[Baren]: The mailing list / discussion forum for woodblock printmaking.

Baren Digest               Saturday, 6 June 1998       Volume 03 : Number 175

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From: Graham Scholes <gscholes@islandnet.com>
Date: Fri, 5 Jun 1998 08:26:35 -0700
Subject: [Baren 893] Re: Somebody please test this for me ... 

Dave wrote
>Would some of you who are using Windows please visit that page, try one
>of the downloads, and then let me know if it worked or not?  (Mail me
>directly ... not on this list ...)

The hit and miss way Windoze works you may never know. (<:

Graham

Now I will wait for the other shoe.

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From: Graham Scholes <gscholes@islandnet.com>
Date: Fri, 5 Jun 1998 08:39:56 -0700
Subject: [Baren 894] Re: Varnishing 

Matt wrote
>Graham, I tried varnishing some color blocks, but had trouble getting good
>solid color in the printing. Seems like a good way to get nice goma effects,
>however. Perhaps your particular paste (with some wheat paste added to the
>rice paste?) is key to printing on  the varnished block?    In the carving I felt
>there was not too significant a difference.

I can't understand why this would be the case.  I use a Japanese product
called Yamoto paste. I have also mixed my own with Rice flour and rice and
wheat flour.  None of these has caused a problem.

When you applied the varnish did you;
a.   dilute the varnish 50/50 with thinners

b.   rub or sand it with 600 grid sandpaper before it dried.

I was taught that a goma effect is one that is achieved by brushing on a
water and rice paste layer and then with a brush apply a spot or dab of
colour.  This fans out to soft edges and then you burnish.

Was the colour you got spotted or blotchy.

Graham

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From: Ray Esposito <brassring@brassring.org>
Date: Fri, 05 Jun 1998 11:23:35 -0400
Subject: [Baren 895] Re: Varnishing 

Graham wrote:
>When you applied the varnish did you;
>a.   dilute the varnish 50/50 with thinners
>
>b.   rub or sand it with 600 grid sandpaper before it dried.

A minor point but in your original post about varishing you said to use 400
grit paper.  Can I assume that it only important that it be a very fine grit?

Cheers

Ray Esposito

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From: Graham Scholes <gscholes@islandnet.com>
Date: Fri, 5 Jun 1998 13:09:31 -0700
Subject: [Baren 896] 400 verses 600 

Ray wrote,
>A minor point but in your original post about varishing you said to use 400
>grit paper.  Can I assume that it only important that it be a very fine grit?

And I thought nobody paid attention to details.

Either or will work. If you use 400 don't work to hard at sanding and not
to much pressure.
Sometimes after I have printed on a block for a few sessions, of 10 to 15
prints from each print session, I will use 600 just to puff up the surface
of the plate.  Works like a whistle.
I did it this morning as I was doing the last colour of the latest print.
I had already used the plate to apply two impressions and the third was
necessary in a small area to give more darks and therefore some important
zing to the image.

Any we all know how important zing is.
As important as the creation itself. Actually more so because....Oh give it
a rest Graham.....

Graham

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From: Graham Scholes <gscholes@islandnet.com>
Date: Fri, 5 Jun 1998 13:11:59 -0700
Subject: [Baren 897] 400 verses 600 

Hi......Just sent the info below.

I should have mentioned......wet the plate with a little water when you do
the sanding.

Either or will work. If you use 400 don't work to hard at sanding and not
to much pressure.

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From: jimandkatemundie@juno.com (James G Mundie)
Date: Fri, 5 Jun 1998 19:54:41 -0400
Subject: [Baren 898] Danny Pierce, etc 

Ray wrote:
>...that's the University of Wisconsin at Milwaukee.  You've GOT to get
>out of Philly more often.

	'Tis true enough indeed (especially now that we're entering the
season of ridiculous heat, humidity, and odors).  Camden is at the peak
of ripeness.  
	I only assumed UWM was in Washington state because Danny lives
there now.  I was too impatient to see his images to also read all the
introductory stuff and actually find out where UWM is.  

	I took the liberty of writing Mr. Pierce a letter last night (the
old fashioned pony carried method), by the way.  I invited him to check
out Baren on the off chance he might have some access to the net.

	And Ray, thanks for the offer to experience the culture of
Baltimore.  I haven't had a decent crab cake in ages.  However, the last
time I went to the Inner Harbor (about ten years ago) the petro-chemical
and fertilizer stink rolling off of it made Camden and Newark seem
flowery by comparison.  That's changed, I assume? 

****

Gayle wrote:
>How does one, I wonder, keep the pages from making ghost images on
>opposing pages? 

If I'm not mistaken, most of Pierce's books, except for the first three,
are boxed as unbound folios.  This would from the start elimate all the
friction from the opening and closing of a binding that would encourage
some of the image to rub off on the facing page.  
	I believe that he also inserts protective leaves to separate one
page from another.  A simple solution to the rubbing problem is to insert
sheets of glassine over the print (the common practice in bookbinding up
until about thirty years ago).  I made a small book a few years back
comprised entirely of etchings.  I used a simple Japanese binding on the
edge and sewed sheets of glassine right in between pages.  It added a
protective element as well as a nice aesthetic touch.  [Glassine is
archival, by the way, and cheap as all get out]

Mise le meas,
James Mundie, Philadelphia USA	

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From: Jean Eger <jeaneger@LanMinds.Com>
Date: Fri, 05 Jun 1998 17:54:45 -0700
Subject: [Baren 899] Re: downloading 

David,
That was me dowloading the discussion archives.  It was quite time consuming.  
Thanks for putting them in one file.  Parts of my computer crashed the other day, so I
wanted to save some of this stuff before I lose it all.  

Roger
I'll try shrinking
some of your images with DeBabelizer and ship them back to you in a day or two.

Jean

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From: Jean Eger <jeaneger@LanMinds.Com>
Date: Fri, 05 Jun 1998 17:58:29 -0700
Subject: [Baren 900] Re: downloading 

Dave,
The zip format is what I need.  I can't read the hqx--that's a Mac format.  This
weekend many of my printmakers group will be in downtown Berkeley at the Berkely
Store Gallery for Open Studios.  It is really a treat to see their "body of work,"
rather than the one or two prints hanging in a group show.
Sincerely,
Jean Eger

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From: Ray Esposito <brassring@brassring.org>
Date: Fri, 05 Jun 1998 22:20:41 -0400
Subject: [Baren 901] Re: Danny Pierce, etc 

Jim wrote:
>	And Ray, thanks for the offer to experience the culture of
>Baltimore.  I haven't had a decent crab cake in ages.  However, the last
>time I went to the Inner Harbor (about ten years ago) the petro-chemical
>and fertilizer stink rolling off of it made Camden and Newark seem
>flowery by comparison.  That's changed, I assume? 

Like perfume - why do you think I am moving back - because of the vast
number of printmaking opportunities?  Of course not.  Love those crabcakes.

Cheers

Ray Esposito

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From: David Bull <davebull@woodblock.com>
Date: Sat, 06 Jun 1998 12:53:42 +0900
Subject: [Baren 902] One-point Lesson ... 

Here is this week's 'One-point' lesson

********** ********** **********

(#8)  Re-inking blocks

We learn early on in our woodblock printmaking experiments that 'one
block = one impression' is not a standard 'formula' for making a print. 
Any one of the blocks in a set can be used more than once - either with
the same pattern of pigment being applied, to give added depth to an
impression - or with a different pattern or shade of pigment, to give an
entirely new effect.  The total number of impressions in a finished
print is frequently greater than the number of blocks that was used to
make it.

Sometimes though, when the print is quite large in size, or when the
registration is very critical, it is difficult to get the second
impression from any block exactly lined up with the first.  It is
particularly difficult in prints of the 'ukiyo-e' type that I make,
which have quite a lot of delicate carving.  It is sometimes desirable
to have part of the block inked twice (in the dark hair of a figure, for
example), but the extreme delicacy of the carving in the face makes it
almost impossible to get two separate impressions lined up properly.

The solution is to make the two impressions _without_ removing the paper
from its place in the registration marks.  Make the first impression in
the usual way: inking the block, putting the paper in place, and then
rubbing with the baren.  But instead of then pulling the paper off the
block and placing it to one side, clamp it down on the block with the
fingers tightly in place along one edge, and then use the other hand to
roll the sheet up off the wood, exposing as much of the block as
possible.

There may be enough length of paper to allow it to 'lay back' in place
over your arm.  If not, then use your lips to hold it up and out of the
way while you use the free hand to pick up the brush.  Make the
application of pigment in the particular area of the design in which the
deeper shade is needed, and then let the paper gently roll back into
place.  Rub the affected area with the baren, and then remove the paper
completely ...

My kids used to think this was pretty funny ... seeing their father sit
there bent over the block with the edge of the paper in his mouth, going
cross-eyed trying to focus on the wood while rubbing with a small 
brush ...    But if you can ignore your jeering audience, you will find that
it _does_ work.  You will get the added depth in just those places you
wish, and the registration will be perfect.

********** ********** **********

Next week,  'Getting under your skin ...'

These 'One-point' lessons are being collected into a section in the
[Baren] Encyclopedia of Woodblock Printmaking.
http://www.woodblock.com/encyclopedia/updates.html

Contributions from experienced printmakers for future 'One-pointers' 
are eagerly solicited.

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End of Baren Digest V3 #175
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