Today's postings

  1. [Baren 43139] HELP! (Jerrick Fulkerson)
  2. [Baren 43140] RE: HELP! ("Mike Lyon")
  3. [Baren 43141] RE: HELP! ("Mike Lyon")
  4. [Baren 43142] Re: HELP! (Graham Scholes)
  5. [Baren 43143] Re: HELP! (olek wozniak)
  6. [Baren 43144] RE: HELP! (andrea #
  7. [Baren 43145] Re: HELP! (Julio.Rodriguez #
  8. [Baren 43146] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Jerrick Fulkerson
Date: Thu, 07 Apr 2011 19:48:53 GMT
Subject: [Baren 43139] HELP!
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I'm a new "woodcutter". Im printing on hosho paper with water-soluble block printing ink. After I ink the block and use my baren, the paper is sticking. It looks fuzzy and is sticking to the block. It's so expensive to make these mistakes. I am in rural Alaska without an art store, so I need an easy fix. Please feel free to contact me at
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Message 2
From: "Mike Lyon"
Date: Thu, 07 Apr 2011 20:20:28 GMT
Subject: [Baren 43140] RE: HELP!
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It's the ink which is causing your problems...

Purchase some rice starch and mix paste (corn starch from the grocery or
your kitchen cabinet will work almost as well -- mix about 2 level teaspoons
into 1/2 cup of water and heat over double boiler until it's smooth and
pasty -- keep extra in fridge for up to a week. For pigments, use dry
pigment (least expensive way), pigment suspension, or watercolors (most
expensive way). Dampen paper overnight before printing (mist every other
sheet and fold into damp newsprint and put in plastic bag overnight).
Dampen block about 10 minutes before printing -- when you're ready to print,
block should be damp, but NOT glossy... Put a dab of paste onto the damp
block, put a dab of pigment into the paste, brush all over block with shoe
brush until it's homogenous -- again, before registering your paper, be sure
block is damp, but NOT glossy (no free water or paste or pigment -- it's all
'soaked into the block' sorta... Then register paper and print. It'll come
away cleanly. If you're only printing one color (black) use sumi ink
without paste and brush it in as normal -- if it seems to be drying too
quickly you can add a bit of paste if you prefer.

That's about as easy as it gets!

Mike Lyon
Kansas City, MO
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Message 3
From: "Mike Lyon"
Date: Thu, 07 Apr 2011 20:29:14 GMT
Subject: [Baren 43141] RE: HELP!
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OH! One more thought about the HOSHO... If it's the kind you buy at the
art supply store called 'hosho' (very white and kinda velvety) -- its pretty
soft for Japanese printing, totally falls apart when over damp, not usually
well sized if at all -- it delaminates at the drop of a hat.

Even though it is SO light weight, you'll have better luck with kitakata or
mulberry paper (both also readily available at art supply stores - they're
lighter weight than your hosho, but much stronger).

You'll have BEST luck with a paper MADE for Japanese technique printmaking
-- these also can be called hosho (lots of different papers are called
"hosho")... You can order from Baren Mall -- other printers will be able to
recommend their favorite papers.

Mike Lyon
Kansas City, MO
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Message 4
From: Graham Scholes
Date: Thu, 07 Apr 2011 21:01:55 GMT
Subject: [Baren 43142] Re: HELP!
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Not seeing the information on the label of the ink tube, my guess is that you are using etching ink that is water soluble. You should be using watercolours.... or colorants that have be made for moku hanga.
Until you find a source for moku hanga pigments (which you will get from other members here) you can easily use transparent watercolours.... any good quality will be fine.

Rembrandt (Holland)
Da Vinci
Sennelier (France)
Grumbacher (U.S.A.)
Schmincke (W. Germany)
Holbein (Japan)
Winsor & Newton (England)
Van Gogh (Holland)
Rowney (England)

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Message 5
From: olek wozniak
Date: Thu, 07 Apr 2011 22:33:44 GMT
Subject: [Baren 43143] Re: HELP!
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hi guys. little bit offtop: How do you find using black sooth as a pigment?
Yesterday I got big jar of good quality soot , my friend sweeper call it
"english". Is it ok to use it?

Jerrick - damp a paper well, and the block. as Mike Lyon said. I used to
work on a rice paper, the cheapest one, and it works well, so I think
quality of paper is not so important for this particular problem. Try to
pracitice on rice - if you print on this, you will print on everything hehe.
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Message 6
From: andrea #
Date: Thu, 07 Apr 2011 23:58:50 GMT
Subject: [Baren 43144] RE: HELP!
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Just curious... are you using Speedball inks? Because that sounds exactly like what happened to me on my first few prints. The block pulled the paper apart. It was very frustrating and I'm surprised I just didn't give up on the process. Here's a blog post about it. Anyway, through some experimenting I found that the Speedball ink is just too tacky, or something. If you use their extender modifier it helps with the problem a bit. The best solution I could find was just to wipe the surface very clean and dampen it between each printing...sometimes you can't even see the little fibers of paper stuck to the block but if they are there they will pull of more on the next print. The final solution I found was to switch to Akua Kolor inks and better papers. Good luck!Andrea
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Message 7
From: Julio.Rodriguez #
Date: Fri, 08 Apr 2011 03:29:23 GMT
Subject: [Baren 43145] Re: HELP!
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Alaska,...are you printing in a cold area ? I mean near freezing like
temperatures ?

When I try to print in cold weather (outside in my unheated garage) I get
similar results, I brush my pigment/paste on my block and it starts to gel
up and my paper sticks.......


Digest Appendix

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

Subject: Sanding and Staining
Posted by: Ellen Shipley

Sanding and staining the block today.  It's a cold, soon-to-be damp day, so I expect it to take a while to dry.  Still working on the cartoon, but I'll have something to transfer when the block is ready.

This item is taken from the blog Pressing-Issues.
'Reply' to Baren about this item.

Subject: Senshafuda Project - Spring 2011 keyblock done
Posted by: Dave Bull

We made major progress yesterday on the senshafuda project: Sato-san has finished the keyblock, and we had a meeting (together with printer Tetsui-san) to work out the colour separations.

We met at Tetsui-san's place, taking over the kitchen table for our work. The first thing we did was run off a bunch of photocopies of our design, so we could mess around with the planning as freely as possible. (That's Sato-san on my right, with Tetsui-san across the table.) (images clickable)

The whole thing is an exercise in trade-offs. We (obviously) want the prints to be as 'pretty' as possible, and that involves using plenty of colour blocks, many gradations, delicate touches, etc. etc. Every time we want to add something though, we have to balance that with the 'cost' - in extra printing time. It's very easy indeed to keep adding things ... but somebody then has to sit down and print them!

We had a lot of fun with this - it's actually just a 'puzzle' of sorts, and we think we came up with plenty of good ideas about how to make the prints as interesting and attractive as possible, yet without leaving Tetsui-san with a printing job that will extend into next year ...

Tetsui-san then took the block into his workroom, and got ready to run off the kyogo-zuri (impressions from the keyblock on which the colour zones will be delineated for carving.)

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

This item is taken from the blog Mokuhankan Conversations.
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Subject: At Last!
Posted by: Renee A. Ugrin

I am happy to announce that the fourth, fifth and sixth print in the pocketbook series are complete!  With May rapidly approaching, and the deadline for subscriptions with the free mini-print, I will be glad to send all six of the first prints out to any subscriber with free shipping.  You can divide the payments or make arrangements with me for your subscription to the Pocketbook Collection.  Please check my website for PayPal

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

This item is taken from the blog Mira Vista Studio Arts.
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Subject: Print-ku
Posted by: Sherrie Y

Educational, that's what the last couple of days have been! I've been working on my print for the Salida Regional Library's upcoming exhibition, "Haiku: Capturing the Essence," and it's been a different process for me in several ways. 1) I'm collaborating with poet Eduardo Rey Brummel, who has written an evocative and epic multi-stanza haiku. It's not often (read: almost never) that I work from

[This was a summary of the original entry. The full entry can be viewed here]

This item is taken from the blog Brush and Baren.
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