Baren Digest Sunday, 21 September 2003 Volume 24 : Number 2379 ---------------------------------------------------------------------- From: Sharri LaPierre Date: Sat, 20 Sep 2003 10:24:56 -0700 Subject: [Baren 22829] Re: Baren Digest V24 #2378 Ruth, your prints are, as always, amazing. You make me want to work abstractly again - maybe I'm ready to return to my fantasy world after being stuck in figurative work for so many years. I, too, have discovered the joy of hand coloring (something NOBODY did in my world). I was forced into it since I had somehow wasted all my time before the calendar prints were due and made the mistake of seeing what color would do to the images. Then I had to color all 40 or each edition. It was like playing in a coloring book again, though I did force myself to pretty much stay in the lines this time. Like you, I figured if it was okay for Munakata and Cassatt, it is okay for Sharri. Why not?? Happy Printing, Sharri ------------------------------ From: Julio.Rodriguez#walgreens.com Date: Sat, 20 Sep 2003 14:45:42 -0500 Subject: [Baren 22830] Re: calendar prints received and updates to webpage Margaret....it is the same 'Ruth Leaf'....I have the intaglio book too. Calendars prints received from Carole Baker, Frank Trueba, Maria Arango, Sharri LaPierre, Margaret S., Carol Myers and Joe Sheridan. All will be up on the website in a few minutes. Looking good ! http://www.barenforum.org/calendar/ thanks to everyone for participating....Julio Rodriguez (Skokie, Illinois) ------------------------------ From: Ian Smit Date: Sat, 20 Sep 2003 16:41:00 -0400 (GMT-04:00) Subject: [Baren 22831] multiple colors printing dilemma I am printing a reduction block and just realized a wee problem. I printed the first color after soaking and resting the paper and all went pretty well. Now the block is ready for color two but can I re-soak the paper and not smear the first color? I think not so here is the question. How do I print a reduction block and use presoaked paper? Else, what steps should be followed? Thank you all for your answers to my last "printing prefs" email. Everything was very helpful. Ian Smit ------------------------------ From: L Cass Date: Sat, 20 Sep 2003 18:53:24 -0400 Subject: [Baren 22832] Re: more puzzle, last time I swear! Maria - The puzzle prints look really great so far - can't wait for the whole thing! This is a public thank you for a suggestion you made to me some time ago - namely making woodcuts of my paintings for my next exhibition- well the time has come and I'm working like mad to produce 4-7 largish prints for a show I've been invited to prepare for a very attractive commercial gallery here in Toronto - all rather last minute as it's to open on November 22 - I'll attempt to post or at least put an invitation on my web site when they're ready. Now a question for you and perhaps someone else might have ideas re this problem - I'd like to exhibit some of the blocks but find that it's impossible to keep the cut away areas looking clean after printing - no matter how carefully I wipe off the ink it stains a lot of the block ( I'm using water soluble inks since my working space is small and it's quicker to clean up) after badmouthing Speedball I'm using some of their (colour) inks as well as the excellent Graphic Chemical. While writing, I'm also replying to Brad Teare's comment on sharpening - I've been doing the same thing since late last winter when I'd made a trip to the Lee Valley shop to consult with their sharpening expert who sold me the 'green stuff' saying to forget about the slip stones which I'd been struggling with for years. Actually the green compound (comes from the U.S.!) really just hones but he seemed to feel that was adequate and I now hone all tools before a cutting session and at intervals as necessary. I also tried the micro abrasive sheets but was not successful -hence didn't care for that method. I brought back some lovely Japanese papers from Falconers in London (U.K.) which were a bit different from the Japanese Paper Place's stock but also much more expensive - there's no point giving names as it sems apart from general terms like Gampi and Kozo, etc.,suppliers seem to have different names for the same papers?! I'm finding I can print dry on the shiny (sized?) side of certain papers - another time saver - oh to have a press for all this - I really enjoyed doing those calendar prints on various presses this summer. Cheers (which reminds me of Charles - I do like you sheep card!) Louise Cass ------------------------------ From: "Maria Arango" Date: Sat, 20 Sep 2003 16:46:41 -0700 Subject: [Baren 22833] RE: blocks This is a public thank you for a suggestion you made to me some time ago - namely making woodcuts of my paintings for my next exhibition- well the time has come and I'm working like mad to produce 4-7 largish prints for a show I've been invited to prepare for a very attractive commercial gallery here in Toronto - all rather last minute as it's to open on November 22 - I'll attempt to post or at least put an invitation on my web site when they're ready. Well, that deserves a public you're welcome! And congratulations on your show!!! Now a question for you and perhaps someone else might have ideas re this problem - I'd like to exhibit some of the blocks but find that it's impossible to keep the cut away areas looking clean after printing - no matter how carefully I wipe off the ink it stains a lot of the block ( I'm using water soluble inks since my working space is small and it's quicker to clean up) after badmouthing Speedball I'm using some of their (colour) inks as well as the excellent Graphic Chemical. Unfortunately you are one step too far for that particular block. There are several approaches, all with advantages and disadvantages: First approach and by far the most successful is to predict the future (heh) and know in advanced that you will display that block. Then you can be very careful in removing the ink from the block: never wipe the block, after the last print is pulled merely continue to print on newsprint until most of the ink is removed and all you get is a very faint ghost. At that point, still some of the pesky ink will have sneaked into the details, but that adds to the beauty as those little carved details will be darkened and thus enhanced (yeah right). The rest of the block should be clean and ready for finishing. Let the ink residue dry and then roll up in a darker color to taste. It takes a few more prints than you think to remove the ink, I have a 23 print series printed after the last roll up. The series is a succession of fainter and fainter prints...I call it: "The Persistence of Ink" (da-da-dum). Second approach, once you've gooped up the block by wiping, is to recarve the areas that are stained. Bummer of an approach because it takes forever, but by far gives the best results. Of course once you start recarving you find that the virgin wood is so beautiful you end up recarving the entire block. This produces the best blocks but it is time consuming. Third approach is the one I use with my engravings since it is impossible to keep those suckers clean and I AIN'T doing it again forchrissakes. Take some acrylic paint and make various opaque "wood" colors somewhat approaching the original color(s) of the wood block. Now use your superior painting skills to slop that stuff all over the entire block, lines, carved, uncarved areas, just everywhere...make some nice grain lines with a darker color, give it some lighter tones, use a dry-brush technique to approach the beautiful look of a brand new piece of wood. Now let that mess dry and roll up the block once with dark ink. Looks beautimous!!! albeit a bit "fake." Hey, it might look better with oil paints, haven't tried that yet. A variation is to "push" some dark ink into the lines intaglio style, then roll up the block with light ink. Doesn't quite look as good IMHO. Finally, to finish and cancel at the same time, I use a pour-on two-part polyurethane resin called EnviroTEx Lite. This thick as molasses durable finish (gosh, I sound like a sales person) will last a lifetime, same stuff they use to cover floors. It does both yellow and darken your block a little, but looks scrumptious and fills in all the lines forever more. Lately, concerned for the future health of my lungs and brain cells, I have tried a thick acrylic covering called Mod-Podge. This is just plain but very thick ol' acrylic medium, dries clear and you can get a matte finish. You might need several thick coats to cancel the block if that's what you're after. It also darkens the wood a little and looks pretty scrumptious. Both are available from www.misterart.com or www.dickblick.com If you are not after cancelling the block, just display the block as finished, they look best that way, but believe it or not artists have commented to me that they should buy my blocks and then print from them. See? not all printmakers are nice people. So I started filling the blocks to prevent such horrible things. Happy...whatever you are doing! Maria <||><||><||><||><||><||><||><||><||><||> Maria Arango maria#mariarango.com Las Vegas Nevada USA http://www.1000woodcuts.com <||><||><||><||><||><||><||><||><||><||> ------------------------------ From: "carol wagner" Date: Sat, 20 Sep 2003 19:21:03 -0700 Subject: [Baren 22834] Re: Baren Digest V24 #2378 Ruth, I am just bowelled over at the thought of being in the company of so many fine printmakers as yourself, Maria, April, and so many others on the Baren Forum. Of all your printmaking styles and mediums, I am most partial to your woodcuts, past and present... In particular, the "Fantasy" prints, (Planet,Garden,Aliens) with their wonderful whimsy make me envious of your cutting expertise, to say nothing of their superb design sense. I really like that in these 14x18" prints you have kept the edition size to 20. Are these prints hand colored? (Another personal favorite of mine of your new woodcuts, is "Jan's Dahlias") And yes, Margaret, she is that <"Ruth Leaf"?> and I could only wish that she would write her memoirs and include lots of tidbits regarding her days at Atelier 17 with Stanley William Hayter ...I for one, would then buy a number of copies, give them to young would be printmakers and tell them to go study her work , paying particular attention to her design structure. Oh, and least I forget, Charles, your sheep/goat arrived in my mail box last week and because I was madly printing I neglected to squeal delightedly and report it's appearance..thank you for a very witty report on it's genesis - which will go into the album with the print. Best to all, Carol in Sacramento ------------------------------ From: Barbara Mason Date: Sat, 20 Sep 2003 19:47:41 -0700 (PDT) Subject: [Baren 22835] Re: multiple colors printing dilemma Ian, The trick is to keep the paper damp the entire time...you can put it in the freezer. You can resoak it, no problems if it is oriental paper. If it is western paper, spray it from the back to dampen it and put it in the damp pack inside a plastic bag. It should work...what paper and ink are you using? Most ink will not smear, unless it is speedball, then it will just wash off the paper...sorry to tell you this. Dan Dew uses speedball so maybe he will have some tips. Best to you, Barbara Ian Smit wrote: I am printing a reduction block and just realized a wee problem. I printed the first color after soaking and resting the paper and all went pretty well. Now the block is ready for color two but can I re-soak the paper and not smear the first color? I think not so here is the question. How do I print a reduction block and use presoaked paper? Else, what steps should be followed? Thank you all for your answers to my last "printing prefs" email. Everything was very helpful. Ian Smit - ------------------------------ From: ReadDevine#aol.com Date: Sun, 21 Sep 2003 06:26:08 EDT Subject: [Baren 22836] Calender monies Has anyone not yet sent Julio payment for their calender prints and have a Paypal account that I can send my payment to? It would be MOST appreciated. Fees for sending US Money Orders are rather high here. Mellissa Read-Devine Tennyson, Sydney, Australia www.depicture.com.au ------------------------------ End of Baren Digest V24 #2379 *****************************