friend,Ed Wohl, famous for his cutting boards....and have been using it ever since for a variety of wood purposes.
It was just a guess that it would improve the Shina....a correct guess for me...
I can't say it's what you may want...
but, I find I'm much happier with how the wood cuts.
The stuff soaks in and actually hardens the wood.
Lots of coats would have it start building up on itself, and you'd begin to get definite water repelling.
A light sanding with fine paper, and there is no indication that I used it at all...
the watercolors work on the wood, just like they did on un-velvited wood.
It's the cutting that is way different...for me.
You can google Velvit Oil for more exacting info...
or just send an email to them
Good Luck....Linda
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Message 6
From: Louise Cass
Date: Sun, 11 Apr 2010 19:32:07 GMT
Subject: [Baren 41033] Re: white line printing day 2
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Thanks, Linda (and Darrell) - I went to the Velvit site and asked if
it's available in Canada. I always used white shellac thinned with
alcohol to harden the pine and or linden blocks I use (sanding after a
couple of coats -as you do) - I know Maria in Las Vegas recommended
linseed oil for making the cherry nicer to cut and it sounds as if this
Velvit compound would be better than shellac for the Shina which I do
find a bit 'soft'
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Message 7
From: Hideki Arichi
Date: Sun, 11 Apr 2010 20:20:10 GMT
Subject: [Baren 41034] UK Members Paper Choices and Supplier
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This is for UK members but any tips from other members is welcome to. I continue to have misadventures in purchasing paper, the knowledge of some of the so-called paper specialists has been very disappointing in regard to supplying 'sized' paper suitable for water-based woodblock printing.

So my question is this: Which paper and from whom do the UK members use for their prints?

Thank you.
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Message 8
From: John Steins
Date: Sun, 11 Apr 2010 21:34:51 GMT
Subject: [Baren 41035] Re: white line printing day 2
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I'm not a hundred percent sure but I believe that Watco oil is pretty much
the same as Velvit oil. Another option might be polymerized tung oil. Both
of those are available at the hardware store.


Box 192,
Dawson City,
Yukon, Canada,
Y0B 1G0
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Message 9
From: "Ellen Shipley"
Date: Sun, 11 Apr 2010 23:28:59 GMT
Subject: [Baren 41036] Re: white line printing day 2 - oil treatments
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Are all of these oil treatments like poyurethane? Or would it do the same thing? We've used it on some walking sticks we've made, after staining. I've never tried it on the woodblocks tho. I should work up a sample block and see what it does.

Also, would lemon oil do anything good for the blocks?

Ellen Shipley
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Message 10
From: l k
Date: Mon, 12 Apr 2010 00:17:48 GMT
Subject: [Baren 41037] Re: white line printing day 2 - oil treatments
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Other than shellac on wood for moku hanga prints...
I've only used Velvit oil.
That's as far as my wood treatment experience goes.
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Message 11
From: l k
Date: Mon, 12 Apr 2010 00:39:05 GMT
Subject: [Baren 41038] Re: Print Exhibitions in Chicago, Illinois, and Fort Wayne, Indiana
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Thank-you very much for the print show update!!!!
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Message 12
From: Juergen Stieler
Date: Mon, 12 Apr 2010 09:57:10 GMT
Subject: [Baren 41039] Re: picasso prints in NYC
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I live too far away and cannot go there. And it's a pity I haven't seen
an original Picasso Print yet, but some of his paintings.
From a book about simple printmaking i learned that Picasso chose
another way we normally do for reduction prints: Normally we start with
the lightest and end with the darkest color. In some of his prints
Picasson first printed a solid black (or other dark color), than cut the
outlines and printed with white or another light color. And in the end
he did some additional cuts and printed several colors over it. In my
mind I already have a plan for a print like that. It sounds interesting!

Kind regards - Juergen schrieb:
> Thanks Melissa for telling us about the Picasso exhibit. I will try to
> go. I'll be sure to read the NYTimes today.
> I have the book Picasso Linoluem Cuts , the MET, Random House, .Does
> anyone have this book? In it I just read that he evolved a simple
> revolutionary method and it went on to describe* reduction
> prints *without giving it that name* . *So he was the first and
> the term for it wasn't used yet.
> It was amazing to learn that he used the same one block for 2 prints
> of _Bullfight_--- 2 different colors for the first image and 3
> different colors for the second image. It took a while and a
> challenge for me to figure out how some of the other reduction prints
> were done::._Still Life with a Bottle_ _,_ one print in black and the
> other in black and 2 more colors.
> Have we had an exchange of reduction prints yet? Hmmmm...
> Carol Lyons
> Irvington, NY

Digest Appendix

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

Subject: Daisy wood block
Posted by: smith

This is my first attempt at posting to the blog, hope it works???
I started carving a new block based on my dream. The subject, in my dream, was my daisy. So far I have done a pencil drawing directly on the block and carved the outline with my hanga knife. A small part has been carved away. At first I thought this block might splinter easily, it has given me no problem so far. This block is maple and has a lot of grain, hoping to get some of the grain to show in the print. I am planning to leave space at the top for pins, think I will try white line. Otherwise this will be a reduction print.

This item is taken from the blog BarenForum Group Weblog.
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Subject: The Mix, Engraving and a Wordfest Appearance
Posted by: Andy English

I was running short of "Mix" so I thought I would share its secrets. "Mix" is what I use to darken the block before I transfer the design onto it prior to engraving. It is simply diluted writing ink.

I use blue-black "Quink" writing ink but I imagine that any water soluble ink would do but you will have to work out the proportions.

I use a simple pipette to measure out a small quantity of Quink. I can see no reason why you should not use a spoon:

Then, for every measure of Quink, I add six measures of water, give it a shake (with the lid on!) and we are ready to darken a block.

I use a piece of smooth cotton cloth (from an old t-shirt) and wash a little "Mix" over the block - taking care that it does not get too dark. My preference is that the block is light enough for my ink lines to show but dark enough so that I can make out the cuts that I have made and get an overall balance of light and dark as I work:

This block is going to be engraved with an image of the Ghost Of Christmas Present from Charles Dickens' "Christmas Carol":

This is one of seven large engravings commissioned by Susan Hill's Long Barn Press. This project is great fun . . .
[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Wood Engraver.
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Subject: Rainy Day Printing
Posted by: Ellen Shipley

In answer to my plaintive pleas, it's going to rain later today/tonight.  So I'll be able to print in the sweet spot.  (I really should move to the Pacific Northwest.)  ;->

I'll mix up some more "yellow ochre" ink in a bit.  I'll leave out the white this time and see how it prints.  I miss the woodgrain effect that goes away with opaque ink.  At least that's the plan for the day.

Interestingly, the cartoon is still vaguely visible on the block after some 15 prints.  I may not have to reapply it.

Cold and overcast, but no rain yet.  Printing went a little better.  I cleaned the block every 2-3 prints.  Tomorrow may be better. 

Color's a little better.  The print in the lower left was an attempt to reprint over a poor print from yesterday.  I was done and just wanted to get some ink off the block after printing.  I'm gratified to see I can match the blocks up.  Color is still a little uneven, but another pass may improve it even more.

I've never tried to reprint a block, fearing  misalignment, but since the reduction block requires it, I felt empowered to try it.  ;- j

This item is taken from the blog Pressing-Issues.
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Posted by: Maria

I had all intentions of finishing my Valley of Fire II print before I left on a little trip across the West US, but I decided I needed more bokashi-practice. So my blocks for that print are all cut and ready to print when I get back.

Meantime, I actually got my Chinese Lunar New Year 2010 Tigers all done!
This was a fun little print where I wanted to push the Shina ply a bit and see how small I could go before cursing and throwing my tiny blocks out the window. Luckily, none of that came to pass and my proud little tigers are all ready to travel.

The three blocks needed to make the tigers, key printed in sumi ink, green/yellow mix and bright orange and just below, the two first stages of the print:

I must say there is something immensely satisfying about seeing a whole lot of prints drying on the desk (or hanging, depending on size). I think this is the part I like most, all those near-identical prints...

In any case, the tigers will fly off tomorrow. I'm still debating whether to buy actual Tiger stamps or use up the Ox stamps that I overbought from earlier this year. I guess you'll see when you get them!
Oh, I didn't include an official info sheet with these, they are going as First Class postcard mail, so:

Title: 2010
Woodblock on 3 Shina plywood blocks, Akua inks, key block black Sumi ink
Paper are ready cut postcards from the Baren Mall

Happy Year of the Tiger everyone!

This item is taken from the blog 1000 Woodcuts Updates.
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