Today's postings

  1. [Baren 43965] line and color (Elizabeth Atwood)
  2. [Baren 43966] Re: line and color ("Jeanne Norman Chase")
  3. [Baren 43967] Black and White vs color (Marilynn Smith)
  4. [Baren 43968] Re: Mylar (or other method) transfer with fast drying ink? ("Ellen Shipley")
  5. [Baren 43969] Re: Mylar (or other method) transfer with fast drying ink? (Renee)
  6. [Baren 43970] Re: Mylar (or other method) transfer with fast drying ink? ("Maria Arango Diener")
  7. [Baren 43971] Trapping question... (Phil Hillmer)
  8. [Baren 43972] Re: Mylar (or other method) transfer with fast drying ink? (Phil Hillmer)
  9. [Baren 43973] Re: Mylar (or other method) transfer with fast drying ink? (Phil Hillmer)
  10. [Baren 43974] Re: Mylar (or other method) transfer with fast drying ink? (Mark Phillips)
  11. [Baren 43975] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Elizabeth Atwood
Date: Fri, 19 Aug 2011 13:49:08 GMT
Subject: [Baren 43965] line and color
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I believe there are two kinds of artists. One who thinks in
color......and the other thinks in line.

That is the starting point for each and they add the other dimension
secondly. You can always tell an artist's direction. I am a 'line'
person and therefor can always enjoy black and white work to the max.
My husband was a 'color' person with whom I could exchange the best
of our talent's wisdom.

E.B.Atwood
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Message 2
From: "Jeanne Norman Chase"
Date: Fri, 19 Aug 2011 14:33:41 GMT
Subject: [Baren 43966] Re: line and color
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Elizabeth

We are of like minds. My love in art is drawing and of course, then, I am
always thinking of lines, lines, lines. Whenever I have to have color I get
in big trouble. It actually clutters my mind and the results are the same.
Sometimes people viewing art will say " Where is the color?", Or "Why don't
you use a little color?". Most of the great lithos and etchings of the
masters were almost always in black and white. So that makes me a "line
artist"!!!!!!!!!!!
Plus my husband is the same as yours "It would be nicer if you added a
little color".

Jeanne

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Message 3
From: Marilynn Smith
Date: Fri, 19 Aug 2011 16:11:26 GMT
Subject: [Baren 43967] Black and White vs color
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I go back and forth often using a single color. I prefer the reduction
block over multi blocks. I think there are different technical issues
using color over black and white. I was surprised by my last little
black and white print, it had character and did not need color, in my
mind, to convey the delicate and interesting nature of my subject.

I have done some experimenting with white line and find that is a good
area for me. I need to sit down and address and mail out my tigers.
They are ready to go. I put that in because my rabbit is carved and
awaiting printing and has been for some months now. Yesterday, looking
at the block I think it will be done white line, so it will be awhile
yet. My use of color in my prints has become more sectional than
layered. For example, my map print of Willapa Bay was a puzzle print,
done like a collagraph and rolled relief style, with several colors.
So I had colored sections to work with that all fit together. Same
with white line, I am working in sections, not overlaying color. I
often do not take on the task of doing reduction blocks because they
are time consuming and often have a large loss ratio. I think it is
the subject, how I perceive it and also the size of the print that
determines my decisions. I do think there is skill in doing a good
carving and presenting it in a simple black and white format and
pulling it off well. Color, most definitely adds a new dimension, I do
not discount the skill involved in doing a good color print. The
white lint print I have yet to pull more than one from is a floral and
the colors do make a difference. These are personal choices depending
on many factors.

Now, should I do my mini block white line? Wow a hundred are needed,
another dimension, will I have time to do that many and will the block
itself hold up to that many? Since I would be doing these water based
my fear here would be that the delicate lines would eventually swell
and the colors would fill in the lines. Now, more experienced as a
print maker I find I often carve narrow, delicate lines with my hanga
knife, I do not want them to fill. My best choice might be a light one
color roll of oil based inks and light pressure from my press. I am
not that skilled at applying ink hanga style. Many factors come into
play when making decisions. What I want most is a good print!

Interesting contemplating the differences.

Marilynn
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Message 4
From: "Ellen Shipley"
Date: Fri, 19 Aug 2011 17:45:11 GMT
Subject: [Baren 43968] Re: Mylar (or other method) transfer with fast drying ink?
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You can print your first block on paper then immediately print that paper onto a fresh block. The ink dried very quickly and you can carve in no time.

Ellen
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Message 5
From: Renee
Date: Fri, 19 Aug 2011 17:59:17 GMT
Subject: [Baren 43969] Re: Mylar (or other method) transfer with fast drying ink?
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I do the same thing, but I use wax paper instead of Mylar, the fresh block
takes the ink beautifully and dries quickly as Ellen says, the wax paper does
not need to be cleaned-- another bonus.

I am also pondering what to use for imagery for the minis. What a wonderful
challenge to have!
Renee

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Message 6
From: "Maria Arango Diener"
Date: Fri, 19 Aug 2011 19:10:21 GMT
Subject: [Baren 43970] Re: Mylar (or other method) transfer with fast drying ink?
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I don't know what ink anyone is using but I have no trouble having my ink
dry on the blocks within an hour or so. A couple of drops of either Japan or
cobalt drier and the transfer is good to go very quickly.



Maria



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

www.1000woodcuts.com

www.artfestivalguide.info

[=o=][=o=][=o=][=o=]
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Message 7
From: Phil Hillmer
Date: Fri, 19 Aug 2011 21:02:31 GMT
Subject: [Baren 43971] Trapping question...
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Hi,

I'm printing three layers of etching ink on wet Rives BFK paper - relief -
during same session and have a trapping question. First layer is blue sky,
second is red clouds and third layer is purple clouds.

in one area, there is a hole in both the red and purple clouds same location
to show the blue sky below. Obviously the holes in red and purple have to
match. I have read that the top layer, the purple, should be cut slightly
smaller to trap the red ink below it.

My questions are, how much trapping is enough i.e. 1/100"? Less? Also
won't trapping leave a thin outline around the hole showing the blue sky
below?

Thanks.
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Message 8
From: Phil Hillmer
Date: Fri, 19 Aug 2011 21:15:55 GMT
Subject: [Baren 43972] Re: Mylar (or other method) transfer with fast drying ink?
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Phil,

Would Whiting (calcium carbonate) be good to use as well? Or did you mean
calcium carbonate (you said magnesium below)...
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Message 9
From: Phil Hillmer
Date: Fri, 19 Aug 2011 21:17:40 GMT
Subject: [Baren 43973] Re: Mylar (or other method) transfer with fast drying ink?
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Oops I meant Mark Phillips sorry...

:)
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Message 10
From: Mark Phillips
Date: Fri, 19 Aug 2011 22:18:27 GMT
Subject: [Baren 43974] Re: Mylar (or other method) transfer with fast drying ink?
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Magnesium Carbonate is used in litho and sometimes for Intaglio for
reducing the tack of the ink. Thought you might have that on hand so I
suggested it. Talc would work too if that's all you had. The paper
transfer may be the best method with a little talc after the transfer.

Regards,
Mark Phillips
1257 N. Milwaukee Ave., 2nd Floor
Chicago, IL, 60622
Studio - 773-486-5887
Mobile- 773-682-9776
egallery http://www.graphicmarx.com

Digest Appendix

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

Subject: Hefty
Posted by: Andrew Stone

trash bag doodle No 1.

I have quite a few ideas gurgling away in the back of my mind/psyche. Some are pretty ambitious and involved and not something I want to tackle as I get ready to relocate to Italy (I leave in 2 weeks). But although I have a few simpler ideas I could probably get done before I leave, I haven't yet really jumped into anything with enthusiasm. In the meanwhile, I'm cleaning out the house and filling the recycling bins with papers and trash.

Needing to get out of the house, I grabbed my sketchbook and headed downtown. Not surprisingly, I've been drawing trash bags. Mostly in threes. Sometimes just one. Never two.

I like the one on the left as a possible woodblock print and started to think about printing logistics. The doodles on the bottom are thoughts about color separations and blocks. I would try this with six or seven blocks--with or without a keyblock.
However, this particular image could probably be tackled as a REDUCTION print, using just one block, gradually printing and then carving away from the image. I could go light to dark and progressively overlap colors to get the darks . . .
[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Lacrime di Rospo.
'Reply' to Baren about this item.