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Message 1
From: b.patera # att.net
Date: Wed, 21 Jan 2004 17:14:40 +0000
Subject: [Baren 23924] Re: Exchange #19 Print
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Hi,

I'm wondering whether the prints are to be titled ..... ? Were the original
Shunga prints??

Barbara P.

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Message 2
From: GWohlken
Date: Wed, 21 Jan 2004 12:45:52 -0500
Subject: [Baren 23925] Monkeys, Shunga and Ink
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I'm enjoying the monkey cards as they come in. Some nice work is being
done and clever, too, Frank :-).

Barbara Patera, I'm not signing my shunga prints, but am titling them.
I noticed online (maybe just for purposes of ordering them), many were
titled.

Sharri and Barbara M., thank you for info about the inks you use. I
will have to try and see what works best. I think you people have an
advantage using a press as it's a different game using only a wooden
object for transferring the image, especially with colors. It's a long
process and was taking me an hour to complete each print with several
roll-ups of two of the colors.

~Gayle/Ohio

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Message 3
From: Sharri LaPierre
Date: Wed, 21 Jan 2004 10:08:05 -0800
Subject: [Baren 23926] Re: David Bull opening in Tokyo
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What a lovely article about Dave and his exhibition. It is always
interesting to learn about one another. Thanks for the link, Mike.

Sharri

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Message 4
From: JMartin906 # aol.com
Date: Wed, 21 Jan 2004 15:45:38 EST
Subject: [Baren 23927] registration
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to Carol in Sacramento,

You asked if I had registration problems when I re-wet the prints after
drying them. I have not had any problems. I am using Masa paper, which is a
cheap paper. I don't know if my results would be the same with another paper, but
I hope so!

I am still using my old lino block registration system, because the kento
system seemed not to be as precise -- for me. I just couldn't seem to get the
paper down in the same place every time. I make a registration board with mat
board (base made of the mat board, larger than the block and paper size, with
top and left side built up a little bit with small pieces of the same material)
and then use registration pins taped to the built up part on the top of the
board. I tape little strips of film with holes punched them (that fit over the
registration pins) on to the top of the paper. When printing, I snap the
film onto the pins and ease the paper down onto the block. I suppose this sounds
like a lot of work, but I like the security it gives me. I had thought it
wouldn't work with dampened blocks and paper, but so far, so good. On my latest
print, a small print, I cut a hole in a piece of foam core, just the size of
the blocks and then attached the registration pins above with that white art
tape. This worked fine for a 3 color edition of about 50, done all at once,
but then the foam core bowed, due to the dampness of the project. In a class I
took, from a Japanese printmaker, he had us make a board like this with just a
couple of little "stops", made of the board material, to show you where to
place the edges of the paper, no registration pins.

I guess what I am trying to say is, that for me, the registration is not only
about the condition of the paper, but also about the way I am managing to get
the paper down onto the block. And, I have had way less trouble with the
dampness (or not) of the paper than I have had with the other aspect!

Suzi

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Message 5
From: Consoft # aol.com
Date: Wed, 21 Jan 2004 17:43:55 EST
Subject: [Baren 23928] Oiled Baren?
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Hi, I read in one book that the baren should be oiled before use. What kind
of oil do you use and wouldn't it get onto the back of the paper causing it
to go transparent?

Cheers
Steve

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Message 6
From: ArtfulCarol # aol.com
Date: Wed, 21 Jan 2004 18:52:51 EST
Subject: [Baren 23929] Re: David Bull opening in Tokyo
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Congratulations to Dave for what will be another wonderful exhibit in Tokyo!

Thank you for teaching us so well in Kansas City!
Carol L.

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