[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Wednesday, 24 June 1998 Volume 03 : Number 192 ---------------------------------------------------------------------- From: Graham Scholes Date: Tue, 23 Jun 1998 07:13:26 -0700 Subject: [Baren 980] re varnish I have been explaining the use of varnish on my plates. There is a worth while pointer that I want to pass on from a sign painter artist friend. We were talking the other day about scumming that occurs on the top of the varnish once you have opened the tin and used some varnish. The way to prevent this is to put a small skim of water on the top. Water is lighter and so floats nicely on the varnish. This will prevent the bothersome skim or film that forms. When you next use the varnish take a tissue and carefully wick up the water.....presto your in business. Graham ------------------------------ From: Sheryl Coppenger Date: Tue, 23 Jun 1998 12:51:17 -0400 (EDT) Subject: [Baren 981] Re: Baren Digest V3 #190 > Graham wrote: > Those fine lines on the dog are positive shapes and to my eye must > have been acheived by scratching the block and then when printing using > the same technique as required to print an etching.....Right? I'm no expert on this, but I was under the impression that wood engraving also was a relief technique rather than an intaglio technique -- that it's called engraving because of the tools used to cut out the design. To be sure practitioners who imitate ink drawings leave a very fine line and it gives an effect somewhat like intaglio processes, but I don't think it's inked that way. Since the ink is going to be taken up by the wood it seems to me it would be very difficult/impossible to wipe a wood block like one would an intaglio plate. Sheryl Coppenger ------------------------------ From: Ray Esposito Date: Tue, 23 Jun 1998 12:16:04 -0400 Subject: [Baren 982] water color over oil My first woodblocks were printed with etching ink as most of you know. I am working on a six print series of abstract portraits of friends (if you thought the Chinese characters were weird, wait until you see these) and want to print them in water colors using the pigments I am getting. In addition, with pigments in hand I would like to reprint the first blocks. My question is this. What will be the reaction when I use pigmented water colors on blocks that have had a lot of etching ink soaked into them? Is it even worth trying or a complete waste of time? What problems, if any, will I encounter and if there are some, can they be overcome? Cheers Ray Esposito ------------------------------ From: Gayle Wohlken Date: Tue, 23 Jun 1998 13:15:48 -0400 Subject: [Baren 983] Re: Baren Digest V3 #191 Baren, James bought a print from > http://www.the-forum.com/art/osorio.htm and I tried to buy one (the same one, unfortunately). I got a message from the "Osorio" people saying someone bought that print a few hours before my request. I guess that was James. I thought about the devils, but when I looked more closely at it I saw black blobs within the black which made me wonder if someone went over it with something to darken certain areas. Any thoughts about this? Meanwhile, James, enjoy your print. We have similar taste. : ) Gayle Wohlken ------------------------------ From: amoss@mindspring.com (John Amoss) Date: Tue, 23 Jun 1998 14:41:55 +0300 Subject: [Baren 984] experi-mental baren >Dave wrote: >he thinks that you may >indeed have stumbled across a grove of 'madake', I'm happy to hear that my bamboo scavenging foray has promise. The scientific name for the giant Japanese bamboo I mentioned is Phyllostachys bambuscoides. I wonder what the common or scientific name is for "shira-dake"'? On my way back, I was considering creating an experimental baren using pine needles as a coil. The Seminole and Creek native peoples created wonderful baskets using longleaf pine needles. The needles can reach up to a foot long. With the braided pine needles and the bamboo I collected, I am well on my way to creating a native "Georgia baren". What next? Grits paste. It's weird what one comes up while spending hours on the road. Many, many thanks to Mr. Kaneko and Dave for the wonderful "skin care" tips. >Dave wrote: >John, let us know how you make out with this, please! You betcha! - -john ------------------------------ From: Graham Scholes Date: Tue, 23 Jun 1998 14:22:24 -0700 Subject: [Baren 985] Re: water color over oil Ray wrote...... >In addition, with pigments in hand I would like to reprint the first >blocks. My question is this. What will be the reaction when I use >pigmented water colors on blocks that have had a lot of etching ink soaked >into them? Is it even worth trying or a complete waste of time? What >problems, if any, will I encounter and if there are some, can they be >overcome? I think you are going to have to try it. The water base pigment will bead on the plate. The rice paste could and should allow the ink to lay on the surface without beading. It won't happen immediately as it takes 5 to 10 inkings and burnishings using newsprint or some other junk paper to get the ink to lay properly on the plate. There is a product that you can purchase that will enable water pigments to flow onto a non compatable surface....like glass or plexiglass or plastic. Good art stores carry a product that is called .....Flex-opaque..... Photographic shops have a Photoflow product that works good to prevent beading. You put a few drops or as required. Now all that said and done. I have know idea what this product would do to the archival quality of the print. I just thought......(that was frightening) ..... sanding the plate with 400 grit would be an asset. LOL Graham ------------------------------ From: Graham Scholes Date: Tue, 23 Jun 1998 14:30:27 -0700 Subject: [Baren 986] Re: Baren Digest V3 #191 >James bought a print from > > http://www.the-forum.com/art/osorio.htm You know I have been following this thread for sometime. My first reaction when I went to the site is .... only a 100 produced in 1954. only one left in the series. only $25.00. Something does not jive here. Lot of luck James. Hope it is up to your expectations. Doubtfully yours Graham ------------------------------ From: Ray Esposito Date: Tue, 23 Jun 1998 18:38:56 -0400 Subject: [Baren 987] Re: Baren Digest V3 #191 <199806231300.WAA63796@ml.asahi-net.or.jp> Graham wrote: >Something does not jive here. > >Lot of luck James. Hope it is up to your expectations. You know what your problem is? You're nothing but an old fogie. You don't trust anyone. Maybe that's why we get along so well...I agree with you. But for Jim's sake, and his $25, I hope it all turns out. I am skepical. Cheers Ray Esposito ------------------------------ From: David Bull Date: Wed, 24 Jun 1998 08:47:00 +0900 Subject: [Baren 988] Two new printmakers Two 'new' woodblock printmakers have contacted me this week, to let us know of web sites showing their work: Andrea Rich http://www.natureartists.com/richa.htm Sally Hands http://python.swan.ac.uk/~pyhands/sally.html Almost day by day now, the interesting world of woodblock printmaking is expanding ... Dave ------------------------------ From: Jack Reisland Date: Wed, 24 Jun 1998 01:21:41 -0700 Subject: [Baren 989] Re: Mold Spots Ok Ray, sorry I misunderstood your question about mold spots. I went back through the Encyclopedia as David suggested to read the letters on mold spots, and they all address the prevention of mold, not the treatment of the problem after the fact. The information I posted for the removal of foxing in probably still the best bet for mold stain removal, though the conservation literature does not address mold on paper as well, since it is not a frequent occurrence on finished paper objects. The use of household bleach is still risky for the some reasons, and the Chloromine-T may still be your best bet. It is hard to say whether you would get the best results while the paper was still wet, or if it would be best to wait until you have finished printing and drying the print. I have some of the Chloromine-T on hand, though it is somewhat old, but I could send you some to experiment with if you would like. I would be very interested in your results. Jack Reisland Reisland Conservation and Restoration Gig Harbor, Washington ------------------------------ From: Ray Esposito Date: Wed, 24 Jun 1998 07:31:35 -0400 Subject: [Baren 990] Re: Mold Spots Jack wrote: > sorry I misunderstood your question about mold spots. etc. Jack Thank you for the kind reply. After reading everything as Dave and others suggested, I came to the conclusion that foxing was not my problem but everthing on the net referred to it. I think the problem is my request was just too simple. I left damp paper wrapped in plastic a couple of days too long and mold spots began to appear. Nothing more complicated than that. The question was, when that happens, is there a way to remove those spots or is the paper useless? Somehow we got into a major discussion that lost the point. At any rate, I just said to hell with it and tossed the print. All it cost was a sheet of paper and a little ink. My original request was just to gain some education. The print itself was not a major concern. Thanks for the offer but not now. Actually, if you want to try it yourself just let a sheet of damp paper wrapped in plastic sit a week and you will have all of the mold to work with you could want. By the way, as a conservator have you thought about adding some ideas to the encyclopedia? I don't know about Dave but I think it would be a wonderful section on how to handle, preserve and repair prints. You could make a major contribution to Baren. Just a thought. Cheers Ray Esposito ------------------------------ End of Baren Digest V3 #192 ***************************