Baren Digest Thursday, 25 September 2003 Volume 24 : Number 2384 ---------------------------------------------------------------------- From: Mike Lyon Date: Wed, 24 Sep 2003 11:44:36 -0500 Subject: [Baren 22881] Re: lino question Dan Dew wrote: >... But what if you do not have a press, like me? I use a press because that way everything happens in a few seconds and there is little chance of the copy moving relative to the block. That said, the transfer works well using a solvent-laden paper and hand pressure from spoon or baren, but since it takes longer to transfer by rubbing you'll want some sort of insoluble vapor barrier if you are using a volatile solvent like lacquer thinner or acetone. The toner must still be 'liquid' when you remove the original or it will stick to itself and to the paper before it sticks to something 'slippery' like linoleum, I think. For what it's worth, I cannot tolerate oil of wintergreen at all. Gives me a tremendous headache and the odor persists for DAYS! My iron just isn't hot enough to do more than make the vaguest indication of where the toner is, but if your iron is hot enough or your toner melts lower temperature than mine and you get a good xfer, that's the easiest and safest bet by far! - -- Mike Mike Lyon mailto:mikelyon#mlyon.com http://www.mlyon.com ------------------------------ From: "Brad Teare" Date: Wed, 24 Sep 2003 11:02:31 -0600 Subject: [Baren 22882] Iron transfer One caveat about using an iron to transper with lino is that the linoleum will bubble if it gets too hot. These bubbles tear when you try to cut through them. ------------------------------ From: "marilynn smih" Date: Wed, 24 Sep 2003 10:07:58 -0700 Subject: [Baren 22883] Re: Baren Digest V24 #2382 I successfully used stonehenge for 2 series of prints. Both times i wanted a fairly heavy very white smooth paper and both times it satisfied my needs. I love arches 88, but it is more costly and stonehenge paper is archival, if it works for your plate why spend more? Rives BFK is a nice paper but not as white and not as smooth. I have found in my printmaking experience that the right match of paper and ink makes a huge difference. I had one linoleum block that did not work in black and white on rives. I tried brown ink, ugh! So I visited my art store and dug through the papers until I found Banana Bark and this was a match, the prints were lovely and I was happy. It might not be archival, not sure, but I got some nice prints. I like being flexible and will do what it takes to make a piece work. I prefer to use archival paper, but, I will use what works for my prints. I agree that good quality tools are helpful, but tools are not what makes it art, the artist is. I have seen wonderful paintings created with no brush, just applying paint with the hands. As a watercolorist I always heard one would benefit from the expensive sable brushes. However a good sableine, used right, does the job just as well and costs much less. the idea that a brush lasts a lifetime is foolish in my mind. I have worn out pure red sable brushes and now i buy the cheaper ones and find they work every bit as well. There are places I would not cut corners on, like a good piece of wood and a good sharp chisel! So everyone, I hope the sun is shining through your windows as it is mine, HAPPY PRINTING! Marilynn ------------------------------ From: Charles Morgan Date: Wed, 24 Sep 2003 10:21:55 -0700 Subject: [Baren 22884] Re: Thanks for confirming my suspicions, Louise. I haven't had any luck with the micro abrasive sheets Just don't put them in your carry on bag when you fly!!! Cheers ..... Charles >At 11:26 AM 9/24/03 -0400, you wrote: >Charles > >Good news re; the box cutters with snap off blades. A friend of mine who >once owned an art supply store gave me a box of snap off cutters, about 100 >of them. That should last me a few days!!! > >Jeanne N. ------------------------------ From: Sharri LaPierre Date: Wed, 24 Sep 2003 11:06:50 -0700 Subject: [Baren 22885] Re: Baren Digest V24 #2383 Colorless blenders are highly toxic (for transferring xerox images to blocks), but do work well. After saturating the paper burnish with a stone, wooden spoon, intaglio burnisher, etc. However, I discovered that if you take an old felt tip marker, one that is out of ink and soak it in a jar with a little xylene, you can accomplish the same thing a lot cheaper. I think colorless blenders have xylene in them, anyway. All other warnings accompany this message: use in well ventilated area, don't breathe vapors, do not eat or drink solvent, wear rubber gloves, etc. BTW, just because its Orange, doesn't mean it is non-toxic. I thought it was too, at first, but have since learned that 'tis not. Citrasolv should be available in almost any grocery store, or Home Depot, in the household cleaning dept. Sharri ------------------------------ From: "Jeanne N. Chase" Date: Wed, 24 Sep 2003 14:08:31 -0400 Subject: [Baren 22886] Re: Thanks for confirming my suspicions, Louise. I haven't had any luck with the micro abrasive sheets Thanks Mike Great article on Tool Sharpening. Printed it out and also put it on my Favorites. http://www.antiquetools.com/sharp/index.html You really do not want my cheapie tool sets. Six dollars for a set of 10. They wear out faster than you can blink. But they are sharp for a few blinks. I do have some nice tools, they are dull and I will again attempt to sharpen them. Jeanne N. ------------------------------ From: MccarthyDb#aol.com Date: Wed, 24 Sep 2003 14:29:05 EDT Subject: [Baren 22887] Re: Thanks for confirming my suspicions, Louise. I haven't... another thing i like for sharpening is a solid leather strop wheel that i bought at woodworkers wearhouse for $14- attaches to a hand sander (the drill-y disc kind) and i use the honing compound-which as mike says, turns the wheel black as i sharpen- to remove the black sediment that builds up i just run the wheel and hold light sandpaper in place- works really fast and gets that mirror edge on chisels. knives and u gouges- can't use it on the tiniest tools though-too tough to see what you're doing there -b. ------------------------------ From: JMartin906#aol.com Date: Wed, 24 Sep 2003 14:30:11 EDT Subject: [Baren 22888] about papers For printing with oil based inks my favorite paper is Arches 88. Arches 88 MUST be used dry. I have had good luck with Stonehenge, too -- dry. The ink doesn't seem to saturate as smoothly with the Stonehenge (I like a thin layer of ink), but sometimes that's good. I've used it for mulitple block prints with lots of colors and it's held up fine. I guess I don't understand why you'd want to use damp paper with oil based ink when doing relief printing. It's just one more step... or maybe 2, 3, 4, more steps. Suzi Sutherland-Martin ------------------------------ From: Charles Morgan Date: Wed, 24 Sep 2003 11:33:51 -0700 Subject: [Baren 22889] Re: lino question 1) Use a book binding press. 2) Use a mechanic's hydraulic press 3) Make a jack press ... instructions appended below 4) Run over the sandwich with your car 5) Use a marble rolling pin, stiff arms, and your upper body weight ... make a lot of passes 6) Use a lawn roller Cheers ..... Charles An old book binding press makes a good block printing press. Or a standard hydraulic press from a machine shop works well. If neither is available, it is not difficult to make a simple "jack press" using an automotive axle jack. The hydraulic "bottle" jacks work very well for this purpose. Just build a rectangular frame from stout lumber (2x4 lumber works well), screwed and glued together, or make the frame from angle iron welded or bolted together. You will also need a bottom plate on which to put the carved block and the paper, and a top plate which will apply pressure to the paper and carved block. The top and bottom plates should be strong and smooth ... steel plate, thick plywood, or thick MDF all work well. To print, make a sandwich with the carved block and paper between a top and bottom "plate". You can use felt cushions Then use the jack to apply pressure. To get a little more fancy, use strong springs to connect the top plate and the top of the jack ram, so that when the pressure is released, the jack will contract, making it easier to remove. Hope the two diagrams below help convey the idea. Front view: #################Thanks you very, very much. But what if you do not have a press, like me? >d. dew ------------------------------ From: "Tyrus Clutter" Date: Wed, 24 Sep 2003 14:23:23 -0600 Subject: [Baren 22890] Re: lino question I highly suggest using wintergreen oil (or synthetic wintergreen oil) as the toxicity is at least somewhat less than many of the other materials mentioned. I get very good results rubbing with a wooden spoon an both wood and linoleum. Good Luck. TyRuS ------------------------------ From: Roger Leee Date: Wed, 24 Sep 2003 13:51:12 -0700 Subject: [Baren 22891] Re: lino question Hello Mike Interesting answerer regarding toner copies and prints. I am interested in using this process for Stone Lithography. Any comments on transferring images to stone -as you have done with Intaglio? Roger Lee Vernon, BC Canada ------------------------------ From: Mike Lyon Date: Wed, 24 Sep 2003 15:53:03 -0500 Subject: [Baren 22892] Re: lino question Roger Lee wrote: >Hello Mike >Interesting answerer regarding toner copies and prints. >I am interested in using this process for Stone Lithography. Any comments >on transferring images to stone -as you have done with Intaglio? Hey, Roger -- I'm answering you off-list so that we can stick to woodblock here... - -- Mike Mike Lyon mailto:mikelyon#mlyon.com http://www.mlyon.com ------------------------------ From: FurryPressII#aol.com Date: Wed, 24 Sep 2003 17:19:13 EDT Subject: [Baren 22893] Re: lino question Amen Mike on transfer methods. Litho method is more complicated but does give very good results for transfers on one Xerox but I have been working much bigger so I was having difficulties getting good registration of a multi sheet sized image. Most recently I did an image 2 by 4 feet it took 8 11 by 17 Xerox's. With the liqueur based method I taped the sheets together before I taped the whole thing down on the block. I had no problem with the image being in registration. The litho method a. first sponge the back of the zerox with gum arabic (some delution is ok) b. place the zerox face up on a sheet of glass, plexi or alum c. now sponge the front with the gum arabic, wiping off all the excess d. roll out a thin layer of oil based ink (the ink should not be tacky) e. wipe the surface carefully with a wet sponge and repeat inking and wiping f. now print the paper on your block easiest with a press but if you put a dry sheet on top of the wet sheet it can be printed with a baren or wooden spoon john of the furry press ------------------------------ From: FurryPressII#aol.com Date: Wed, 24 Sep 2003 17:33:44 EDT Subject: [Baren 22894] Re: lino question Roger I learn the litho method from etchers, they would print the ink on a copper plate and then dust it with aquatint resin, blow it off the non-inked part of the plate then heat the plate and etch it. If it would work for this purpose why not print it on wood. I did transfer an oil based transfer to a litho stone it did not print black but a dark grey but did work well on a litho plate. As I am not a lithoman the fact that it did not print black might have be for some other reason I have no idea. Like Mike all the citrus stuff give me a very bad headache (must be something in them that is toxic) only one that is worse is a caffeine withdrawal headache. john (forgive me for multi post today) center ------------------------------ From: Charles Morgan Date: Wed, 24 Sep 2003 14:53:05 -0700 Subject: [Baren 22895] Re: lino question If you compare the MSDS for Oil of Wintergreen to that for d-limonene, you will find Oil of Wintergreen to be much more toxic in general. Of course some individuals may have allergies or specific sensitivities which would deviate from the general population. Cheers ..... Charles >At 02:23 PM 9/24/03 -0600, you wrote: >I highly suggest using wintergreen oil (or synthetic wintergreen oil) as >the toxicity is at least somewhat less than many of the other materials >mentioned. I get very good results rubbing with a wooden spoon an both >wood and linoleum. Good Luck. >TyRuS ------------------------------ From: Cucamongie#aol.com Date: Wed, 24 Sep 2003 17:53:08 -0400 Subject: [Baren 22896] lino stuff thanks all for your responses, I appreciate it! and bobette, thanks for the nice words about my prints too. I shall forward this treasure trove of info on to my friend, and keep a copy for myself as well. thanks all for your generosity... Sarah ------------------------------ From: Date: Wed, 24 Sep 2003 18:45:33 -0700 Subject: [Baren 22897] TRANSFERING the very best way to get you image down on your board, IMHO, is to take a Sharpie marker and trace you drawing onto a very thin sheet of tissue paper. You then glue it face down to your board with a reversible glue {I use gum Arabic} dry it under your desk lamp or with a hair dryer, carve your block, wash the excess paper off with warm water, blot dry and you are ready to print. No fuss no mess and it's non-toxic. Philip ------------------------------ From: b.patera#att.net Date: Thu, 25 Sep 2003 02:27:22 +0000 Subject: [Baren 22898] Re: Transferring The easiest way that I have found to transfer a computer print-out on to either lino or wood is to print it on acetate..... I use Tektronic film for ink jet copiers.... then invert the acetate onto the block and rub. If it is a fresh print it transfers beautifully.... and absolutely no fumes! B.P. ------------------------------ End of Baren Digest V24 #2384 *****************************