Today's postings

  1. [Baren 44810] sorry! (Linda Beeman)
  2. [Baren 44811] Re: sorry! (Graham Scholes)
  3. [Baren 44812] My experiment with traditional separations ("Orgren Alex C (Alex)")
  4. [Baren 44813] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Linda Beeman
Date: Mon, 26 Dec 2011 14:07:03 GMT
Subject: [Baren 44810] sorry!
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Re: Matsumura link. Sorry folks! I am not very good at copying links. That http blah blah at the end wasn't supposed to be there and I am thankful that it got figured out. I will fade with my red face in to the background once again...........
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Message 2
From: Graham Scholes
Date: Mon, 26 Dec 2011 16:24:32 GMT
Subject: [Baren 44811] Re: sorry!
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Hi Linda...
You need not be concerned about the http// stuff.
All you need is ....

Your browser will fill in the "http//" stuff.....


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Message 3
From: "Orgren Alex C (Alex)"
Date: Tue, 27 Dec 2011 03:10:42 GMT
Subject: [Baren 44812] My experiment with traditional separations
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I usually make my color separations on a copier or laser printer, but I've
always wanted to try printing them from a keyblock to see if it gives better
registration. My wife drew a Christmas card design on a piece of Usu Mino
(very thin) I was very happy with being able to paste it down flipped
without having to trace or digitally reverse it. I was also very happy with
how much easier it was to paste flat and smooth than a piece of copier paper
and how much faster it dried. The best part was carving. The Usu Mino was
much better to cut through than copier paper and showed no tendency to flake
up in tight cutting.

Printing the separations was a tricky, since the thin paper requires so
little ink. I used a sheet of heavier paper to help lay the Usu Mino onto
the block, otherwise I probably couldn't have laid it flat. As it was,
somehow an error crept in at this step. The proofs showed a consistent
offset on one of the color blocks that could only have resulted from the
kento being misplaced by the separation not falling flat. After great
deliberation, this is where I departed from tradition. I wasn't confident
in being able to accurately shift the kento with wood slivers in a
reasonable number of tries. I chose a solution that depended on my cut
paper being completely uniform in height and width, which I verified before
continuing. I cut out a few important areas of a keyblock print and lined
them up on the color block to find precisely the correct orientation, which
I marked on the block and cut new kento in the opposite corner. This worked
well, but I may have another go with the proper correction so the paper size
wouldn't matter if I wanted to print this again. I've never had to correct
a kento before, so I'm greatly relieved to have gotten through it once.

Anyway, the experience convinced me to try David Bull's method of adhering
light paper to standard paper for making hanshita in copier or printer.

Finally, let me add my thanks to Gayle Wohlken and all the Exchange 50
participants. I've greatly enjoyed paging through my little box of wonders.

Digest Appendix

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

Subject: Gitche Gummee Series
Posted by: Andrew Jagniecki

Here is my "Gitche Gumee" series. There are currently three different prints using the same black key plate. The Ojibwe call the lake Gichigami, meaning "big water." Henry Wadsworth Longfellow wrote the name as "Gitche Gumee" in The Song of Hiawatha.

I have been thinking of local landscapes that draw connection to the Great Lakes region and some folklore directly related, like Gitche Gumee:

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

This item is taken from the blog Andrew Jagniecki.
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Subject: Bluejay Feather in our Forest
Posted by: Andrew Jagniecki

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

This item is taken from the blog Andrew Jagniecki.
'Reply' to Baren about this item.