Baren Digest             Thursday, 6 December 2001     Volume 17 : Number 1641


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From: "G. Wohlken" <blueman@pantek.com>
Date: Wed, 05 Dec 2001 08:59:08 -0500
Subject: [Baren 16355] Re: Baren Digest V17 #1640 Framed Blocks 

Maria, could you tell us how you have mounted these?  It looks
as if  they are framed with glass?  And two of them even look
as if they are  matted!  Can you explain?  How thick, for instance
is the woodblock?  How deep the frame?  We see black and a
sort of tan "matting".  Is this all behind the block?  How is the
block attached?  Questions, questions.

Gayle

> 
> I put some blocks up on the web, check it out:
> http://www.1000woodcuts.com/galleries/blocksgallery/blocks2001.html
> 
> M
> 



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From: "Maria Arango" <maria@mariarango.com>
Date: Wed, 5 Dec 2001 08:35:54 -0800
Subject: [Baren 16356] RE: Framed Blocks 

Gayle asked:
> Maria, could you tell us how you have mounted these?  It looks
> as if  they are framed with glass?  And two of them even look
> as if they are  matted!  Can you explain?  How thick, for instance
> is the woodblock?  How deep the frame?  We see black and a
> sort of tan "matting".  Is this all behind the block?  How is the
> block attached?  Questions, questions.
>
> Gayle

This is long, but hey! you asked ;-)...

There is no glass involved in mounting these blocks at all.
Blocks are 1/2" (125 mm) to 3/4" (190 mm) solid cherry.
Basically, blocks are attached to the dark mat with a window tan mat right
next to the block. Frames are standard depth, although deeper frames might
look even better. After assembly, the face of the block in these pieces is
about even with the front of the frame.

After printing the edition, I simply let the oil-based ink dry on the block.
Sometimes I roll it up darker, but usually the residue after the last print
is enough to bring out the image. In the case of Fusion and As One, I rolled
it up because the Stonehenge paper used for the prints drank the transparent
umber ink all up. The Entre Viento block had enough residue to mount as is.

Protecting the original block against potential unscrupulous printmakers is
essential. Both Fusion and As One were reduction blocks, so no worries
there; I simply signed the blocks across the face with my name, date and the
name of the piece with my trusty (I used to have a dog named Trusty) dremel
tool. Entre Viento Y Sol could potentially be disassembled and printed by
someone evil, so, in addition to signing, I used a generous amount of
polyurethane clear sealer until all the lines were filled in. That probably
gives it that glassy look.

I finished the other two blocks the same way, except I used Polyshades
polyurethane, which is tinted sealer. I "painted" a darker sealer (walnut)
around the wood grain backgrounds and a lighter sealer (golden oak) around
the figures. Keep in mind that people love to touch these, so they need to
be well protected.
The edges of the block sometimes have markings from the lumberyard or from
the printmaker (me), so you might have to paint the edge because it will
show. For the Carved Men block, sold before I had a chance to take a pic, I
used acrylic black paint. The wood was maple and I had written the name of
the piece in black marker on the edge.

Next I pick out a suitable standard frame and cut a piece of backing board
to the size of the entire back of the frame from corner to corner. In the
case of Fusion and As One, this is the dark brown mat that shows just next
to the block.
http://www.1000woodcuts.com/galleries/blocksgallery/blocks2001.html
I then center and attach the block to the mat with glue, usually standard
carpenter's wood glue. Keep in mind that it has to hold even though the
blocks aren't all that heavy; also permanency is another deterrent for the
aforementioned evilprintmaker. For mounting huge blocks, I will probably use
a wood plywood (1/8"; 50 mm) backing instead of mat board.

I cut a mat to go around the block, leaving some of the backing board
showing. I match the mat to the mat I use when framing the prints, since I
show print and block side by side. In the case of Entre Viento Y Sol, I used
hand-made paper of an earthy color instead of a mat to bring out the
"earthiness" :-) http://www.1000woodcuts.com/blocks/blkentreviento.html
For the matted blocks I cut the window right side up so that the bevel would
not show, since the assembly looked better that way. 'Yes' paste or another
inert glue works well to paste the outer mat to the backing mat.
Incidentally, the window mat is cut to the size of the inside of the frame,
so there is a lip of backing mat showing on the outside, if I measured
right, the exact size of the frame. [That is, for a 16" x 20" frame, cut a
standard 16" x 20" mat for the window mat and a 18" x 24" solid mat for the
backing mat to accommodate the _entire_ frame.]

Last I attach the frame itself to the backing mat with wood glue and
reinforce the back with staples or brass nails; a felt or black velvet (hey,
I live in Vegas!) dust cover finishes the piece nicely. I attach a wire as
usual and usually sign the back as well with the print edition information.
After I'm done they look so scrumptious that I usually hang them in my house
for a looooong time before sending them off to market. Some become so
attached to their mommy that they never leave.

Maria

<><><><><><><><><><><><><><>
Maria Arango
Las Vegas, Nevada, USA
http://www.1000woodcuts.com
maria@mariarango.com
<><><><><><><><><><><><><><>


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From: Jim Bryant <jim.bryant@murraystate.edu>
Date: Wed, 05 Dec 2001 11:53:33 -0600
Subject: [Baren 16357] Re: Baren Digest V17 #1639 


Hi Barbara,

I just moved to Kentucky from New Mexico a few months ago. If you are new to
the area, Santa Fe is a wonderful printmaking area. Check out the
Printmaking Center at the college of Santa Fe campus and be sure to visit
Tamarind in Albuquerque. Both offer workshops in the summer (and sometimes
year round). In the early spring the Printmaking Center will offer its
monothon, which is not about woodcuts, but sure is a lot of fun.

Jim-

On 12/4/01 1:43 PM, "BHearn2001@aol.com" <BHearn2001@aol.com> wrote:

> Are the any printmakers from Santa Fe?
> Barbara Hearn 
> 


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From: Aqua4tis@aol.com
Date: Wed, 5 Dec 2001 14:08:21 EST
Subject: [Baren 16358] Re: maria 

 maria
   your blocks and work are beautiful!!!   i especially like baila baila     
what does that mean?   its a gorgeous print
   how do you price your work?   but size?    the time you put into it?   how 
do you figure framing costs?
   hurry up and write that book!!!!
georga

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From: Aqua4tis@aol.com
Date: Wed, 5 Dec 2001 14:09:03 EST
Subject: [Baren 16359] Re: maria 

 i forgot to ask  do you print with a press or a baren?

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End of Baren Digest V17 #1641
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