Baren Digest                Sunday, 6 July 2003        Volume 24 : Number 2295


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From: Reneeaugrin#aol.com
Date: Sat, 5 Jul 2003 13:30:35 EDT
Subject: [Baren 22146] Thanks 


Hello again,

Thank you, Barbara and Sherri for the warm welcomes, and hi to my neighbor 
Suzi -- interesting that it takes an international forum so that you meet other 
printmakers within a mile or two of home!

I thought I would send a method that I originally learned from a print class 
in mokuhanga and am able to adapt it to oil based printing.  Perhaps someone 
will readapt this as helpful in mokuhanga?  Our instructor had us print the key 
block image on a thin tissue-like paper(this was many years ago, and this 
instructor specialized in etching and lithography, but thought it to be a good 
experience for us to be introduced to Japanese style printing,so please forgive 
the vagueries of paper type), this was then glued to the color blocks and made 
a very nice guide for carving. Here is my adaptation:  after carving the key 
block I print the image on wax paper and while the ink is still wet I print it 
onto a new block.  Because the wax paper is transparent I can line it up 
perfectly and get very good registration for the colors.

Does anyone ever use collographs as blocks for color?

Best regards,

Renee in Damascus,Oregon



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

From: "Maria Arango" <maria#mariarango.com>
Date: Sat, 5 Jul 2003 11:43:29 -0700
Subject: [Baren 22147] new stuff 

Some new landscapes I'd like to share, seems my work is evolving into the
classic black and white but using hand made paper as a more important part
of the image. Then again, I can't let go of that b&w contrast either, so my
editions often include both papers.
http://www.1000woodcuts.com/fullsize/justwalkwithme.html
http://www.1000woodcuts.com/fullsize/preciouswaters.html (I confess this
could possibly be one of my favorite views in the world)
http://www.1000woodcuts.com/fullsize/storyteller.html
http://www.1000woodcuts.com/fullsize/departure.html
Some other landscapes in the Desert Gallery if you're into that kind of
thing:
http://www.1000woodcuts.com/galleries/gallery3/gallery3.html

And in revising my website I thought I would remind old members and mention
to new members that my Invited Artists Gallery is open to all and free of
charge. Also check out the printmaker's mural, always needs new
contributions.

In 117 F degree Las Vegas...
Maria

PS I'm ALL FOR a mixed oil/water exchange! Each print should contain both
techniques, be it mixed as in a mayonnaise type pigment mix, or in any other
way as long as both oily and watery stuff is present in the print. Now
there's a challenge!

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



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From: "Joseph Sheridan" <sheridanpsm#msn.com>
Date: Sat, 5 Jul 2003 14:55:49 -0400
Subject: [Baren 22148] Re: PILLOW BOOK EXCHANGE 

Pillow Book!
Sounds like an interesting idea!
I too would like to participate in this exchange!

Joe Sheridan
 


>    On a totally different matter I propose doing a "pillow book" for 
>the next exchange.
>    If one would look at western art history on the subject of Japanese 
>wood cuts you would get a very narrow and misleading look at what the 
>subjects were of the Ukiyo-e prints. The townsmen of the time gave 
>themselves over to fleeting delights and spendthrift behavior, drowning 
>their cares in the enticements of the pleasure quarters.  As one of 
>their songs had it "Life is but a dream--enjoy it while you can." And 
>the ukiyo-e-ehi, the artis who skillfully depicted this floating world, 
>were admiringly described as those who painted the Naka-no-cho, which no 
>artist of the Kano or the Tosa school could do."  In other words, the 
>ukiyo-e-shi pictured such sights as the main street of the YOSHIWARA, 
>the celebrated brothel district of Edo, (Tokyo) choosing subjects that 
>no painter of the established academic schools would ever dare to 
>portray.  Some estimates that the percentage of wood cuts that made up 
>the art related to pillow books was close to 50% of all the wood cuts 
>done in Japan.  But due to the values of westerners you would not know 
>that esp if all you looked at was art history books etc.
>
>    I would volunteer to coordinate and to bind the books as well.  
>Exact detail to fellow.
>
>  Hey -- I LOVE this idea !!  How about for Exchange #19?  Chuban themed 
>exchange due Feb 1, 2004??  A bound shunga volume would make a terrific 
>exchange !!!  Very titillating !!!
>
>  -- Mike
>
>
>  Mike Lyon
>  mailto:mikelyon#mlyon.com
>  http://www.mlyon.com=20



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From: Aqua4tis#aol.com
Date: Sat, 5 Jul 2003 15:11:09 EDT
Subject: [Baren 22149] Re: pillow book theme 



these are supposed to be very erotic     correct??



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

From: Barbara Mason <barbaramason45#yahoo.com>
Date: Sat, 5 Jul 2003 12:33:15 -0700 (PDT)
Subject: [Baren 22150] stuff 


Mike,

Congratualtions on playing in the symphony last night and 
ringing in another 4th! I'll bet it was indeed an experience.
Just another facit of the interesting faces of baren.

April, thanks for the kind words....when I got back to the hotel
from taking you to the airport it was a little after 8 so I left
the car in front with the valet guys, and said to them I would be
right back as I was sure my friends would be ready. They bet me
Sharri and Wanda would not be ready and I had to come back and
tell them they were right, as Sharri and Wanda were still
sleeping. So I guess the one Valet guy won money from his friends
on that one....I sure hated to come home to making my own bed,
cooking my own food and getting my own car out. What a bummer. I
got pretty spoiled in a week.

To John and John, Looks like I put my foot in my mouth
again...but that darn white beard is what did it and John Furr
seemed young as he is the age of my sons....maybe I am just
getting old....so if anyone is offended, too bad. Anyone knowing
me would surely know it was unintentional, I am very on the
surface. There is never a hidden agenda, I am just not smart
enough. I use all my grey cells thinking about printmaking.

I think a pillow book from a womans point of view will be pretty
interesting. At first I thought I would not be able to do one as
I am the original prude and my husband always says I was born in
the wrong century....However thinking about it from a woman's
point of view will be different, so think I am in also!

Renee, this is pretty standard, this printing on a stable thin
paper (hanshita?) and transferring it to another block and
carving through it....As to printing color with a collograph, I
have done that and it is interesting. I admit I used oil based
ink and a block made of masking tape on linoblock. Not exactly
moku hanga. It is a very fast way to make a block..but I admit I
got taken away by it and spent 17 hours putting tape on the block
for my last years large print exchange...my bird of prey. If you
haven't seen it, look here: http://www.rst-art.com/lpe-bm1.htm  I
was printing away and somehow broke the block...It was ugly. so
the few I printed for this will probably be the only edition off
this time intensive block. I might do another one for the next
large print exchange, it really was a lot of fun but pretty
tedious.

I think we can use oil and water together, that is pretty
standard. Artists have been printing in oil and had coloring with
watercolor forever. But to mix hanga and oil might be a little
harder as the wood will change shape slightly. Maybe you print 10
then let the wood rest a day and print 10 more. I think that
would work...lets try it with a solar plate as the key block. I
will experiment with this using one for both the key and the
color to see if it works, I will report back after I see if I can
print it with a brush. It won't absorb water after it is hardened
well so there will be no change of shape. Lets see, if it won't
absorb water one would have to use very soft brushes to avoid
streaks...hummmm. Best to all, Barbara


Our instructor had us print the key block image on a thin
tissue-like paper(this was many years ago, and this instructor
specialized in etching and lithography, but thought it to be a
good experience for us to be introduced to Japanese style
printing,so please forgive the vagueries of paper type), this was
then glued to the color blocks and made a very nice guide for
carving. Here is my adaptation:  after carving the key block I
print the image on wax paper and while the ink is still wet I
print it onto a new block.  Because the wax paper is transparent
I can line it up perfectly and get very good registration for the
colors.

Does anyone ever use collographs as blocks for color?

Best regards,

Renee in Damascus,Oregon 


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

From: Bette Wappner <bettewappner#earthlink.net>
Date: Sat, 05 Jul 2003 16:40:50 -0400
Subject: [Baren 22151] Re: pillow book theme 

Hi everyone,

Include me on the "pillow book" idea for #19.  I enjoyed fondling - um, I
mean looking at the shunga books at the Spencer Museum!  The Japanese'
interpretation of 'parts' were somewhat exaggerated back then I must say.
But on a serious note, the art and color were superb.

Jeanne N. Chase - I'm very proud to hear how happy you are with Hanga!

Bette Wappner
northern KY  


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From: FurryPressII#aol.com
Date: Sat, 5 Jul 2003 23:38:10 EDT
Subject: [Baren 22152] Re: PILLOW BOOK EXCHANGE 



looks like the pillow book got a warm reception   would be nice if it was the 
19th exchange.

John "furrypress" Center


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

From: b.patera#att.net
Date: Sun, 06 Jul 2003 04:20:26 +0000
Subject: [Baren 22153] Re: mayonnaise and Paul Furneaux 

Hi April,

Congratulations on being chosen for the show.... what great company to be in... 
but then, your work is exceptional.

I also agree about the Mayo..... after reading Andy's e-mail I sat around and 
chuckled to myself.... my husband thought I'd gone nuts. It was hard to explain 
to him my mental visions of trying to tint and print with a food product.... 
some of us using the Hanga method and some of us using rollers and press. Which 
papers would we use??? Possibly waxed?? :-)

Barbara P.

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

From: John and Michelle Morrell <jmmorrell#gci.net>
Date: Sat, 05 Jul 2003 20:30:17 -0800
Subject: [Baren 22154] Shoebrushes and Akua Kolor 

Mike L.--you wrote:

In moku-hanga, the block normally takes...  say about five seconds to ink
up -- the brush used usually looks something like a shoe brush,

A shoe brush!  What a surprise.  The only people I've watched used wide
paint brushes, and I've thought, no way, I'm not going there.  Maybe I can
get Carole Baker to give me a lesson as she's threatened to do some day...

Barbara, you wrote:

Have you tried the Akua Kolor intaglio ink? I think you will find it rolls
out well. Not exactly like oil but works well. It is a little thinner. Being
a honey based ink it has wonderful properties, it never skins over and if
you want it looser you can warn your work with a lamp. It stays workable for
days. I think you will like it. They joys of water clean up are just great.
I do use baby oil to really clean the solar plates, but think you can clean
up metal plates with water only. This ink is permanent when it dries.
www.waterbasedinks.com

I haven't tried it yet for intaglio but plan to do so.  Maybe a sepia as I
have so much of the other stuff already.  Intaglio ink, as I'm sure you know
very well, is softer than relief ink so you can wipe it off the plate
surface easily.  It might do just fine on a plank wood cut, have you tried
it?  It sounds like you are using it on solar plates, which of course are
another type of intaglio.  It's interesting that you roll out your ink--I
learned to dab it on the plate and then spread it over the plate with a
small piece of matboard before wiping.  Hardly any mess, uses very little
ink, and vegetable oil cleanup works okay.

However, I am working with end cut wood engraving blocks for relief
printing.  You need a really stiff ink or it just drips into the fine lines.
The best stiffener I've been advised to use with water based ink is corn
starch, which works, but makes the ink opaque and drab, like gouache, and
that's where I'm at with it so far.  Probably something more like butter
than honey would work, but there you go back to the greasy kid stuff.  I
need to try mung bean starch or maybe rice starch, just to experiment.
Maybe even potato starch, as such a little bit goes such a long way.  So
much to do and life is so short!

Cheers,
Michelle Morrell
jmmorrell#gci.net







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

From: John and Michelle Morrell <jmmorrell#gci.net>
Date: Sat, 05 Jul 2003 20:54:10 -0800
Subject: [Baren 22155] Oops 

Barbara Mason--

Just double checked on the Solar Plate and see you can use it for relief
also, which explains why you roll out the ink.  That really had me guessing!
I have oodles of ImagOn and was thinking of Solar Plate in the same vein.
Excuse me for not understanding what you were saying!

I will definitely give the Aqua Kolor Intaglio ink a go.  I have a small
bottle of the water based relief stuff in blue and never could figure out
how to use it as it is so very runny.  (That's my excuse for not being very
eager to try it again.)

Michelle Morrell
jmmorrell#gci.net



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

From: FurryPressII#aol.com
Date: Sun, 6 Jul 2003 08:14:39 EDT
Subject: [Baren 22156] water based relief ink 



I have used the water based ink from Daniel Smith and find it lacking It does 
not print as well as oil based printing ink from Graphic Chem or other 
letterpress oil based ink.  It is esp. problematic on end grain blocks as the water 
effects the blocks in unpleasant ways.

I have seen master printers bring out things in blocks that many average 
printers did not see.  Expert printing is just as complicated as Japanese style 
printing.  An example would be in how you do the "make ready."  If you are 
printing on a letterpress printing press you block has to be "type high" most wood 
block due to wood being an organic substance expand and contract due to 
moisture content etc. and are not exactly type high  so you generally have to add or 
subtract make ready,  this can be done in one of two ways  either by adding 
sheets of thin paper such as news print to the back of the block. Or it can be 
done on the typan.  The typan is on the roller that applies the pressure to 
print the block.
The expert letterpress printer controls the pressure to bring out is hidden 
in the block. This again can be done in a number of ways eater on the block or 
on the press. You would think that you would want a perfectly flat block but 
that is not always the case there are times that the engraver would sand the 
edges of an image or other parts so that the block would be slightly lower in 
certain areas so as to print grayer instead of jet black.  The printer could 
also create this effect by gluing very thin sheets of paper on part of the typan 
that would hit those part of the block you would want to print a jet black 
leaving the rest of the block to print lighter.
    All of these printers "tricks" can be learned on a letterpress press as 
the block and typan are fixed and print in the same place.  If you are using an 
etching press it is second best as it is much harder to fix the block to the 
typan.  The advantage of an etching press is that the block does not have to 
be type high and it would print a warped block easier. But you can't print the 
block with the same finesse as with a letterpress.  The best you can do is to 
lock a block into a printers chase and then construct a typan like the one 
used on a "Washington Hand press" and attach it to the printers chase.

Mike that iron object you have on you first floor can be trained to do all of 
these things.

John "furrypress" Center



End of Baren Digest V24 #2295
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