Baren Digest                Monday, 2 July 2001        Volume 16 : Number 1476


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From: "Rudolf Stalder" <stalderp@mindspring.com>
Date: Sun, 1 Jul 2001 09:21:49 -0700
Subject: [Baren 15033] design-transfer

Design-transfer

Hi folks, I would like to report on some aspects of design-transfer.

1.) Image creation

If a piece of speedycut (SC, a Speedball-product) - or eventually
India-rubber - is pressed onto a freshly inked linoleum-cut-plate and
thereafter onto printing-paper, a nice ÒdirectÓ image
(http://www.rst-art.com/wcin-cop0.htm) results.

Using a wood-cut instead of a linoleum-cut does not lead to much of an
imprint on the paper, as the ink sticks rather to the wood than to the SC.

But if the ink is applied onto SC, the SC then pressed onto the
woodcut-plate carrying the design
- - leaving a dark mark (http://www.rst-art.com/wcin-cop2.htm) - and
thereafter onto another wood-plate, a ÒreverseÓ image
(http://www.rst-art.com/wcin-cop4.htm) is created.

2.) Positioning

http://www.rst-art.com/wcin-cop3.htm shows my actual design-transfer-board
(DTB) , with an aluminum-stick fixed on wooden bars by clamps, and carrying
a small tape-fixed metal-piece. A ÒframedÓ piece of SC is ÒpositionedÓ along
the Al-stick adjectant to the small tape-fixed metal-piece. ÒFramingÓ
prevents
the SC from changing its shape during the printing-process. This type of
installation has shown to be stable and easy to handle.

3.) Design-transfer

Step 1:  A wood-block carrying the design to be transferred is placed onto
the DTB and the aluminum-stick mounted in a suitable position
(http://www.rst-art.com/wcin-cop1.htm).

Step 2: A piece of freshly inked SC is put in place and pressed onto the
plate resulting in a dark mark (as shown above,
http://www.rst-art.com/wcin-cop2.htm).

Step 3: The block is then replaced by the wood-block on which the design has
to be transferred upon, ...

Step 4: ... the SC-piece put in place again (as already shown,
http://www.rst-art.com/wcin-cop3.htm) and the
printing-process repeated, resulting in a ÒreverseÓ image (also as already
shown, http://www.rst-art.com/wcin-cop4.htm).

I have not collected much experience using these principles so far, but it
appears they may be of some practical value, eventually in combination with
other methods of design-transfer such as described in the Barens-archive.

Hope this is not too much old or bitter tasting coffee !

Rudolf Stalder

http://www.rst-art.com



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From: "April Vollmer" <april@aprilvollmer.com>
Date: Sun, 1 Jul 2001 11:15:26 -0400
Subject: [Baren 15034] RE: Baren Digest V15 #1474 

David Stones, thank you for reminding us about wonderful Baren Mall. I just
ordered tokibo from Fumi! And thank you Maria for maintaining the site. It
has been a great resource for my class at the Lower East Side Printshop. I
get wood from Alex at McClain's but the variety at the mall is great! The
class is great, by the way, many experienced printmakers who want to
understand the advantages of Japanese technique. I am a better teacher than
I am a printer. Does anyone know hanga master printers in the states who
would print with artists? One of my students was asking.

My opening went very well, and I had the pleasure of Sarah Hauser's
presence, fresh back from her successes in Chicago. I think she was the only
barener, though I was very happy to have expert hanga-er Bill Paden come.
Everyone wants to know about digital printmaking, but they also spent a lot
of time checking my portfolio of moku hanga prints.

April
www.aprilvollmer.com



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From: Julianne <jkershaw@squirrel.com.au>
Date: Sun, 01 Jul 2001 21:33:38 +1000
Subject: [Baren 15035] (no subject) 

Thank you to all for your excellent advice on test printing - I shall
plough ahead with more confidence now.

Marilynn wrote:- 'Julianne you are a brave soul'

I think that I am probably just silly.

Julianne

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End of Baren Digest V16 #1476
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