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

Baren Digest             Tuesday, 21 September 1999     Volume 08 : Number 714

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From: Bella1yopp@aol.com
Date: Mon, 20 Sep 1999 11:28:46 EDT
Subject: [Baren 5935] Just a few comments... 

I just got back from San Carlos, Mexico for a friend's wedding and have tons 
of Baren mail!  Just when I thought I had it under control from my last 
disappearance from Baren (due to computer problems).... But I can't complain 
about the wealth of information!  Today I went to a memorial service for a 
wonderful man who was once one of my professors.  A gentle person and an 
amazing artist.  I had never been to a memorial service and was very touched 
by the warmth and the great stories from those who knew Bruce McGrew.  Their 
stories about how he lived (with such freedom and joy) were inspirational.    
But some comments.....

<<I am curious to find out how many of you use reference photos in
 addition to real models for developing images. >>

Maria,  I believe this question came from you.  I use both photographs and 
models.  The model is usually myself...  I use my own photographs and those 
that aren't mine.  But lately I have been focusing on using my own 
photographs.  Which means I am starting my own collection of reference 
photos.  I wish I was so lucky to just work from images in my head.  But I 
seem to need some sort of visual aid.  Hopefully not a visual "crutch."

Barbara, I have used Createx and found very mixed results.  Its been a while 
since I've used them but if I remember right....  I experimented with relief, 
collagraph, and monotype with Createx.  The colors were dull and splotchy (<- 
is that a word?)
I had best results with Monotypes.  Createx worked with the collagraph but 
the "plate" had a tendency to hold too much of it, so when under the pressure 
of a press it would squirt out.  Or I would get strange splotchy areas where 
the paper could not hold all that Createx.  I really like my little 
experimental relief prints done with Createx, but mostly because I hold the 
image dear... not the printing.  I could not get it evenly on the block and  
it would generally gather around the edges of the relief areas.  But I did 
not do a huge amount of printing with it... and with everything some practice 
could help one master the demon "Createx."  The others working around me 
loved Createx... but I am spoiled with the ease of oil based ink.

"Shame that many galleries that list "prints" really mean those high
quality reproductions rather than fine art prints. The public is getting
confused."
You are so right Maria.  I work in a frame shop and handle many of these 
"prints."  I see some strange things there.

Well, I must go and face my daily trials... of life.
- -
Amanda Yopp
Tucson, AZ

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From: David Bull <davebull@woodblock.com>
Date: Tue, 21 Sep 1999 07:54:08 +0900
Subject: [Baren 5938] Go see this ... 

Here's a quickie - if you would like to learn a bit more about color
(and who wouldn't!) take a visit to ...

http://library.advanced.org/50065/colorj/index.html

Dave

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From: Julio.Rodriguez@walgreens.com
Date: Mon, 20 Sep 1999 19:04:29 -0500
Subject: [Baren 5939] re: printing press HELP! 

Somewhere along my madness of trying to built a press I mentioned that I had a
lead on a guy that sells used equipment here in Chicago. Well, maybe I found the
mother lode!

I got thru to the guy today and he does have quite a large collection of used
printing presses. He's been in the letterpress business since the 1930's and he
has a building stashed with old equipment. He gets calls from lot of schools and
artists looking for printing equipment, presses or parts. He mentioned a couple
from Michigan who had just come down this week to pick up an old press and the
trouble they had trying to load the thing on the back of a truck. I know this
guy is for real because he was recommended by a highly reputable graphics
supplier in the area. We talked about what type of work I did, woodblocks, etc
and he mentioned he had quite a few Vandercook proofing presses in hand and then
went on to rattle off about another 1/2 dozen brand names I recognized from
printmaking books. I asked him what a two roller tabletop would run me
about.....and he said 50$  ( That's right!  Five, Zero!).

This guy seems like a real nice guy and to know the business so I don't think he
would be selling me broken-down unusable stuff, but yet  I am always
thinking...buyer beware! I will probably go down there Thursday.

Here is where I need help from those of you that have worked with presses.
Assuming I find myself looking at a room full of small presses (thats what I
think it's going to happen!) how do I choose one ? What's best for woodblocks ?

Can you tell me what you would or would not recommend ? Any experiences ? Brand
& model numbers ?
In return I promise to take a full inventory of the place and report back for
any interested parties.......

Thanks.......JULIO

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From: Vollmer/Yamaguchi <jy6@columbia.edu>
Date: Mon, 20 Sep 1999 22:56:18 -0400 (EDT)
Subject: [Baren 5940] Mystery goo 

Barbara M, throw away that Createx! yech, nasty stuff! Mystery goo. Get
some well labeled stuff so you know what you're getting. Buy some pigment
dispersions, or if you want some richly pigmented color with a gum arabic
binder (good for monoprints), call Susan Rostow at wb-inks@att.net (phone:
212-473-4670). And use sumi ink for black, it prints much darker and richer
than anything else.

Gayle, methyl cellulose is a far cry from pva, it is a very weak glue,
useful only for the lightest papers, like you might use for chine colle.
PVA is very strong, and not reversable, I think. I have seen book makers
mix some methyl cellulose into their pva to thin it out a bit when it seems
too thick and sticky. Glue sticks add the least amount of moisture to
paper, which cuts down on size changes.

I use methyl cellulose instead of wheat or rice paste in printing, but it
is not a binder like the gum arabic in a watercolor. The methyl
cellulose/wheat/rice conditions the color so it prints smoothly. It may
break the water tension...if you don't use it you get a mottled goma zuri
(sesame seed) texture.

I saw Matt Brown at his booth in Lincoln Center yesterday. Very inspiring!
He is very well organized, an interesting booth full of information as well
as his inexpensive framed prints about his family life and the landscape of
New England. He was a cabinetmaker before he started hanga, and it shows.
His blocks are beautiful. Does anyone know where I could get some hand
planed blocks? He's using clear birch that he planed, very nice! It made me
ashamed of my sanded shina plywood, though it is light and easy to use.

April Vollmer

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From: "Philip Smith" <smithart@pacifier.com>
Date: Mon, 20 Sep 1999 21:36:07 -0700
Subject: [Baren 5941] Re: printing press HELP! 

Julio,...everyone I hear of uses a Vandercook #1,....they are probly the
best,...if this guy has an address I would appreciate it if you'd be so
kind,...and $50.00 is real good,....drop me a note at
SmithArt@Pacifier.com,....     good luck,..and take a friend with you,...
it could be really heavy.        Philip

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From: Gregory Robison <grobison@nskampala1.swiftuganda.com>
Date: Tue, 21 Sep 1999 08:33:50 +0300
Subject: [Baren 5942] Re: printing press HELP! 

Kampala, 21 September 1999

Julio wrote: 
>Here is where I need help from those of you
>that have worked with presses....Can you tell me what you would or would not
>recommend ? Any experiences ? Brand & model numbers ?

Julio: I cannot ignore a direct appeal for input on the press question, but I answer
with reluctance because this is a broad and swift stream that will whisk us away
from hanga pretty fast.  Also, I'm on a letterpress list which is excellent and
which you and others may wish to consult on this (Letpress@listserv.unb.ca).  There
are always people there buying and selling presses, and input on the people in the
business of selling.  About six months ago I asked that list the question, "what's
the best clam-shell action table top press ever made?" and got a lot of interesting
responses, with a fairly good consensus on makes, and data on weight, availability,
etc.  You can see that thread in their archives or I can send you a copy that I
summarized (if I can find it!).

Many book arts people however opt for a flat bed proofing type press (rather than
the clam-shell type), with the Vandercook SP-15 the usual pick.  It weighs about 700
lbs and you should be able to get a good one for a few hundred dollars. The
table-top clamshell presses weigh a couple of hundred pounds or so and do cost less,
but condition varies on all used equipment, of course.  (I've got a Vandy SP-15 and
a Chandler & Price 10x15 -- 1200 lbs --  in Seattle, and may have to sell them next
month. But like your guy in Chicago said, don't drop by with your Toyota to pick it
up...)  The rule in letterpress (at least according to the old timers) is "the
heavier the press, the better it prints."  But you can get very good results with
the humble and ubiquitous Kelsey.  (But !ojo! A good print maker can do wonders with
a razor blade and a wooden spoon, while a novice with a $500 baren and Graham's
tools still produces...well, student work.)  Anyway, check with Gayle, who was going
to get a Vandercook or has one.  I've been meaning to ask her about this and her
work, but don't dare interrupt her till after Friday...she's trying to get a book
out.

I'm also trying to get a book out, and I'm using a small, flatbed press (home made);
tipped-in hanga prints done with a baren; multi-color lino cuts & monochromatic zinc
& photopolymer "cuts" printed on a clamshell-type table top press (5x8 Kelsey...not
recommended if you can get something better!); hand-set type also printed on the
Kelsey; body text printed on an ink-jet printer onto Frankfurt Cream (with Centaur &
Arrighi from Adobe exactly matching the hand-set type); and, I think, one pencil
sketch reproduced by photocopy onto a letterpress-printed solid color background.
(I should clarify that I would do the photocopy part this way if I were in the
States, but I have yet to confirm that the local copy shop can handle this
assignment; one must always have a contingency plan for projects in Africa...)  I am
also sweating my self-imposed deadline of 2 October, after which I travel to the
States.  With the text composed, imposition & layout fixed, 19 blocks carved so far,
probably ten more to go, and all the printing & single-signature binding ahead of
me, I'm working like a maniac.

Greg

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From: Barbara Mason <bemason@concentric.net>
Date: Mon, 20 Sep 1999 23:10:51 -0700
Subject: [Baren 5943] Createx 

April,
Thanks for the suggestion, it did cross my mind. I got some interesting
answers from across the country and most people who like createx are
using it for silk screen. I didn't realize they made so many different
types of ink. I am still waiting to hear good things from some monotype
person who uses it.......I could get old and gray waiting. I am not
giving up, the people who invented this must have gotten some good
results so perhaps I will trudge ahead and do the demo, (then throw it
away?) I have used the Aqua-kolor that Mclains carries, Marco tried it
for hanga at Graham's workshop and had success with it. I am about to
order all the colors, so will report after I try it.
Barbara

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From: <aenaonartst@yahoo.com>
Date: Tue, 21 Sep 1999 05:53:55 -0700 (PDT)
Subject: [Baren 5944] Re: printing press HELP! 

> Can you tell me what you would or would not
> recommend ? Any experiences ? Brand
> & model numbers ?

Dear Julio,
if i may interfere , i would recommend you to choose a
bookbinder's press , you know the one that looks like
a big screw.As for brands and things , you can always
have trust in German and Swedish steel.
I would very much appreciate it if you could give me
the guy's address or phone number,
dropped in from Greece,
regards,
Dimitris
P.S. if you consider my infos insufficient let me know
i'll give you more on the subject. 
 
End of Baren Digest V8 #714
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