Baren Digest Thursday, 18 September 2003 Volume 24 : Number 2375 ---------------------------------------------------------------------- From: "Carol Myers" Date: Wed, 17 Sep 2003 08:20:11 -0500 Subject: [Baren 22790] Re: Linoleum Block Printing Prefs I'm also pretty new to relief printing, have mostly done etchings and collagraphs in the past. But, I just finished an edition of 40 calendar prints using a linocut. I found that I had good luck with both water (Daniel Smith) and oil based ink once I dampened my paper. I printed on my (NEW!!) Whelan etching press on Stonehenge paper. I soaked the paper for 5-10 minutes, blotted as I would for an etching, and printed block face up, paper down. (unmounted linoleum). The large areas of color gave me the most trouble and I had to be careful to roll the ink evenly. I could have broken up those areas of flat color and made the process much easier. Hope this helps. I really tried to print without dampening the paper, it just didn't work for this print. Carol L. Myers ------------------------------ From: "Carol Myers" Date: Wed, 17 Sep 2003 08:30:00 -0500 Subject: [Baren 22791] Re: Calendar 2004 prints Yesterday, I mail off my calendar prints-40 landscape and 45 postcard. Hope they get there okay. They had huge priority boxes this time (where were the big ones when I needed it for an exchange??) I am having a wonderful time getting acquainted with my new Whelan Press. I decided that it would be the legacy from my Father who died this January. So anyone in the Indianapolis area or traveling through is welcome to meet my new wonderful press. I printed both of my calendar editions on it, and it's awesome! I've been printing for the last 20 years on a little Dick Blick press, which has been faithful but not nearly as wonderful and easy! Happy Printing, everyone! Carol L. Myers ------------------------------ From: Myron Turner Date: Wed, 17 Sep 2003 09:55:10 -0500 Subject: [Baren 22792] Show & Tell How do we get a password to post to Show & Tell? (Or do I already have one?) Myron ------------------------------ From: "Maria Arango" Date: Wed, 17 Sep 2003 09:08:08 -0700 Subject: [Baren 22793] RE: Linoleum Block Printing Prefs Many factors to account for: Ink: especially if choosing water based relief, try (just try) Daniel Smith or Graphic Chemical. The difference between the way these inks roll out and print when compared to other nameless cheaper brands is VAST AS THE GRAND CANYON AT ITS WIDEST POINT. Also, more additives are available for the brands mentioned and give you more flexibility in working with stiffness, transparency...I won't say you can't make a silk purse out of a sow's ear, but it's just a lot easier to use real silk! Paper: many papers to choose from will give various results. For best results use a paper designed for printmaking. Japanese papers give best results dry or damp; western papers like Stonehenge are inexpensive and give great results damp. There are just too many to account for, but watercolor paper or drawing paper just won't give great results. Dampen, not soak: most of the comments about "soaking" paper scare me a little. Paper should be cool and soft to the touch when dampened properly, not wet, not moist, not even damp. Abe Lincoln said: "give me 4 hours to chop a tree and I'll spend the first 3 sharpening the ax" Moisture should be allowed to "crawl" the paper to ensure even dampness. To assure this, time is necessary, at least 2 hours or so. Spray or soak (soaking in my experience puts too much water on the paper) or sponge the paper, then stack in this manner: - -plastic (to protect surface and retain moisture) - -blotter or newspaper - -paper stack - -blotter or newspaper - -plastic Weigh the whole sandwich down with a board and WAIT (tap tap tap...) at least 2 hours, more is better. Once time has passed, compare that paper with paper that has been sponged and used in 10 minutes and the difference will be obvious. As someone else mentioned, roll up the ink in thin layers, print proofs on newsprint which will be invariably too light. Again, patience! is key to building up the right amount of ink on the block without getting goopy. Once a proof is dark and beautiful enough, switch to "real" paper remembering that real paper "likes" more ink than newsprint. How many proofs? enough, is the answer. When printing engravings and other delicate cuts, seems like the first 10 prints are just not right...sometimes only after about 20 or more prints the elusive "right rhythm" is established, the ink is just right, the block gives up great blacks and delicate lines, the birds are singing, the leaves are rustling in the breeze...life is good. Happy printing, Maria <||><||><||><||><||><||><||><||> Maria Arango maria#mariarango.com Las Vegas Nevada USA http://www.1000woodcuts.com <||><||><||><||><||><||><||><||> >I am getting into woodblock but am currently printing editions >off of Linoleum blocks and want to know everyones preferences for >paper and water based inks vs oil based inks. Can you really get >a smooth, crisp print off of water based inks or are you forced >to use oil based inks. Do you have to pre-soak paper and would >you pre-saok paper when using water based inks? I think your >print would turn into a big watercolor painting if you pre-soaked >the paper but I don't know. I never have pre-soaked the paper and >have had mediocre results. Help with your suggestions please. > >Confused printer, > >Ian Smit > > > ------------------------------ From: Barbara Mason Date: Wed, 17 Sep 2003 09:54:44 -0700 (PDT) Subject: [Baren 22794] Re: unbelievable service Well, good service but if you had not ordered and paid before with speedy results, I would not have sent the order on to Japan before I got the money...but you know what? Printmakers never cheat you. It is an amazing thing! Best to all, Barbara, Mall manager >nancy osadchuk wrote: > >Last week, Thursday I think, I sent in an order to the Baren Mall. >Because I was going to be away for three days, I waited until this >morning to get and send the money order (Tuesday). The parcel was >delivered just as I got home! Amazing service! > >Nancy O. ------------------------------ From: Barbara Mason Date: Wed, 17 Sep 2003 10:34:18 -0700 (PDT) Subject: [Baren 22795] Re: Linoleum Block Printing Prefs Ian, I have had very good reslts with akua2 intaglio inks. These are real new but all the main suppliers of ink carry them. The trick is to build up thin layers of ink on the block and if the prints look like they are filling in, print one on a viva paper towel to make sure all the ink is out of the lines. Use 5-10 very thin passes to ink you block. Start in the middle and roll to the edges, or if you have a roller large enough, lay extra blocks of the same hight on either side of your block to hold the roller off the block. This will keep the roller from applying more ink to the edges than the middle. go back to the slabe between each roll, if you keep rolling it without more ink, you move it around a bit and get offset marks from your work in your print. Use very light pressure when you are rolling the ink on the block. Any dry reasonably hard surface paper works with this ink, damp paper will give you a less crisp line but will remove more ink from the block. Just get a bunch of paper and try it. Arches 88 or Pescia work well and I have had wonderful luck with Kitakata paper. Best to you, Barbara Ian Smit wrote: >I am getting into woodblock but am currently printing editions off of >Linoleum blocks and want to know everyones preferences for paper and >water based inks vs oil based inks. Can you really get a smooth, crisp >print off of water based inks or are you forced to use oil based inks. >Do you have to pre-soak paper and would you pre-saok paper when using >water based inks? I think your print would turn into a big watercolor >painting if you pre-soaked the paper but I don't know. I never have >pre-soaked the paper and have had mediocre results. Help with your >suggestions please. > >Confused printer, > >Ian Smit ------------------------------ From: Barbara Mason Date: Wed, 17 Sep 2003 10:36:40 -0700 (PDT) Subject: [Baren 22796] ink Ian, I forgot to mention that Ahua2 is a water soluble honey based ink. If you use lots of layers on dry paper it takes a long time to dry.....another reason to use very think layers. Barbara ------------------------------ From: "marilynn smih" Date: Wed, 17 Sep 2003 10:53:20 -0700 Subject: [Baren 22797] Re: Baren Digest V24 #2374 Sarah, love your sketches they are wonderful. When I helped Gresham City Hall with shows we chose themes to use through out the year. I really wanted to do what I called sketch it. I think artists sketches are often freer and more full of life than more finished products, it is such a basic part of art. Some how both block prints and dry points have a basic sketching side to them, they can be very spontaneous. As for my ink problem, I would not call it over inking as I have areas that are not covering. i think the inkis too thick, definitely not too thin. I will try thinning a bit and putting on thinner layers, that may give me better coverage. Thanks all. Marilynn ------------------------------ From: Sharri LaPierre Date: Wed, 17 Sep 2003 11:04:26 -0700 Subject: [Baren 22798] Re: Baren Digest V24 #2374 Marilynn, and others, Personally, I prefer to print on damp paper because it receives the ink better. It is like making a thirsty brush when you watercolor - same principle. Several layers of loose ink work better than one layer of thicker ink. Thicker will made smudgy edges. I prefer oil based inks, and I've tried all the water based inks on the market. The Akua intaglio inks work better than any other waterbase, but still do not have the luminosity of oil. (At least, in my mind.) Most of the water based inks get a chalky look, especially when printed on dry paper. I prepare a paper pack (in a plastic bag) and let it sit overnight. After you've inked your block, hold it up and look at it from an angle to see that it is evenly covered. Reink your roller between applications. For what its worth - I hope this helps! Sharri ------------------------------ From: "Maria Arango" Date: Wed, 17 Sep 2003 11:11:12 -0700 Subject: [Baren 22799] puzzle update! The puzzle page has been updated, new pictures of the process and a rather large photo of the received blocks in their happy places. General page: http://1000woodcuts.com/puzzle/project.html Photo albums: http://1000woodcuts.com/puzzle/photos.html Detail of puzzle (let your mouse hover over each piece to see who carved it...or didn't): http://1000woodcuts.com/puzzle/puzzledetail.html ...that image map took a long time! I'm working on enlargements of each block so that you can click on a specific block and get an enlarged view. 11 blocks missing, I have heard various lame excuses (jussssst kidding!) from most of you but have yet to hear ANYTHING from: Linda Hornberger Brenda Everett Agda Synnergren Patsy Giclas Dan Dew (or maybe you emailed me?) The five above and anyone else who has not yet _sent_ their block, PLEASE contact me with an ETCC (estimated time of completed carving) at: imworkingonit#mariarango.com by the end of the week or your block will be given away to a happier carver. Man, if I have to scroll saw any replacement blocks I will curse horrible weather and blood-sucking locusts your way for the next decade. On a related note, I may need 5 or more volunteers to be happier carvers and receive and carve a block with lightning speed. I would prefer new carvers but will take any and all volunteers. Email with snail mail address to: happycarver#mariarango.com to receive your number. So far I have Ruth Temple #1 and John Center #2 but he's already carved a block. Ruth Temple could you please verify you still might want your cats to scratch a hunk of wood? Happy chop-chop... Maria, still having fun <||><||><||><||><||><||><||><||><||><||> Maria Arango maria#mariarango.com Las Vegas Nevada USA http://www.1000woodcuts.com <||><||><||><||><||><||><||><||><||><||> ------------------------------ From: ArtfulCarol#aol.com Date: Wed, 17 Sep 2003 14:41:05 EDT Subject: [Baren 22800] Re: puzzle update! maria#mariarango.com writes: >http://1000woodcuts.com/puzzle/puzzledetail.html Maria! A treasure to behold. It brought tears to my eyes. And now I have to go food shopping. Carol L. Irvington, NY - ------------------------------ From: jack reisland Date: Wed, 17 Sep 2003 08:46:43 -1000 Subject: [Baren 22801] Re: puzzle update! WOW! There's some really nice work in those little blocks! It looks like everyone went all out. I don't envy you inking and printing all those differently carved blocks, though. Jack R. ------------------------------ From: Julio.Rodriguez#walgreens.com Date: Wed, 17 Sep 2003 18:20:49 -0500 Subject: [Baren 22802] Re: Linoleum Block Printing Prefs Emma writes: "My biggest problem now is that I can't ever get the right amount of ink on the roller. Either I have too much (and everything is muddy and the details get lost), or I have too little and the print is splotchy (parts don't have colour). I'm sure this will come with practice and patience." You may want to try using a traditional brush to apply the pigment to the block. In oil printing the roller leaves only a thin plane of oil ink on the block, while with japanese water printing the idea is too slop it around and get the block/brush saturated with pigment/paste. Only once the block/brush are saturated enough, will you be able to get a decent impression...I usually warmup the block/brush by repeated inking and brushing w/o taking an impression...(at first the block is very "thirsty" and swallows up all the pigment) then it takes a few more prints to really see what you have...the first few prints I always do on some scrap throw-away printing paper... How you brush the pigment/paste on the block will make a difference on your outcome, usually the final strokes are done softly to lift off the remains of any unwanted pigment and allow for clean/sharp lines to print....and in a direction opposite to the blocks grain...this to obtain traditional flat color w/o wood grain. The paper must be moist for good color penetration and the proper amount of paste/pigment used. Also don't forget that large color areas usually require a heavier force on the baren and repeated impressions for proper coverage, this is common practice even among pros like Dave, April, Mike and others. I think must of us here have been "there" and for sure we can say that the use of good materials and tools (a decent baren is a must) makes a world of difference. There is just no way to describe it until you try printing with the "good" stuff. thanks....Julio Rodriguez (Skokie, Illinois) ------------------------------ From: "Maria Arango" Date: Wed, 17 Sep 2003 17:53:59 -0700 Subject: [Baren 22803] more puzzle, last time I swear! OKAY! Lastly...you can now click on individual pieces and get a pop up window with the larger size. I encourage everyone to please send me any pertinent details of your piece using the convenient form found in any of the enlargement pages. (Don't worry about the "Thank you for subscribing blah blah..." response page that you will get when you fill out the form, I'm just using the same form processor on my subscription form but will not be subscribing you to anything.) Maria PS user: XXXXXX password: XXXXX just remember, you are a "member of baren" ------------------------------ End of Baren Digest V24 #2375 *****************************