Baren Digest Friday, 26 October 2001 Volume 17 : Number 1598 ---------------------------------------------------------------------- From: Wanda Date: Thu, 25 Oct 2001 10:05:45 -0700 Subject: [Baren 16046] message from Claude.. Dan: In etching, you have to print on wet paper or else you don't get all the details. I always wet my paper even for woodcuts or linocuts. Somehow the wet paper absorbes the ink better and if you work with black and need it to be velvety and solid, wet paper and a bit of pressure is the best! Claude Aimˇe ------------------------------ From: "marilynn" Date: Thu, 25 Oct 2001 10:23:20 -0700 Subject: [Baren 16047] Re: Baren Digest V17 #1597 I was taught to print my block prints dry, but learned they can be printed on damp paper. I tried the dampened paper and found it received the ink much better. I am not soaking, but spritzing and using plastic and blotting. I have found each paper is unique in its ability to handle water, some deteriorate quickly when soaked. I have printed several blocks with damp paper with no problems with sticking so I was amazed when this occurred and called upon the experience of this group. Seems we are as diverse on this as we are in our unique styles. I do not use Stonehenge on a regular basis but wanted a very white smooth paper that was acid free but not on the high end price wise. It is working fine for the prints. If I were over inking than why is it that even press running I am spooning to get the rest of the ink to release onto my paper? I prefer to do that rather than put the press pressure too tight and risk warping my bed. The real challenge for me in printmaking is the constant learning. Each print series seems to have its unique direction and its unique problems. I have found I need to learn how each plate runs and that the first one at least will be a loss. It is like each plate is a unique child with its separate idiosyncrasies. Thanks to the group for your warm sharing of knowledge. Marilynn ------------------------------ From: "Carole Baker" Date: Thu, 25 Oct 2001 10:12:37 -0800 Subject: [none] Don't know if this has made it to Baren, but just found in my Alaska states council of the arts newsletter this call for entries for Printworks 2002, a purchase program for City of Seattle Portable Works Collection: "Art must behand pulled, original prints or prints incorporating digital and mixed media. Applications may be downloaded at http://www.cityofseattle.net/arts/funding/calls.htm Application due Nov 9 , if I remember correctly. Thanks for the variant information, Carol. Carole ------------------------------ From: barebonesart Date: Thu, 25 Oct 2001 11:37:55 -0700 Subject: [Baren 16049] Re: Baren Digest V17 #1597 Weighing in on the dampened or not dampened paper. It depends on the paper. Try both and evaluate for yourself. The generally accepted practice is: the heavier the paper the more the need to dampen, or at least the more you allow the ink too be pulled from the block, therefore less elbow grease needed. The amount of sizing, or not, determines the method of dampening. I use an etching press to print my blocks and even so, when I print on BFK or equivalent I dampen the paper - the ink comes off more evenly. To flatten and dry prints: forget the newsprint, the only need for it is to keep your blotters splarkling clean. I have blotters categorized for first drying: some ink may come off on them (who cares), after a couple of hours I move them to (second category): dry, clean blotters and then move them daily until dry. When a print is moved, the blotter it came out of is hung up to dry. I use bulldog clips on clothesline to dry them. For the more translucent, therefore thinner, Japanese papers I usually print dry and hang to dry on a cord strung across the studio. After printing evaluate the print as to the amount of ink on the paper. Hold it up to the light at an angle to see how much it shines. If the ink is on too thick blot it with a paper towel until it dulls. I know one very respected printmaker, Prof. of art for many, many years, who blots every relief print he pulls with a clean paper towel. His work is always perfect and pristine - no spotty patches with uneven ink application. I was on a jury with him and he would hold each print up to see if the ink was evenly applied: if not, out it went. This is a man who appreciates all the finer points of the craft of making excellent prints. :>) I've used Stonehenge and prefer it to be dampened. When I went to Russia several years ago I took, as a gift to the printmakers I was visiting, as much BFK as I could carry, only to find out they would have preferred Stonehenge. I've always considered it econo paper and used it only for classes. That experience changed my perspective! They loved the Gamblin Inks I took to them, though. All the ink was donated by Robert & Martha Gamblin - they are great people. So were the Russian printmakers, but that's another story. Sharri > ------------------------------ From: "marilynn" Date: Thu, 25 Oct 2001 16:18:46 -0700 Subject: [Baren 16050] Re: Baren Digest V17 #1597 Just to share what I am learning. I thought on this issue of the newsprint sticking to the paper as the prints dried and this is my answer 1. I need to change the newsprint more often. 2. Since I am using a heavier paper and spritzing each sheet just before I ink my plate they are not as damp as my paper often is, so the ink sits more on the top. I blotted and yes ink came off. so I also began blotting after each came off the plate. 3. Know your ink! I am using two brands of ink and 2 colors running at the same time on this plate. Interesting, lol. Well one dries faster and sticks the other does not. One is labeled a relief ink the other should be a block print ink as that is what I requested and that seems to be what is listed for it in the catalog. So I need to learn what ink works best from each product company for the process I am using. Marilynn ------------------------------ End of Baren Digest V17 #1598 *****************************