Baren Digest Wednesday, 7 March 2001 Volume 14 : Number 1345 ---------------------------------------------------------------------- From: B E Mason Date: Tue, 06 Mar 2001 07:35:34 -0800 Subject: [Baren 13720] Re: pva and etching ink Acid free usually means archival in paper, but 100% cotton rag is a better standard. The Japanese papers are not rag, being made of mulberry and many have lasted 3-400 years. Sometimes you will see buffered, this means they have added something to the paper to make it acid free but the original materials were not. There is very good paper information in the Daniel Smith Catalog and there are good books on paper you can check out from the library. Paper is a lot of fun, don't worry too much about how archival it is, just make lots of prints on lots of different paper and use what you like. After all, in 100 years, what will any of us care???? Barbara ------------------------------ From: Jim Bryant Date: Tue, 6 Mar 2001 11:26:46 -0700 Subject: [Baren 13721] Re: pva and etching ink Barbara's right. when talking paper, acid free often does mean archival. Wood pulp papers are acidic--and they can be buffered to be less acidic. Acid free only means that the paper has a neutral pH. If the paper has an acidic pH, the acids will ultimately erode the fibers in the paper until the paper becomes less flexible and begins to yellow and fall apart. Everything that the artist does to an acid free piece of paper can potentially make it acidic (like spraying hairspray on to it as a fixative). The paper can absorb acids right from the atmosphere, which will shorten its life. When matting/mounting the paper, the mat board must also be acid free/pH neutral or the acids will transfer from the mat into the paper (over time). It is recommended that you change the mat board periodically, as it will also absorb acids from the atmosphere. So the glue that you use must be reversible in order to re-mat or re-frame without damaging the art work. (This is why PVA can be acid free, but not archival.) jim- ------------------------------ From: Artsmadis@aol.com Date: Tue, 6 Mar 2001 13:27:28 EST Subject: [Baren 13722] Re: pva and etching ink In a message dated 3/6/01 10:35:34 AM Central Standard Time, bemason@concentric.net writes: << Sometimes you will see buffered, this means they have added something to the paper to make it acid free but the original materials were not. >> I think buffered means the fiber by itself is neutral, and a small amount of base [alkiline] is added to protect the paper from acid in the atmosphere, so the paper ends up slightly towards the proper end of the pH scale. <> I care :-], and improper methods do not necessarily take 100 years for damage to be done. Fugitive colors will fade in strong light in a few months, excess oil in the paper will make halos and make the paper deteriorate in just a few years. Darrell ********************* http://members.aol.com/artsmadis/index.htm.htm 70 pages so far ********************** ------------------------------ From: barebonesart Date: Tue, 06 Mar 2001 17:41:39 -0800 Subject: [Baren 13723] Re: Baren Digest v14 #1344 Hey, I was closer to the correct spelling of peau de soie than I expected to be! Thanks, Mary, for the correction - its been a long time since I've even used that term and am sure it dates me unquestionably. But, if you know what peau de soie looks like, you will know when your ink is the right consistency :>) To answer Marilynn's question: I use etching ink because it is what I have on hand because my primary medium is intaglio, but also because I prefer it. And, why buy two of everything when one will do so nicely? All of my instructors & other printmakers I've known through the years have used etching inks.That was what I learned with and got used to. I think Eli has it, whatever works best for you it what you will use. However, now that I'm experimenting with the Green Drop Inks, I like them, too - they behave just like oil based inks, except when its time to clean up. (Thin them with their vehicle.) Sharri ------------------------------ From: "Deborah Steytler" Date: Wed, 07 Mar 2001 03:19:08 Subject: [Baren 13724] About me, new member Hello fellow print makers.  I am here with you today due to Gayle Wolken whom I taught woodcutting to and for whom I lay no claims on her talent and hard work.  I was there  at the right time for her, that's all. I have a BFA and an MA in printmaking. My MA show was 18 large(19 x25 inch) color wood cuts in 1998.  There were cut on LUAN plywood so I could use an etching press instead of a baren. (May I still be included??!!) None were editioned, all were unique but interrelated by color and form.  The color was transparent so I could stack a variety of blocks one on the other to acheive new colors.  I don't know yet what I will do yet about getting images to you all, no scanner or digital camera....I'll figure it out.  Anyway, I wanted to learn how to abstract and yet keep the central feeling to my work which is figurative and I feel I figured out.  Sold a good number of them.  Now I am learning how to photoetch,  I know, its not woodcutting, but this is just a phase.  In fact, I am keen to use both processes on one print, but not until I am more comfortable with the photoetching processes.   When I graduated from Miami U in Ohio in the early '70's, I kept up the woodcutting because I could.  It was / is portable, inexpensive and endlessly interesting.  I have looked at and admired Japanese woodcuts, German Expressionists as well as the earliest German book engravings, Durer.  I sometimes teach printmaking at the local community college and have a unit of printmaking when I teach art for the non art major.  I got into graduate school with my woodcuts. There is an awesome group in Cleveland, Ohio, called Zygotte Press where one can rent space by the month and use the printmaking facilities. I am recently involved as the assistant to the gallery director, work 10 hours a month to help mount new shows and in exchange get to use the studio when I want. There I get socialized with other printmakers, very nice.< I enter competitions sometimes, got into Purdue's Print show a few years ago with a wood cut, same on West side of Cleveland print biennial I find it hard to enter a show a second time. I would feel worse not getting in the second time around after getting in the first time. I am trying to get over it!! Glad you all are out there. You want me to post things I find out pertaining to woodcutting or to printmakers in general?< Deb Steytler ------------------------------ From: B E Mason Date: Tue, 06 Mar 2001 19:53:09 -0800 Subject: [Baren 13725] Wwelcome Welcome to the baren, Deb and post all the woodblock info you find, we are always interested! Barbara ------------------------------ From: "arye saar" Date: Wed, 7 Mar 2001 07:17:13 +0200 Subject: [Baren 13726] POCHOIRE Tried and searched in the net for explanation but no reasonable reply. Will anyone with the knowledge enlighten me as for this technique? Will be much obliged. Arye ~~~~~~~~~~~~~~~~~~~~~~~~~~ Arye Saar Kibbutz Degania B Jordan Valley, Israel E-mail: saar1@degania-b.org.il ------------------------------ From: Marcia Roberts-deutsch Date: Tue, 6 Mar 2001 19:43:19 -1000 (HST) Subject: [Baren 13727] Re: POCHOIRE Aloha from Hawai`i, Arye--others may have more substantial information to contribute, but I am definitely an advocate of this technique. Pochoir is a French term for open stencil printing which, like many other printmaking techniques, had its origins in commercial process. Think screenprinting without a screen or mesh--just an open image area into/through which you can roll/brush/"pounce" your ink. Stencils can be made of different materials, from thin sheets of metal (for larger editions) to paper stock (like manila file folder material) or thin sheets of plastic. I've used the technique for singular applications of selective color, up to editions of 80 prints and more, adjusting materials as needed for consistency. It takes a bit of time to get comfortable with the process of application and formulation of ink/paint materials, but it is sometimes a good alternative to cutting an extra block or making an extra plate, especially because you can do blended applications of color with a single stencil. Hope this gives you a bit more information to go on. Aloha/Shalom ------------------------------ From: Graham Scholes Date: Tue, 6 Mar 2001 23:20:24 -0800 Subject: [Baren 13728] I am back..... I am back and for good reason. I just found out that according to Stovall's Law of Negative Inaction "The only thing wrong with doing nothing is that you never know when you're finished..." Had a very productive spring... winter never happened... did 3 &a bit new ones, so has taken the pressure off. I will definitely finish the 8 year project in time for the exhibition this summer. The &a bit job now in progress is a biggie ... full sheet 28" x 22" about 25 odd colours and hoping not another burnish more=8A http://members.home.net/woodblocks/winner.html I realized in the two month absence that this forum is akin to getting the morning paper. Some good reading and,.... well, I won't go there. Create-Cut-Print Graham "OLD" IS WHEN..... A good lookin' gal catches your fancy and your pacemaker opens the garage door. - -- ARTIST DON'T RETIRE ........... THEY DRAW TO A CONCLUSION Graham Scholes 11435 Hawthorne Pl. Sidney, BC. V8L 5J7 PHONE 250 655 0600 An Island in the Pacific --- http://www.members.home.net/gscholes/ Boot Camp ------------------------------ From: Graham Scholes Date: Tue, 6 Mar 2001 23:20:28 -0800 Subject: [Baren 13729] Re: About me, new member Welcome Deb, Youur work sound interesting... Wanting to do learn how to abstract could take your life time and mine... Not easy.... it sound like a wonderful approach to mixed form with the figurative stuff. You gotta get some digital record made and sent it to us. Not having a web site is limiting. Send me the stuff and i will put it up on a separate page on my site. I think you can send it to the Baren site and it will appear there. Being a way for a bit I have lost track. Anyway the offer is there. You are right about Gayle... She flows with creative juices... We had fun here last year.... go to http://members.home.net/woodblocks/wkspcasual2000.html and work your way to the "Print Page" and then to the "Winners Page" where there is an interesting something. Create-Cut-Print Graham ------------------------------ From: Graham Scholes Date: Tue, 6 Mar 2001 23:32:35 -0800 Subject: [Baren 13730] Re: I am back..... >I am back and for good reason. Opps.... the url got put here and was used in the other posting. Sorry.... as you can see nothing has changed with me. > ... full sheet 28" x 22" about 25 odd colours >and hoping not another burnish more=8A >http://members.home.net/woodblocks/winner.html > Create-Cut-Print Graham ------------------------------ End of Baren Digest v14 #1345 *****************************