Baren Digest             Thursday, 28 February 2002     Volume 18 : Number 1743


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From: "Jean Eger Womack" <jeaneger@jeaneger.com>
Date: Wed, 27 Feb 2002 05:49:12 -0800
Subject: [Baren 17248] Re:   Baren Digest V18 #1742

Well, I neutralized $35 worthof perfectly good nitric acid.  It sure did
bubble up when I sprinkled the baking soda on it.  I hope the chemistry
people at Washington High School are proud of their ability to intimidate a
first year teacher.  I certainly am not planning to throw away the rest of
the hundreds of dollars of art supplies I bought in anticipation of teaching
art and to continue my career as a professional artist.  If they are
teaching chemistry in such a way as to frighten people away from using it, I
don't know what is the point of them doing that.  The kids would be better
off not having any chemistry classes at all.  Some people think that all
chemistry is good for is for people with degrees who work in industry, that
the rest of us peons should not be allowed to have anything in our hands
stronger than bleach.  They are the same people who would have you believe
that you need an advanced college degree to create an ad and start
publishing a newspaper.  They are elitists and they permeate the school
system.

Jean Eger Womack


------------------------------

From: G Wohlken <blueman@pantek.com>
Date: Wed, 27 Feb 2002 09:31:46 -0500
Subject: [Baren 17249] Wee Baren and Registration Methods 

Maria, I'm curious about the "little baren" you got from Matsumura-san. 
Is this something that needs recovering from time to time?  Does this 
work with oil-based inks?  I have recently bought a ball-bearing baren, 
but find I still have to come in with the wooden knob to get the image 
completely transferred to the paper.  How is this little baren 
different?  Also, are you working on dampened paper?    

I wish there were images we could look at regarding the descriptions 
everyone is giving about their registration methods.  For instance, with 
Dan Dew's I got completely lost when he said attach the metal L the 
opposite way, and also about the  post cards.  I just couldn't envision 
this at all.  Some of us learn by pictures better than by words; in 
fact, I had trouble understanding my own described method when I read it!

Gayle
Ohio, USA  



------------------------------

From: Myron Turner <mturner@Ms.UManitoba.CA>
Date: Wed, 27 Feb 2002 09:19:15 -0600
Subject: [Baren 17250] Re: Wee Baren and Registration Methods 

Ditto.

At 09:31 AM 27/02/2002 -0500, you wrote:


> For instance, with Dan Dew's I got completely lost when he said attach 
> the metal L the opposite way, and also about the  post cards.  I just 
> couldn't envision this at all.
>
>Gayle
>Ohio, USA
>



------------------------------

From: "Maria Arango" <maria@mariarango.com>
Date: Wed, 27 Feb 2002 08:23:05 -0800
Subject: [Baren 17251] RE: Wee Baren and Registration Methods 


>
> Maria, I'm curious about the "little baren" you got from Matsumura-san.
> Is this something that needs recovering from time to time?  Does this
> work with oil-based inks?  I have recently bought a ball-bearing baren,
> but find I still have to come in with the wooden knob to get the image
> completely transferred to the paper.  How is this little baren
> different?  Also, are you working on dampened paper?


Yes, it will need recovering, it is tightly wrapped in the standard bamboo
skin. Seeing it up close and personal is much better than the pictures in
Barenforum.org web site, giving me a huge insight on how to recover it after
I wear it out.
The ball-bearing baren is great for large prints, don't get me wrong, it
just seems a bit inflexible compared to this one. With the real baren I
really felt that I was printing with my fist and was surprised to see the
results, even large dark areas with very little need to go over with the
wooden knob. I don't know how this little wonder is different, but I can
think of a couple of qualities that I had been missing:
- -First it fits my hand perfectly! I close my fist around the handle and this
thing becomes an extension of my knuckles/palm. This allowed me to "feel"
the block under the pressure, I backed off for delicate line areas and used
more shoulder and weight on the flat dark areas.
- -Second, it felt "flexible" compared to the ball bearing baren or the
various wood implements that I use. This meant that block irregularities did
not have much bearing (HA) on the final result.
I was impressed with the real thing!

I did not dampen the paper and I used oil based inks. In fact, I usually use
much "softer" paper than the BFK Heavyweight and was a bit scared of using
this paper dry as it is what I would consider on the edge of "hard." On
smaller prints I would definitely dampen this paper, but I just cannot see
dealing with registration problems due to paper drying and shrinking during
the printing of such a large thing.
As Graham pointed out, the "working" time for damp paper out in the open air
is about 3 to 4 minutes, even less down here. It took me about 5 minutes to
ink the block fully and 15 minutes to pull a single proof, good thing I have
plenty of endurance and Gatorade handy.


> I wish there were images we could look at regarding the descriptions
> everyone is giving about their registration methods.  For instance, with
> Dan Dew's I got completely lost when he said attach the metal L the
> opposite way, and also about the  post cards.  I just couldn't envision
> this at all.  Some of us learn by pictures better than by words; in
> fact, I had trouble understanding my own described method when I read it!


I would recommend Ross & Romano's books, especially their "Complete
Printmaker" where many of these are illustrated. I had completely forgotten
about the gluing extra paper to the corners, which is just what I needed.
Also, check the Barenforum.org web site's library for the many books that
illustrate these methods. And there are a couple of other entries in there
about registration that are fully illustrated. Perhaps someone can find
them.

Color block gets cut today. Pictures later, I promise.
Maria

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


------------------------------

From: G Wohlken <blueman@pantek.com>
Date: Wed, 27 Feb 2002 12:55:59 -0500
Subject: [Baren 17252] Re: Baren Digest V18 #1742 

Okay, helpers, here's one for you.  I'm a little more calm now, but 
still volatile.    Okay, I went upstairs to the spare room bed where I 
had six of my large  prints drying, and upon closer look I saw what looked 
like a cat probably had tried to jump on them, then jumped off again.  Our 
cats are NOT supposed to be upstairs at any time, but once in a while when 
they are passing through the house from front door to  back and out again
where they'll be fed on the back porch, the quiet one sneaks upstairs. 
Usually this doesn't happen, though.  But today it DID.  I have about 
three prints that look  like they slept with their clothes on.  Is  there 
any way I can get these bends out of the  paper?  The paper is kitakata
which is  very thin paper.  If you mention moistening and putting under 
pressure, I need to know how much pressure and for how long?  If that's not 
the way to do it,  then does anyone have a suggestion?

Gayle  




------------------------------

From: Graham <gscholes@woodblock.info>
Date: Wed, 27 Feb 2002 11:16:56 -0800
Subject: [Baren 17253] Kinky prints.... 

Hi Gayle.

Darn those Cats... anyway.

Do you recall how we dried the prints at Boot Camp.  You will do the same with
a wrinkled print.  To refresh you memory ... and we all can use a refresher course..(<:

Damping your print.... spray bottle with water is good. Allow the paper to become limp 
but not shiny.  Put the print between to pieces of board... ie mat board is a good thickness 
and then on top of that a piece of thin plywood to insure the mat board does not curl with 
the moisture from the damp prints.  Hold this down with a couple of bricks.  Over night should 
be fine.

I hope that the prints do not have serious kinks and the bends did not rupture the fibre in 
the paper.  These are real tough to get out.  

Have said all of the above.... you could iron (WARM) the damped print.  I would not suggest 
doing this if it is oil base pigments. They may become tacky.....  And Lord knows we don't 
like tacky....

Hummmmm, "wrinkled prints",  I wonder if I put my self through this process I could .... well 
you know!

Have a good day

Graham





------------------------------

From: "Maria Arango" <maria@mariarango.com>
Date: Wed, 27 Feb 2002 17:47:24 -0800
Subject: [Baren 17254] boy scout print  

Okay, boy are we having fun now!
(Recommendation: never ever learn stuff called "perl" "cgi" or anything
remotely close to that, EVER)

But anyhow, a nice little script for you.
This page contains the key block for the Boy Scout print I've been gabbing
about. Very large .jpg in there so don't be whining about load time.
If you like, go to the following link and please vote for your favorite name
and snicker at the others. I would much appreciate your help, although I'm
leaning...

http://www.1000woodcuts.com/survey/survey.html

Have fun!
Maria

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


------------------------------

From: b.patera@att.net
Date: Thu, 28 Feb 2002 02:05:31 +0000
Subject: [Baren 17255] Re:   Baren Digest V18 #1742 

Jean,

I've been meaning to write about those toxic chemicals. 
One of my neighbors is a photographer and printer. He 
does this from his home and has for years. As we live on 
a designated watershed, and all have oft checked septic 
systems ,I asked him what he did with the toxic wastes. 
He has solved the chemical problem by having them picked 
up twice a year by a Haz Mat concern. It costs him about 
$50.00 a barrel (they supply the barrel). This is in 
Washington State but surely California has companys that 
do the same thing.

Barbara P.

> Well, I neutralized $35 worthof perfectly good nitric acid.  It sure did
> bubble up when I sprinkled the baking soda on it.  I hope the chemistry
> people at Washington High School are proud of their ability to intimidate a
> first year teacher.  I certainly am not planning to throw away the rest of
> the hundreds of dollars of art supplies I bought in anticipation of teaching
> art and to continue my career as a professional artist.  If they are
> teaching chemistry in such a way as to frighten people away from using it, I
> don't know what is the point of them doing that.  The kids would be better
> off not having any chemistry classes at all.  Some people think that all
> chemistry is good for is for people with degrees who work in industry, that
> the rest of us peons should not be allowed to have anything in our hands
> stronger than bleach.  They are the same people who would have you believe
> that you need an advanced college degree to create an ad and start
> publishing a newspaper.  They are elitists and they permeate the school
> system.
> 
> Jean Eger Womack
> 


------------------------------

From: Artsmadis@aol.com
Date: Wed, 27 Feb 2002 21:12:31 EST
Subject: [Baren 17256] Re: Baren Digest V18 #1742 

In a message dated 2/27/02 11:59:23 AM Central Standard Time, 
blueman@pantek.com writes:

<< I have about three prints that look like they slept with
 their clothes on.  Is  there any way I can get these bends out of the paper? 
 The paper is kitakata which is  very thin paper >>

You might try dampening with water, then taping the edges down to a piece of 
plywood or even mat board and letting dry.  I know this works with 140 pound 
watercolor paper--I usually use staples on that heavy a paper.  You can use 
brown gummed paper tape.  Hope you have room around the edges of the prints.  
On that very light paper you wouldn't need to get the paper very damp.  I 
once stretched a piece of handmade light paper by using 4 thin boards instead 
of the tape--the boards held down with thumbtacks--avoids any tape marks.

Darrell

------------------------------

From: "Lee and Barbara Mason" <bemason@concentric.net>
Date: Wed, 27 Feb 2002 19:06:40 -0800
Subject: [Baren 17257] wrinkled paper  

Gayle,
This is the way. Spray paper with a spray bottle, put between blotters. If
the ink is wet, lay blotter, print, newsprint, blotter and so on. When you
get them all done, lay a heavy board and books on top. Change blotters after
one hour. The prints should be dry and ready to go by the next day or so.
Barbara
- ----- Original Message -----
From: "G Wohlken" <blueman@pantek.com>
To: <baren@ml.asahi-net.or.jp>
Sent: Wednesday, February 27, 2002 9:55 AM
Subject: [Baren 17252] Re: Baren Digest V18 #1742

Is  there any way I can get these bends out of the

> paper?  The paper is kitakata
> which is  very thin paper.  If you mention moistening and putting under
> pressure, I need to know
> how much pressure and for how long?  If that's not the way to do it,
> then does anyone
> have a suggestion?
> Gayle




------------------------------

From: "Bea Gold" <bnj50@earthlink.net>
Date: Wed, 27 Feb 2002 20:08:13 -0800
Subject: [Baren 17258] Re: wrinkled paper 

Hi Gayle,  I have been ironing my prints - water based - dry, lightly heated
iron. It works well.  The prints end up looking neat.  My Fireman print was
on kitakata.
Bea Gold

------------------------------

From: Graham <gscholes@woodblock.info>
Date: Wed, 27 Feb 2002 22:05:32 -0800
Subject: [Baren 17259] Re: boy scout print 


>
>This page contains the key block for the Boy Scout print I've been gabbing
>about. Very large .jpg in there so don't be whining about load time.
>If you like, go to the following link and please vote for your favorite name
>and snicker at the others. I would much appreciate your help, although I'm
>leaning...
>
>http://www.1000woodcuts.com/survey/survey.html
>
>Maria


Is there a prize for pickin the right name?

Graham


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End of Baren Digest V18 #1743
*****************************