Today's postings

  1. [Baren 43939] Re: Inspired by Japan: All the prints have arrived in South Africa (RAKESH BANI)
  2. [Baren 43940] Registration problem on damp paper. (Phil Hillmer)
  3. [Baren 43941] Re: Art Studio in Japan ... (David Bull)
  4. [Baren 43942] Re: Art Studio in Japan ... (Barbara Mason)
  5. [Baren 43943] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: RAKESH BANI
Date: Mon, 15 Aug 2011 14:37:56 GMT
Subject: [Baren 43939] Re: Inspired by Japan: All the prints have arrived in South Africa
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Hello dear Masako,
I sent you my print Separately a month before,,,,,,,,
You still didn't received that ?
Then what should I do now .......................
Barbara received my prints , I send her second time .
lets hope for best ,,
And I am going Japan at Art Studio Itsukaichi, Akiruno City,
tokyo on this 31st Aug 2011 for three months..
regards,
rakesh Bani,
INDIA...

2011/8/15 Masako Osada

> Dear Barbara,
>
> I am pleased to inform the Baren members that I have received all the
> prints (except for the one by Rakesh). We will run the exhibition from
> 24 August to 24 September, with a big party on 17 September. I have
> already sold 8 prints!
>
> Masako
>
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Message 2
From: Phil Hillmer
Date: Mon, 15 Aug 2011 19:11:18 GMT
Subject: [Baren 43940] Registration problem on damp paper.
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First a thanks to everyone on Baren who helped me last week with the
invaluable info about dampening paper etc in the "printing on wet paper with
etching inks" thread. An update on that, I printed some small test samples
- 4 different layers - colors of etching inks in the same session on damp
Rives BFK paper and got a very even tone, colors look great, not blotchy
like they were when printing dry, and the sureset seems to work AOK to
reduce shine on top layers. Came out much better than what I was doing
printing dry.

Now that problem has been solved I have another major problem that just
cropped up today....to recap I am printing 4 relief color blocks using
etching ink mixed with burnt plate oil.

I am using a hole punch registration set up. I made a registration frame
and spaced my pins on the frame to exactly match the hole pattern of my hole
punch. I am providing some excess paper on one edge of the print to punch
with a hole punch holes to be trimmed off after printing. I get perfect
registration when printing dry, but now my problem is, after soaking and
blotting off my rives, the holes are off by maybe 1/32 (maybe more) of an
inch - apparently the paper expands when wet. So now my dampened paper will
not register properly.

Any suggestions on this? Does this mean I can't use a hole punch type
registration when printing on dampened paper?


PH
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Message 3
From: David Bull
Date: Mon, 15 Aug 2011 22:42:10 GMT
Subject: [Baren 43941] Re: Art Studio in Japan ...
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Rakesh wrote:
> And I am going Japan at Art Studio Itsukaichi, Akiruno City,
> tokyo on this 31st Aug 2011 for three months..

That's my neighbouring town! I hadn't heard of this before, so Googled
a bit ... Here's some info on the program:
http://www.city.akiruno.tokyo.jp/contents_detail.php?co=cat&frmId=2485&frmCd=1-7-5-0-0

"The purpose of this program is to discover young artists /
printmakers who are active throughout the world and offer them a
growing experience and an opportunity to create artwork in a communal
atmosphere with other artists from different backgrounds. The program
aims to further the friendship and understanding of art and different
cultures between the artists and local communities through artworks
and exchanges."

It's been going on since 1993. Here's a list of previous participants:
http://www.city.akiruno.tokyo.jp/contents_detail.php?co=cat&frmId=1877&frmCd=1-7-5-0-0

Dave
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Message 4
From: Barbara Mason
Date: Tue, 16 Aug 2011 01:14:44 GMT
Subject: [Baren 43942] Re: Art Studio in Japan ...
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What a great program....sorry to see I am too OLD...hahaha
My best
Barbara

Digest Appendix

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

Subject: Recent Printing
Posted by: Annie B

ColorLayers1
2011 Annie Bissett

I started working on a new print last week. It's another full-sheet print, so the paper is about 25 x 38 inches (63.5 x 96.5 cm). I'm trying another new-to-me type of paper, this time a machine-made paper I bought from Hiromi Paper called Shikoku White. So far I've applied 5 separate all-over overprints of color, so the paper is taking quite a beating but it's holding up under the baren as long as I use an ategami (a protective backing paper used under the baren to keep the print paper from abrading). It's a thin paper, but not as thin as the Kizuki Kozo from Japanese Paper Place that I used for the Great Wave print.

The photo at the top is how the print looks after 5 applications of color. I shot the photo while the paper was still wet, which is why it looks wrinkled. I've done all of this with a block that's basically uncarved. The only carvings are the little "stars" which I carved out just so I could know where they're located. I've used yellow, red and blue on top of each other to allow a complex color to emerge. I've been surprised to see that the grain reacts differently to each pigment. Below is a closeup of the grain beginning to show through. I expect that there will be at least . . .
[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog woodblock dreams.
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Subject: Machias "Little bad falls"
Posted by: Alynn Guerra

I left Bethel, at 4PM on Friday, it was one of those hard to leave places, but the good news is that I may come back for either a show or an artist in residence. I started driving again and according to google maps I should have been in Machias in 2 1/2 hours, instead I got there at 11:30 PM. I guess that was without considering all the stops and my 40mph driving speed through those narrow

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

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