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Message 1
From: Phil Hillmer
Date: Fri, 16 Sep 2011 13:28:52 GMT
Subject: [Baren 44176] Minimum dry time prior to shipping?
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Hi,

What is the minimum amount of drying time that you would consider an oil
based print would be shippable? I'm doing oil based printing on wet paper,
three layers of ink...

Thanks.

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Message 2
From: Gayle Wohlken
Date: Fri, 16 Sep 2011 13:35:24 GMT
Subject: [Baren 44177] Re: Minimum dry time prior to shipping?
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Phil wrote:

>What is the minimum amount of drying time that you would consider an oil
>based print would be shippable? I'm doing oil based printing on wet paper,
>three layers of ink...

I think it would depend on your colors, Phil. Some colors dry fast. I have found that black takes longer. If you have a black keyblock on top of your colors, then you might have to wait a week or two for it to dry. It also depends where you live. I live where there's lots of moisture in the air, it takes longer for mine to dry than, say, someone like Maria Arango's as she prints in desert country where the air is extremely dry. Sometimes I mix a fast-drying color with the black and that seems to help it dry faster.

~Gayle Wohlken

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Message 3
From: Phil Hillmer
Date: Fri, 16 Sep 2011 13:37:43 GMT
Subject: [Baren 44178] Re: Minimum dry time prior to shipping?
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Thanks Gayle,

Fortunately I don't have any black inks in the print only color.

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Message 4
From: Georgina Leahy
Date: Fri, 16 Sep 2011 13:40:02 GMT
Subject: [Baren 44179] Re: Minimum dry time prior to shipping?
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I would say it depends on the weather, the thickness of the paper, ink. You don't want to roll wet paper and I always lay acid free tissue paper over the print before I roll it up anyhow. The paper and ink has to be dry so and the time it takes to dry is the minimum time! Weather, paper, amount of ink will all affect this.

sorry I was no help really!

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Message 5
From: Phil Hillmer
Date: Fri, 16 Sep 2011 13:52:02 GMT
Subject: [Baren 44180] Re: Minimum dry time prior to shipping?
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Thanks,

Sorry I should have provided more info in the original post...

I plan on shipping flat, humidity averages 40 to 50 percent, paper is Rives
BFK 280 gsm.

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Message 6
From: Bronwyn Merritt
Date: Fri, 16 Sep 2011 14:01:18 GMT
Subject: [Baren 44181] Re: Lithographie maison - Kitchen Lithographie
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Thanks so much for this. I can't wait to try it immediately!
Bronwyn

Sent from my iPad

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Message 7
From: Mike Lyon
Date: Fri, 16 Sep 2011 14:05:44 GMT
Subject: [Baren 44182] Re: Lithographie maison - Kitchen Lithographie
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LOVE this! Dull side of foil, soap, Coke, vegetable oil, and a spoon!
SWEET

http://www.youtube.com/watch?v=G2w0IFm7JOY

THANKS so much for the heads up!

-- Mike

This is an amazing video.
>
>
> http://www.youtube.com/watch?v=G2w0IFm7JOY&feature=share
> Lithographie maison Kitchen Lithographie
-
Mike Lyon
Kansas City, Missouri
http://mlyon.com

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Message 8
From: Graham Scholes
Date: Fri, 16 Sep 2011 14:22:03 GMT
Subject: [Baren 44183] Re: Minimum dry time prior to shipping?
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When it is dry to the touch.....

( What is the minimum amount of drying time that you would consider an oil based print would be shippable? I'm doing oil based printing on wet paper, three layers of ink...

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Message 9
From: "Browder, Tina"
Date: Fri, 16 Sep 2011 14:44:38 GMT
Subject: [Baren 44184] Re: Lithographie maison - Kitchen Lithographie
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This is so awesome!! I'm definitely trying this!
Thanks for sharing!!

Tina

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Message 10
From: "bobcatpath # 207me.com"
Date: Fri, 16 Sep 2011 15:31:36 GMT
Subject: [Baren 44185] retouching
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bareners - on the subject of retouching prints

i keep a very small stiff bristle brush handy
when printing and
as soon as i pull each print
i inspect it for any outstanding "blemishes"
these could be a dog or cat hair
a piece of dust or sand
or a hole in the block in an inconvenient place
it doesn't matter what-
the question to me is -
will that mark alter the viewers experience
of seeing what i want them to see?

if it will , i take the bristle brush and lightly dab
usually it only takes one dab
i also use my fingers to do the same thing
if this is done at the time of printing
then the inks will dry in the same time
and it is invisible to all but myself

this is with oil base ink

i feel that that this practice has no bearing
on whether the print is "edition-able"
the artist decides if it is fit for the edition
it is the artist who sets the edition -or no edition

after about fourty years of it
i am getting pretty tired of edtioning too ;-)

but , i play the game because i want woodcuts to be out there
as truely affordable art
that appreciates in value

my rejected prints
ie-too light or too dark=or the dab really showed-
become a library for my collage work

i do also hand- color on under-underinked prints
using oil base colored pencil or oil pastel on my oil base printing ink
gives a very rich color

i call these "Hand- Colored Woodcuts"
and charge at least three times as much for

a particularly practical use of what would be otherwise, discarded prints
has been to make the collages on room -dividing screens
these have been made of wood on bi-fold doors
and paper , on soji screens
and varnished

tonite i will be showing six of these screens at a local group show
of an artists collective in Machias

i am borrowing four screens from clients and two are mine

should be fun

keep on re touching !


gillyin gatto machias maine

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Message 11
From: Viza Arlington
Date: Fri, 16 Sep 2011 15:46:55 GMT
Subject: [Baren 44186] Re: Lithographie maison - Kitchen Lithographie
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I tried this last night. It's been a long time since i printed
lithography and i was not to thrilled with my results. I tried to do
some bubbles but it is hard to get a very good range of dark to light
so the subtlety was lost or they just printed solid black. But the
soap painting and drawing with a litho crayon seemed to print nice
although a very solid black. I will keep experimenting.
Viza

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Message 12
From: Amanda Miller
Date: Fri, 16 Sep 2011 15:52:11 GMT
Subject: [Baren 44187] tiny bits of wood in ink
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Hi Everyone,

Lately, I've been having a little problem with tiny little splinters of wood
showing up on the block when I'm rolling on the ink. If I don't catch them
before I print, then they show up on the print, too. I brush off the block
as best I can before I ink it. Also, I keep my inking area separate from
where I carve. The woodblocks are Shina. I usually paint a wash of
watercolor ink over them before I draw my image so that when I carve, the
images shows up better. Sometimes I varnish before carving, sometimes not.
The ink is Akua Intaglio. I'm rolling it on with soft Speedball brayers,
then printing on an etching press. I'm not sure if something about my
process is causing little bits of wood to come loose (they appear to be
coming from the carved areas, not the top surface). So far, my solution has
been to hold the inked block up to the light at different angles so I can
pick out any noticible woodchips/splinters before printing. Is there
anything else I can do? I'd appreciate any tips!

Thanks!
Amanda

--
Amanda Gordon Miller
www.AmandaGordonMiller.com
EdamamePress.etsy.com

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Message 13
From: B Malkinson
Date: Fri, 16 Sep 2011 15:54:12 GMT
Subject: [Baren 44188] Re: tiny bits of wood in ink
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HI, I vacum my block with a soft brush attachment before I print :-)

Brenda

www.brendamalkinson.com

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Message 14
From: Gayle Wohlken
Date: Fri, 16 Sep 2011 15:59:47 GMT
Subject: [Baren 44189] First Exchange #50 Prints Arrived
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Hi Exchange #50 people. Rather than sending four emails out, I'm just going to say I received the first packet of Tiny Prints. Thank you, Ruth Egnater. The stack of mixed papers is 1 inch high left loose, and about 3/4 inch high pressed a bit for packing. Smaller than I was expecting for a stack of mixed-thickness papers. We're still thinking about getting (from clear bags) a clear archival small photo box to put each set of prints in, so the flat rate small priority mailer may still be the best size for me to send your prints back in. Ruth had sent hers in a sturdy small optical box and her postage was low for sending.

~Gayle Wohlken
Exchange #50 Coordinator

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Message 15
From: Viza Arlington
Date: Fri, 16 Sep 2011 18:17:10 GMT
Subject: [Baren 44190] Re: Lithographie maison - Kitchen Lithographie
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I had a little better luck this morning with the dark to light range
this was drawn with a litho pencil. i think I'm getting the hang of
printing litho again.
viza
http://www.facebook.com/photo.php?fbid=1973483744516&set=o.121864389055&type=1&theater

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Message 16
From: Lisa Toth
Date: Sat, 17 Sep 2011 01:09:09 GMT
Subject: [Baren 44191] Re: retouching
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This is wonderful. I love how you describe your process. I also collage my prints that don't make it into editions - and this is quite a lot of fun.

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Message 17
From: Barbara Mason
Date: Sat, 17 Sep 2011 04:24:29 GMT
Subject: [Baren 44192] Re: tiny bits of wood in ink
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Get an old toothbrush and really really brush the heck out of it before you print....that works for me... and if there are any tiny chips they will be gone after the first time you ink it....If you see them go after them with a cloth or the toothbrush again
My best,
Barbara

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Message 18
From: eli griggs
Date: Sat, 17 Sep 2011 05:43:51 GMT
Subject: [Baren 44193] Re: tiny bits of wood in ink
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I keep a pair of fine, needle-nosedtweezers by my pallet when I print, just in case I see a hair or piece ofdebris in my ink, brayer or block.I also use tooth brushes while printing and after carving but a proper tack cloth run over the block and pallet, before ink is applied, really helps.

Care needs to be taken so a snagged thread doesn't rip out a section of the design but it's worth the bother to get those small bits out of the way.

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Subject: 365 Days of Print at Dumbo Arts Festival and NJCU

This item is taken from the blog The Block.
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