Baren Digest             Thursday, 22 February 2001     Volume 14 : Number 1330


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From: B E Mason <bemason@concentric.net>
Date: Wed, 21 Feb 2001 06:57:56 -0800
Subject: [Baren 13540] welcome back 

Greg,
So nice to get a post from you, we have missed your insight and quick 
wit. Thanks for setting us straight on the material used for the Ugands 
prints, pellon is one of the trade names for this fabric stiffener. I 
had been wondering how the Uganda printmakers were doing.
Best to you,
Barbara

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From: Sunnffunn@aol.com
Date: Wed, 21 Feb 2001 14:31:59 EST
Subject: [Baren 13541] Re: Blocks and more blocks. 


i use MDF to back my linoleum and it definitely will swell when you get it 
wet.

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From: Sunnffunn@aol.com
Date: Wed, 21 Feb 2001 14:35:09 EST
Subject: [Baren 13542] Re: Sizing??? 

Question.  Why are you sizing paper?  O thought we soaked it to remove the 
sizing????
Marilynn   still in oregon


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From: Wanda <robertson@canby.com>
Date: Wed, 21 Feb 2001 11:49:55 -0700
Subject: [Baren 13543] Re: Kampala Show, Tyvec, etc. 

Thank you Greg, for that clarification. I just spent an hour looking at and
reading the Ugandan website. Although unfinished, it is a treat for the eyes. 

I, for one, would be thrilled to participate in some kind of joint exhibition
with the Kampala printmakers. It was so exciting to hear all about the show last
year. This is the kind of thing that really makes the internet important to
artists. A world-wide forum for the appreciation and promotion of people and
their art. 

Wanda


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From: Daniel Dew <ddew@tampabay.rr.com>
Date: Wed, 21 Feb 2001 14:50:42 -0500
Subject: [Baren 13544] Re: Kampala Show, Tyvec, etc. 

I would love to do a mutual exchange!

dan dew


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From: "Philip Smith" <SmithArt@Pacifier.com>
Date: Wed, 21 Feb 2001 11:57:54 -0800
Subject: [Baren 13545] Re: Blocks and more blocks. 

Marilynn...

Well when Jack said it would swell up I soaked a piece for about 90 =
minutes and then applied various water paints to it for another couple =
of hours,...it stayed the same,..no swelling, no change. Could I have a =
different brand/manufacturer?
I don't know. But I did notice that water medium took three applications =
to get a really smooth effect, and that airbrush paint worked the best, =
even better than the highly rated Akua Color. And yes I worked on both =
sized and unsized paper. Anyway, I'm back to my oil based ink, an old =
friend.
Be well,
Philip
Hammond, OR
USA

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From: Sunnffunn@aol.com
Date: Wed, 21 Feb 2001 14:59:13 EST
Subject: [Baren 13546] Re: Hand coloring 


If you used stencils than your coloring could be consistent.  Could one than 
have an edition as each piece could conceiveably be identical to the next?


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From: Sunnffunn@aol.com
Date: Wed, 21 Feb 2001 15:01:12 EST
Subject: [Baren 13547] Re: Baren Digest v14 #1324 

Juan where in Mexico are you?  I go to Baja often and next year will be 
driving down.  Are you on that peninsula or the main land?  I plan to bring 
my small press and lots of supplies along with me.
Marilynn


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From: "Jeanne Norman Chase" <studiojnc@prodigy.net>
Date: Wed, 21 Feb 2001 15:40:29 -0500
Subject: [Baren 13548] Re: Mildew charset="iso-8859-1" 

I want to thank all of you nice people who responded to my problem of
mildew.
to Jack, David, Barb, Sharri, Sharen, Carol , Kate and hopefully, I did not
miss anyone. If I did, I mean you too.

David Stones

You really hit the nail on the head. Here I thought all along that all of
those fans, ceiling and otherwise were going to help stave off the mildew.
Your weather sounds like ours in Florida, sometimes going up to 90ish
humidity. I will take into consideration all of the advice that you have so
kindly proferred.
I have a large old house, completely at my disposal for my studio.
 I guess I could work something out in one room.
 I store my paper and prints and drawings in a flat file cabinet  and also a
wooden one.
 Even the paper sometimes gets mildewed, without any work upon it.
Imagine my surprize when I soak a clean sheet and it has the measles
Also my wonderful carving tools rust out very fast.
 I try to keep them oiled and in a box, sometimes that does not work.

So much for being in a sunny, humid, hot climate


Thanks Heaps!!!!!! Thanks for coming out of hiding to help me. I really
appreciate it very much.

Jeanne N.





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From: "eli griggs" <eli.griggs@worldnet.att.net>
Date: Wed, 21 Feb 2001 15:41:08 -0500
Subject: [Baren 13549] Re: Sizing??? 

Hi there:

This is what I think I know about why printing papers are sized and why =
I need to size my paper.

Papers are either unsized (waterleaf) or sized to different degrees.  =
They can be sized when they are made or latter on as needed.  Internally =
or externally, with vegetable or animal based size, such as hide glues =
and gelatine. (Is there another type of size?) =20

The Kitakata paper I normally use with my oil based inks has no size and =
so it is a waterleaf.  Water will spread without constraint when =
liberally applied.  To use it with water base I need to apply a size.

Some printmaking papers have a LOT of size built in to them and, though =
it is beyond my personal experience, printmakers will soak them to =
remove much of that size. =20

I use 300lb. watercolour papers and the heavy size allows for a lot of =
reworking. It might be the same for some printmakers papers.  Or it =
could be that to soften these papers you need to soak them and the heavy =
sizing allows for a natural loss.

Hope this helps clear things up.

Eli Griggs
Charlotte N.C.
USA


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From: "Jeanne Norman Chase" <studiojnc@prodigy.net>
Date: Wed, 21 Feb 2001 15:47:15 -0500
Subject: [Baren 13550] Re: Mildew charset="iso-8859-1" 

Jack

In answer to your question. Guess who is my framer? My husband who owns a
framing wholesale business. The paper , supports, everything is always acid
free.
You and David really answered a lot of questions and I appreciate the help.
And my framed work is usually hanging on the walls as I have customers who
come by and my main room is my gallery. Yes, it is hot and humid there too.
Some of my work is stored in a back room with cardboard protecting them. I
will admit that this is not the best arrangement. I think, as David Stones
suggested, this back room could be , somehow, arranged to store, the flat
files and the stored work.. What to do about the hanging  works, well, maybe
I will just have to shift them all frequently.
Thanks!!!!

Jeanne N.



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From: "eli griggs" <eli.griggs@worldnet.att.net>
Date: Wed, 21 Feb 2001 15:55:45 -0500
Subject: [Baren 13551] Re: Hand coloring 

Hi there:

I would think that stencils would be only the most rudimentary guide and =
that the very action of applying (and the choice of) colours by hand, =
brush, crayon, etc would insure that each resulting print would be =
unique.  However this might take the print out of the realm of monotype =
and place it squarely within the bailiwick of monoprint.=20

Eli Griggs
Charlotte N.C.
USA



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From: "Tyrus Clutter" <TRClutter@NNU.Edu>
Date: Wed, 21 Feb 2001 14:11:12 -0700
Subject: [Baren 13552] Re: Hand coloring 

The term used by several (including the Ross/Romano Complete Printmaker) =
is Pochoir. In some ways this is just the same thing as doing a screen =
(serigraph) print, but it is, as Eli says, a bit more crude.
However, as I flow over into another print process (the dreaded intaglio), =
I can tell you that Stanley Hayter, before he perfected the simultaneous =
color printing methods (viscosity printing) used to either roll over his =
already (intaglio) inked plates, through several stencils and with several =
colors. He also screen printed onto some plates before he ran them through =
the press. This was all in an effort to print all colors in one run =
through the press.=20
To bring it all back full circle, some of you might have even seen some of =
Hayter's intaglio work which incorporates passages of woodblock, though =
usually just as a grain texture and some may even have that wood grain in =
the metal plate through use of soft ground.=20

I would think that stencils would be only the most rudimentary guide and =
that the very action of applying (and the choice of) colours by hand, =
brush, crayon, etc would insure that each resulting print would be unique. =
 However this might take the print out of the realm of monotype and place =
it squarely within the bailiwick of monoprint.=20

Eli Griggs
Charlotte N.C.
USA


><~><~><~><~><~><~><~><~><~><
Prof. Tyrus Clutter
Director of Friesen Art Galleries
Dept. of Art & Music
Northwest Nazarene University
623 Holly St.
Nampa, Idaho  83686
TRClutter@NNU.edu
(208) 467-8398


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From: Artsmadis@aol.com
Date: Wed, 21 Feb 2001 16:10:57 EST
Subject: [Baren 13553] Re: Mildew 

In a message dated 2/21/01 2:39:52 PM Central Standard Time, 
studiojnc@prodigy.net writes:

<<  I store my paper and prints and drawings in a flat file cabinet  and also 
a
 wooden one.
  Even the paper sometimes gets mildewed, without any work upon it. >>

One thing you might consider is using silica get to keep things dry in 
cabinets.  It absorbs moisture and has colored crystals in it that change 
color when it has absorbed as much as it can.  Then you heat it to drive off 
the water and use it again.  

Darrell

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From: "eli griggs" <eli.griggs@worldnet.att.net>
Date: Wed, 21 Feb 2001 16:21:23 -0500
Subject: [Baren 13554] Re: Mildew charset="iso-8859-1" 

Hi there:

It would be best to keep your carving tools well cleaned and oiled and in
the open so air can circulate around them.  Keeping them stored in a box
will speed the damage from a damp environment.  The type of box/storage is
important too.  Plastics will keep in moisture and rust begets rust in metal
boxes.  Cardboard and leather will act as reservoirs for damp and mildews as
well.

By the by, cameras and lens should stored in bags/drawers/etc for the same
reasons.  Mold will grow on the glass of lens, (and mirrors,) even when they
are on the camera, away from the outside air.

Eli Griggs
Charlotte N.C.
USA



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From: "Charles and Gail Sheffield" <gsheffield@i-55.com>
Date: Wed, 21 Feb 2001 17:04:56 -0800
Subject: [Baren 13555] Hand coloring

Thanks for all of the hand-coloring discussion.  I had thought it might =
be a no-no.  One compromise might be to do large areas with color =
blocks, and small things, like eyes, with dabs of paint from a brush.

Gail Sheffield
Covington, LA


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From: B E Mason <bemason@concentric.net>
Date: Wed, 21 Feb 2001 15:25:06 -0800
Subject: [Baren 13556] Re: Sizing??? 

Marilynn,
The sizing is used with water based pigment to keep the ink from 
bleeding into the fibers. The sizing helps the pigment stay in one 
place. This is especially true for Hanga style of printing.
Barbara

Sunnffunn@aol.com wrote:

> Question.  Why are you sizing paper?  O thought we soaked it to remove 
> the 
> sizing????
> 


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From: "Daniel L. Dew" <ddew0001@tampabay.rr.com>
Date: Wed, 21 Feb 2001 19:05:04 -0500
Subject: [Baren 13557] Endangered Species Call for Entries 

Would everyone or anyone who has contact with a printmaking organization,
Locally or Internationaly, please contact me off list at
ddew0001@tampabay.rr.com
if you would like a prospectus sent to you to forward to your group.  I'm
sure some cross-over will occur, but so what.  I want to get this out to as
many printers throughout the world as possible.

dan dew


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From: David Bull <davebull@woodblock.com>
Date: Thu, 22 Feb 2001 09:15:13 +0900
Subject: [Baren 13558] Looking for a teacher ... 

This message was in my Inbox this morning ...

***

I am looking for a traditional Japanese woodblock 
printing teacher in Los Angeles. I am a 
professional artist (multi-disciplinary; portraits, 
painting conservation, graphics, murals, public art 
projects, etc.) Do you know of anyone?

Lucia Vinograd <Luciavino@netscape.net>

***

She is not on [Baren], so anybody who has info for her, please write to
her directly ...

Thanx

Dave


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From: Jack Reisland <reislandj001@hawaii.rr.com>
Date: Wed, 21 Feb 2001 14:27:27 -1000
Subject: [Baren 13559] Re: Mildew 

Jeanne

   you have answered the mystery by telling me that you also get foxing on
stored paper. It then has nothing to do with framing the art, except that the
plexiglas may be holding in more humidity. Since you are dealing with a whole
house humidity problem, it makes the problem a lot harder to solve. First look
at the structure itself. Is your house built on a concrete slab, or does it
have a crawl space or basement under it? If it does have space under it, does
it sometimes have damp earth under there? If so, steps can be taken to block of
that source of humidity with a vapor barrier. If it seems that the source of
humidity in your studio is just from the atmosphere, you had better consider
dehumidifiers. As has also been pointed out, silica gel can work inside closed
paper storage, but it will only be effective if your storage area is almost air
tight. You might also consider taking up stone sculpting  ;-)

Jeanne Norman Chase wrote:

> You and David really answered a lot of questions and I appreciate the help.
> And my framed work is usually hanging on the walls as I have customers who
> come by and my main room is my gallery. Yes, it is hot and humid there too...


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End of Baren Digest v14 #1330
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