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

Baren Digest               Tuesday, 16 June 1998       Volume 03 : Number 184

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From: Ray Esposito <brassring@brassring.org>
Date: Mon, 15 Jun 1998 20:11:52 -0400
Subject: [Baren 933] mold 

I just pulled a print and in a large open area noticed two small spots.  It
occured to me they are mold spots.  

The print itself is not important.  I can always do another.  But it got me
to thinking about when this happens, should the print just be tossed or is
there a way to get small mold spots out.  Call it continuing education.

Cheers

Ray Esposito

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From: Gayle Wohlken <blueman@pantek.com>
Date: Mon, 15 Jun 1998 22:55:39 -0400
Subject: [Baren 934] Re: Baren Digest V3 #183 

Baren,

I just got a glimpse of James Mundie's new entry in the 
Encyclopedia.  Great information!!!!!  Wednesday a 
group will be here for art, and James, I have my razor
blades ready.  I have a question.  Is poplar more 
difficult to use for this method?  I did my first 
two or three on poplar and I didn't seem to have
the control you have.  

Gayle Wohlken

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From: Graham Scholes <gscholes@islandnet.com>
Date: Mon, 15 Jun 1998 23:44:40 -0700
Subject: [Baren 935] Re:  mold 

Ray Wrote
>I just pulled a print and in a large open area noticed two small spots.  It
>occured to me they are mold spots.
>
>The print itself is not important.  I can always do another.  But it got me
>to thinking about when this happens, should the print just be tossed or is
>there a way to get small mold spots out.  Call it continuing education.

hmmmmmms...eh.
That is a tough one.  I have had this happen and the spots, which were
pinkish by the way, was on the outside edge of the paper. I kept them and
still have them in my inventory.  Nothing has developed further.  I suppose
if moisture were present the damn stuff would start to grow. One could, and
I have applied the smallest amount of diluted bleach to the spots.  I have
no idea whether this is good or bad for the paper but sure as hell kills
the mould.  Make sure you rinse the spots as soon as you put the bleach on.
Laundry bleach is the stuff I used.  If the bleach eats throught the paper,
and it will, then I suppose it was to strong.
Same proportions you would use if bleaching a garment.

Graham

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From: Graham Scholes <gscholes@islandnet.com>
Date: Mon, 15 Jun 1998 23:51:45 -0700
Subject: [Baren 936] Pigments 

Here is the list and prices of pigments.

The name of the Company is
Mike Turner.
Fine Line Painting and Decorating Company
Victoria B.C.
fineliners@msn.com

As I mentioned before I have been using these pigments for 5 years
and exposed them to sun tests.  I had no fading.
The easy of use is beyond expression compared to using ground pigments.
I am still using the 2oz size that I purchased 5 years ago so the is plenty
of material for the person doing my sizes of prints.

If you have an interest in purchasing these you will deal direct with the
company above.
They will not ship during the Winter.

All the price are Canadian and in 60ml (2 oz.)

Ultramarine Blue*		$12.50
Thalo Blue*		$14.50
Magenta*			$14.50
Thalo Green		$14.50
Cadmium Red Light*		$12.50
Cadmium Yellow Deep*	$12.50
Titanium White*		$  8.50
Hansa Yellow Light*		$12.50
Burnt Sienna*		$  8.50
Yellow Oxide*		$  8.50
Carbon Black		$  8.50
Dinitro Orange		$12.50
Raw Umber		$  8.50
Dioxidine Purple		$14.50

Also available 250 ml(8 oz.) 1 litre(32 oz.)

* This is my palette.
If you have a lot of experience and knowledge about colour, you will be
able to mix any colour you would need.
The purple, green. orange and black are convenience colours and can be
closely mixed from my * palette.

Graham

ps.  At the present exchange on the Canadian buck these have to be fabulous
prices for the Yanks.

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From: David Bull <davebull@woodblock.com>
Date: Tue, 16 Jun 1998 18:56:23 +0900
Subject: [Baren 937] Jim's prints ... 

Jim, can I ask a few questions about those prints of yours we just put
up into the Encyclopedia ...

1) You said in an earlier post that you were using the oil-based
'Rembrandt Woodblock Printing Black' ink for your printing.  On the four
prints that you sent though, the tone is quite a bit 'greyer' on a
couple of them (this is not so apparent in the scans ... which I
'adjusted' to show more clearly on the screen).  Are you 'diluting' the
ink sometimes?  How?

2) When you print, are you dampening the paper at all?  

3) You said you are using a spoon for printing, but on the reverse of
these prints I can see no striations or marks at all ...  How do you get
such a smooth impression when you use an object with such a small
'footprint'?

4) Your photos show a very long needle stuck into the eraser.  Wouldn't
you get better control with a shorter, less flexible needle?  Why so
long?


I noticed something else very interesting to me as I looked at these
prints.  This isn't a criticism James, but it is something that does
show an interesting cultural difference ...

Both you and Gayle sent me some prints made on Kitakata paper, and both
of you sometimes chose to print on what the maker would call the _back
side_ of the sheet.  

When the paper is being laid out to dry, either on boards in the sun, or
on a heated iron sheet, the maker puts the 'top' surface (the one that
was face upwards in the manufacturing process) against the flat
surface.  This gives the finished paper a smooth (relatively) surface on
one face, and leaves a rougher surface on the back, which often shows
striations left by the dry brush he uses to smooth the sheet onto the
board.

The two of you have obviously found this textured surface to be more
interesting than the smooth side, but I doubt that a Japanese printmaker
would have ever thought of doing such a thing.  Use the _back_ side? 
Impossible!

Impossible ... but interesting!

Dave

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End of Baren Digest V3 #184
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