Baren Digest Sunday, 9 November 2003 Volume 25 : Number 2435 ---------------------------------------------------------------------- From: Mike Lyon Date: Sat, 08 Nov 2003 09:59:21 -0600 Subject: [Baren 23318] Re: exchange 18 you wrote: >Hi all you waiting list members. There is a good possibility that I am >going to need one or two more people to submit prints for exchange 18. I >will be giving the two missing participants until November 9th to contact >me , But if they do not respond I would like to know if there are any of >you that could submit prints by Nov. 18th. Please let me know who could >meet that deadline. I will take volunteers in the order they signed up and >notify you by Monday November 10th if you will be needed to send in >prints. Thanks for all your help. Gilda P. S. This is a great group of >prints you wouldn't want to miss. > >Lezle Williams Julio Rodriguez Sharen Linder Mike Lyon Daniel L. Dew >Barbara Mason Carol L. Myers john center Barbara Patera Wanda Robertson >Darrell Madis > >--- Gilda Zimmerling >--- gemzeditionz#earthlink.net I could make a print for you and #18, Gilda! -- let me know soon, though, as this is pretty quick turn-around for me! - -- Mike Mike Lyon mailto:mikelyon#mlyon.com http://www.mlyon.com ------------------------------ From: "Chris Bailey" Date: Sat, 8 Nov 2003 11:57:05 -0700 Subject: [Baren 23319] Re: Bookbinding press adaption The plans for the press that I built were provided to the baren on Oct 26 by Phillip. (thanks!!) The link is here: http://www.philobiblon.com/nigropress/ As I said, a few small changes were made in my design: 1. 6" pipe instead of 12" 2. I used 1" MDF for the base, platen and stiffeners. (I'm hoping that MDF is strong enough... but I haven't had any problems so far) 3. 1-1/2" #14 lag screws instead of 1-1/4" that are suggested. 4. Extra base piece that sticks out from the front of the press 6" (also 1" MDF) 5. Removable tray (same as the above 'extra base piece' but is not attached to the base) 6. 5/16" round dowels set in the 'press center' of the removable tray. They are set 1" apart, and stick up approximately 1/4'. I did NOT glue these into place. They are very tight in the holes, but could be removed if I need too (just in case) 7. 1/4" round dowels setup in a piece of scrap 1/2" maple. The dowels are ~ 2" high. I positioned them in the maple by using a 'hole punched' piece of paper as a guide. The maple was then glued to the removable tray 2-1/2" from the 'pressing area'. A bit closer might have been better, but I haven't actually tried it yet :-) If anyone has any more questions feel free to ask - either in the forum or direct. _________________________________________________ I still haven't attempted any colour multi-block, or reduction, print yet but I will post the results when I do. One unexpected 'bonus' feature that I have enjoyed so far, is that once the block is in place on the tray (set on the dowels), it doesn't move when inking. _________________________________________________ Now, a few questions for the group: 1. Is it okay to switch paper part way though an edition? (limited) I have printed about 10 (of 20) of a print on standard rice paper, but I am now using Masa paper for most of my prints. I would like to switch, but am not sure if this is acceptable or not. 2. Does the first print always turn out 'weak'? Every time I start printing, the first time I ink a block it is always a right off. Does it usually take one print to get the block 'ready for printing'? Is this normal? 3. What is the difference between hard & rubber rollers? I'm currently using a 4" Speedball (oh no, the 'S' word :-) rubber roller for inking my blocks. Most of my prints are around 5 or 6" in width and vary in height to about 7". Would a larger roller be better? Would a hard roller help? aTdHvAaNnKcSe :-) =Chris= >Chris I would like the plans for the book press, please.I would like to >try it myself. >Nes >Hi Chris- > >Please DO let us know how well this works for you for multiple >block/reduction work. I've gotten very interested in the bookbinding >press >discussions as you won't have the problem with wet paper stretching out >of >registration that you have with the etching press. > > >Michelle Morrell ------------------------------ From: Nes Cr Date: Sat, 8 Nov 2003 20:04:19 -0500 (EST) Subject: [Baren 23320] Re: Bookbinding press adaption Thanks for the information. As for your first question >1. Is it okay to switch paper part way though an edition? (limited)... I would say it would become a new edition when you change paper types, but that is my opinion. Thanks again, Nes ------------------------------ From: Barbara Mason Date: Sat, 8 Nov 2003 17:30:21 -0800 (PST) Subject: [Baren 23321] numbering >1. Is it okay to switch paper part way though an edition? (limited) > I have printed about 10 (of 20) of a print on standard rice paper, but >I am now using Masa paper for most of my prints. I would like to >switch, but am not sure if this is acceptable or not. Here is my take on this: I think it is usually still the same edition if printed reasonably close to the same time with the same ink, but needs to be noted on the authenticity certificate or on the back of the prints that the paper is xxxx for 1-20 but yyyy for 20-40. This gives the curstomer and the future museum curator all the info they would ever want and they want a lot. The more they have the happier they are. The reason for a second edition is that it is most often printed long after the first edition is all sold and is usually the same ink and paper. This happens when the print is very successfull sales wise and more and more peole want the work. Who wouldn't want to make more if they could sell them. Look at all the copies of old moku hanga on ebay. Sometimes second editions are altered in some way by the artist but not always. Printing second editions is not such a good idea as it can make the original owners of the first edition a little miffed, they thought there were 30 and now there are suddenly 60. I think it makes no difference as the whole editioning thing was perpetuated by galleries to give work a sort of false value because there were only 3 left and so on. But since we are doing it, we should have integrity...that is all we are selling with our numbered editions, the fact that if we say there are 30, there are really 30 and not 40. I think prints were not numbered until modern times...there are no numbers on any old Japanese prints or on any Rembrants, although sometimes he numbered his proofs. I think that was more for his own info so he could keep track of how he had altered the plates. The whole thing is sort of wierd as you all know how they get mixed up when you are printing multiple colors...there are not in order and some get tossed....so the number is artificial at best. Maybe in a large commercial studio they keep track, but I know of no artists myself that keep them in perfect order when printing. Sometimes paper is dried and rewet and things go in and out of the blotters. It would take one person full time to keep them straight with a large run. The best luck of this would be the oriental woodblock printers as they keep them in pretty good order, but still they toss a few, or a worst print one upside down....I swear I have never done this.....well, maybe once. I think Dave keeps his in pretty good order and I know he does not number them. You can read his views on this in the encyclopedia. Best to all, Barbara ------------------------------ End of Baren Digest V25 #2435 *****************************