Today's postings
- [Baren 24700] Re: New Baren Digest (Text) V26 #2593 (Mar 22, 2004) (Jsf73 # aol.com)
- [Baren 24701] Re: Pressure (Mike Lyon)
- [Baren 24702] Re: Exchange #21 (Jan Telfer)
- [Baren 24703] Re: Pressure (FurryPressII # aol.com)
- [Baren 24704] Re: portfolio of work "photos" ("marilynn smih")
- [Baren 24705] Re: Pressure (Jsf73 # aol.com)
- [Baren 24706] Re: Pressure (Mike Lyon)
- [Baren 24707] Re: portfolio of work "photos" (Emma Jane Hogbin)
- [Baren 24708] RE: New Baren Digest (Text) V26 #2594 (Mar 22, 2004) ("Phare-Camp")
- [Baren 24709] Re: Haiku site (Sharri LaPierre)
- [Baren 24710] books and barens (Barbara Mason)
- [Baren 24711] Re: books and barens (Emma Jane Hogbin)
- [Baren 24712] Exchange 21, Haiku and printing forces. (Woodblocksteve # aol.com)
- [Baren 24713] Re: Ref:Surimono/Haiku (David Bull)
Message 1
From: Jsf73 # aol.com
Date: Mon, 22 Mar 2004 11:45:00 EST
Subject: [Baren 24700] Re: New Baren Digest (Text) V26 #2593 (Mar 22, 2004)
Send Message: To this poster
Sorry Mary but Mike is correct, laser toner is powdered thermoplastic resin
that is fused to the page with heat melting the thin layer of plastic to the
paper surface.
Laser toner also repells water which is why experimentation was done with it
for alternative techniques for water based lithography over the past decade.
Oil based inks will adhere to toner with little problem.
If you want to relief print with water based inks over toner then plan for
none of the image to be over the toner area.
Modern laser copier and printer equipment is very robust and have durable
fuser assemblies, which should handle small editions of prints run thru them even
on thicker paper and with oil or water based images on the paper already.
Printshops frequently photocopy over offset printed paper, which is oil based
although it isnt as thick a layer of ink as you would find in an artists print.
I had no trouble with a test run with a proof from my self portrait exchange
print. The toner fused perfectly and the existing image was unharmed and my
copier fed the paper with no trouble.
My own copier is a Panasonic well past it's 100,000 copy life cycle. My HP
laser printer can handle feeding 10-15 sheets thru at a time, not intentionally
mind you but near the end of the paper bin it feeds that many sheets due to
worn rollers.
Of course, your own milage may vary as they say, but I myself am not afraid
to try an experiment or two. If you are worried go to see if your local copy
shop will run prints through their photocopiers
John Furr
that is fused to the page with heat melting the thin layer of plastic to the
paper surface.
Laser toner also repells water which is why experimentation was done with it
for alternative techniques for water based lithography over the past decade.
Oil based inks will adhere to toner with little problem.
If you want to relief print with water based inks over toner then plan for
none of the image to be over the toner area.
Modern laser copier and printer equipment is very robust and have durable
fuser assemblies, which should handle small editions of prints run thru them even
on thicker paper and with oil or water based images on the paper already.
Printshops frequently photocopy over offset printed paper, which is oil based
although it isnt as thick a layer of ink as you would find in an artists print.
I had no trouble with a test run with a proof from my self portrait exchange
print. The toner fused perfectly and the existing image was unharmed and my
copier fed the paper with no trouble.
My own copier is a Panasonic well past it's 100,000 copy life cycle. My HP
laser printer can handle feeding 10-15 sheets thru at a time, not intentionally
mind you but near the end of the paper bin it feeds that many sheets due to
worn rollers.
Of course, your own milage may vary as they say, but I myself am not afraid
to try an experiment or two. If you are worried go to see if your local copy
shop will run prints through their photocopiers
John Furr
Message 2
From: Mike Lyon
Date: Mon, 22 Mar 2004 10:46:41 -0600
Subject: [Baren 24701] Re: Pressure
Send Message: To this poster
Barbara Mason wrote:
>but I think the pressure is much less than a press and even less than a
>spoon.
I suspect that the baren is capable of applying much MORE pressure than a
press, and even more than a spoon (because it is only the 'bumps' or knots
in the baren which apply pressure and not the relatively large, flat bowl
of the spoon... Here's an example... Let's just say that a baren under
normal to light pressure is putting 10 lbs per square inch on the
block... And let's say we're printing an oban block (right now I'm working
on a 22" x 31" print with sixteen blocks -- yes, Dave -- that's sixteen
INDIVIDUAL 24" x 32" blocks, you'll be happy to hear -- I'm graduating from
reduction printing to a whole new_xxx OLD thing...) :-) But
let's calculate just for an oban block in an old-fashioned screw-type press
so the whole block gets printed at once under pressure... And let's say
that 1/2 the surface of the block has been carved away, so now the baren is
printing at 20 lbs. per square inch... And the press? It needs to push
down on the block with 1500 lbs of pressure! My larger 24 x 32 inch
blocks (I've been thinking about building a press for these, as it's a lot
of work to print this large by hand) will require more than 7500 lbs to
achieve the same light-to-moderate printing pressure that I get with a
baren -- and if I really bear down on the baren... Well, to get the same
depth of printing as I can with my baren, I'll have to park a fully-loaded
semi tractor trailer rig on top of my 24" x32" block! Of course, intaglio
presses offer a substantial mechanical advantage over those old screw
presses in that only a relatively small strip of the roller contacts the
block/plate at any one time -- so maybe an intaglio press can exert more
pressure than a baren, but it's a closer race than you might imagine!
-- Mike
Mike Lyon
http://mlyon.com
>but I think the pressure is much less than a press and even less than a
>spoon.
I suspect that the baren is capable of applying much MORE pressure than a
press, and even more than a spoon (because it is only the 'bumps' or knots
in the baren which apply pressure and not the relatively large, flat bowl
of the spoon... Here's an example... Let's just say that a baren under
normal to light pressure is putting 10 lbs per square inch on the
block... And let's say we're printing an oban block (right now I'm working
on a 22" x 31" print with sixteen blocks -- yes, Dave -- that's sixteen
INDIVIDUAL 24" x 32" blocks, you'll be happy to hear -- I'm graduating from
reduction printing to a whole new_xxx OLD thing...) :-) But
let's calculate just for an oban block in an old-fashioned screw-type press
so the whole block gets printed at once under pressure... And let's say
that 1/2 the surface of the block has been carved away, so now the baren is
printing at 20 lbs. per square inch... And the press? It needs to push
down on the block with 1500 lbs of pressure! My larger 24 x 32 inch
blocks (I've been thinking about building a press for these, as it's a lot
of work to print this large by hand) will require more than 7500 lbs to
achieve the same light-to-moderate printing pressure that I get with a
baren -- and if I really bear down on the baren... Well, to get the same
depth of printing as I can with my baren, I'll have to park a fully-loaded
semi tractor trailer rig on top of my 24" x32" block! Of course, intaglio
presses offer a substantial mechanical advantage over those old screw
presses in that only a relatively small strip of the roller contacts the
block/plate at any one time -- so maybe an intaglio press can exert more
pressure than a baren, but it's a closer race than you might imagine!
-- Mike
Mike Lyon
http://mlyon.com
Message 3
From: Jan Telfer
Date: Tue, 23 Mar 2004 00:47:26 +0800
Subject: [Baren 24702] Re: Exchange #21
Send Message: To this poster
Discussion is good for Exchange #21, but just leave the format open and
not be too restrictive with what we can and can't do and you may find
we have some very interesting prints from this exchange..... there are
a lot of lateral thinkers amongst this group and if you want to see
woodblock printing go laterally then leave it unrestricted in
format.......
Yes, Decide a theme, as most people have agreed with the Elements (The
calendars had one nude/life drawing format) or whatever and the
size....... but how you interpret the Haiku should be up to each
participant.......
Passionate woodblock carver/calligrapher......!!!!
Jan
not be too restrictive with what we can and can't do and you may find
we have some very interesting prints from this exchange..... there are
a lot of lateral thinkers amongst this group and if you want to see
woodblock printing go laterally then leave it unrestricted in
format.......
Yes, Decide a theme, as most people have agreed with the Elements (The
calendars had one nude/life drawing format) or whatever and the
size....... but how you interpret the Haiku should be up to each
participant.......
Passionate woodblock carver/calligrapher......!!!!
Jan
Message 4
From: FurryPressII # aol.com
Date: Mon, 22 Mar 2004 12:03:01 EST
Subject: [Baren 24703] Re: Pressure
Send Message: To this poster
I have no problems printing flat solid colors with my vandercook if i am
using a stiff paper i dampen it but other wise no problem I have
found the vandercook is easier on wood blocks esp if there is fine details which
seem to flatten if printed by hand uneven pressure seems to be the cause
and pressure is even with a vandercook
john center
using a stiff paper i dampen it but other wise no problem I have
found the vandercook is easier on wood blocks esp if there is fine details which
seem to flatten if printed by hand uneven pressure seems to be the cause
and pressure is even with a vandercook
john center
Message 5
From: "marilynn smih"
Date: Mon, 22 Mar 2004 08:58:05 -0800
Subject: [Baren 24704] Re: portfolio of work "photos"
Send Message: To this poster
Emma what an adorable book. Did you hinge the paper together with tape or
glue??? It would be a fun project for our next exchange.
Umm all this talk about overprinting is confusing to me. If we choose to do
haiku for our next project could it be left to each artist how they do it?
By this I mean it could be just carved lettering, it could be an overprinted
illustration, it could be an illustration with lettering written in say
colored pencil or ink , it could be an illustration with a poem attached.
If we choose to attach a poem could it not than be done with a hinge, like
the accordion book?
Yes there is spring some where, it was 91 here yesterday and will be 86
today with it leveling off in the mid eighties all week, YEAH!!!!! Dan
glad you got rid of that job after 16 years whew.
Marilynn
glue??? It would be a fun project for our next exchange.
Umm all this talk about overprinting is confusing to me. If we choose to do
haiku for our next project could it be left to each artist how they do it?
By this I mean it could be just carved lettering, it could be an overprinted
illustration, it could be an illustration with lettering written in say
colored pencil or ink , it could be an illustration with a poem attached.
If we choose to attach a poem could it not than be done with a hinge, like
the accordion book?
Yes there is spring some where, it was 91 here yesterday and will be 86
today with it leveling off in the mid eighties all week, YEAH!!!!! Dan
glad you got rid of that job after 16 years whew.
Marilynn
Message 6
From: Jsf73 # aol.com
Date: Mon, 22 Mar 2004 12:15:16 EST
Subject: [Baren 24705] Re: Pressure
Send Message: To this poster
Mike Lyon wrote:
> I suspect that the baren is capable of applying much MORE pressure than a
> press, and even more than a spoon (because it is only the 'bumps' or knots in
> the baren which apply pressure and not the relatively large, flat bowl of the
> spoon...
I have spent a great deal of time researching printing presses and various
types of presses and the force each generates. The most common press for fine
art printing is the cylinder press. It is capable of generating large amounts of
force across the contact edge of the cylinder... the contact edge area is
very small even over a large cylinder width. The area is dependant on the
diameter of the cylinder as well. Both a platen press and a book press have very
large contact area by comparison so the force per square inch is much less than
for a baren or a cylinder press. It is all about surface area of the actual
printing surface.
The pressure of the cylinder is very close to that of a baren... except that
the baren has very little surface area by comparison. The cylinder press is
able to roll the long thin contact point acros the block in a single swipe with
very even pressure, whereas the baren has uneven pressure generated by many
small contact points and must be carefully printed across the entire image
area.
Where the baren has a great advantage is selectively printing small areas,
and the application of uneven pressure to create special image effects...
Of course, the pressure from printing with a baren was enough to wear the
bumbs right off my cheap plastic baren.... I am afraid to use my good baren I
bought at the summit... it is like a new mercedes sitting in the garage with only
ten miles on the odometer...
John
> I suspect that the baren is capable of applying much MORE pressure than a
> press, and even more than a spoon (because it is only the 'bumps' or knots in
> the baren which apply pressure and not the relatively large, flat bowl of the
> spoon...
I have spent a great deal of time researching printing presses and various
types of presses and the force each generates. The most common press for fine
art printing is the cylinder press. It is capable of generating large amounts of
force across the contact edge of the cylinder... the contact edge area is
very small even over a large cylinder width. The area is dependant on the
diameter of the cylinder as well. Both a platen press and a book press have very
large contact area by comparison so the force per square inch is much less than
for a baren or a cylinder press. It is all about surface area of the actual
printing surface.
The pressure of the cylinder is very close to that of a baren... except that
the baren has very little surface area by comparison. The cylinder press is
able to roll the long thin contact point acros the block in a single swipe with
very even pressure, whereas the baren has uneven pressure generated by many
small contact points and must be carefully printed across the entire image
area.
Where the baren has a great advantage is selectively printing small areas,
and the application of uneven pressure to create special image effects...
Of course, the pressure from printing with a baren was enough to wear the
bumbs right off my cheap plastic baren.... I am afraid to use my good baren I
bought at the summit... it is like a new mercedes sitting in the garage with only
ten miles on the odometer...
John
Message 7
From: Mike Lyon
Date: Mon, 22 Mar 2004 11:22:35 -0600
Subject: [Baren 24706] Re: Pressure
Send Message: To this poster
John wrote:
>Of course, the pressure from printing with a baren was enough to wear the
>bumbs right off my cheap plastic baren.... I am afraid to use my good
>baren I bought at the summit... it is like a new mercedes sitting in the
>garage with only ten miles on the odometer...
Oh, for goodness sake, John, USE it! It wasn't pressure which wore out
your plastic baren, it was friction! Your good baren has a
disposable/replaceable cover designed for that -- the 'insides' will
probably outlast YOU!
-- Mike
Mike Lyon
http://mlyon.com
>Of course, the pressure from printing with a baren was enough to wear the
>bumbs right off my cheap plastic baren.... I am afraid to use my good
>baren I bought at the summit... it is like a new mercedes sitting in the
>garage with only ten miles on the odometer...
Oh, for goodness sake, John, USE it! It wasn't pressure which wore out
your plastic baren, it was friction! Your good baren has a
disposable/replaceable cover designed for that -- the 'insides' will
probably outlast YOU!
-- Mike
Mike Lyon
http://mlyon.com
Message 8
From: Emma Jane Hogbin
Date: Mon, 22 Mar 2004 12:37:35 -0500
Subject: [Baren 24707] Re: portfolio of work "photos"
Send Message: To this poster
marilynn smih wrote:
> Emma what an adorable book. Did you hinge the paper together with tape or
> glue??? It would be a fun project for our next exchange.
Everyone should make a least five books a year. That's what I've decided.
:) They don't need to be massive tomes. A single sheet folded up and slit
in the right places is perfectly acceptable!
Although these aren't the instructions I used, they'll approximately
duplicate what I made:
http://staffcentral.brighton.ac.uk/graeme/Bookbinding%20web%20site/bookart/ba_accordion.html
if that URL doesn't work, use this one instead:
http://tinyurl.com/3aadq
My hinges are sort of like the middle one in this picture:
http://staffcentral.brighton.ac.uk/graeme/Bookbinding%20web%20site/bookart/JapBook%20files/JBB%20images/Orihon%20construction%201.gif
If that URL doesn't work, use this one instead:
http://tinyurl.com/2hptl
The main difference with my book is that (1) both sides of the page are
hinged and (2) my overlap goes both ways instead just just a single hook
shown in the diagram. The only reason I went with the double hook is that
I had such a small hinge (1/4") with paper I've never used before (photo
paper). I felt it would be inappropriate for my book to fall apart while
the judges were trying to decide if they wanted me in their craft show. ;)
Now that the book is done I'm sure that I could have gotten away with a
single hook.
I used PVA to glue each sheet to the next one. Normally I'd use corn
starch paste, but I wanted the least amount of warp, so I used the fastest
drying glue.
Enjoy!
emma
--
Emma Jane Hogbin
[[ 416 417 2868 ][ www.xtrinsic.com ]]
> Emma what an adorable book. Did you hinge the paper together with tape or
> glue??? It would be a fun project for our next exchange.
Everyone should make a least five books a year. That's what I've decided.
:) They don't need to be massive tomes. A single sheet folded up and slit
in the right places is perfectly acceptable!
Although these aren't the instructions I used, they'll approximately
duplicate what I made:
http://staffcentral.brighton.ac.uk/graeme/Bookbinding%20web%20site/bookart/ba_accordion.html
if that URL doesn't work, use this one instead:
http://tinyurl.com/3aadq
My hinges are sort of like the middle one in this picture:
http://staffcentral.brighton.ac.uk/graeme/Bookbinding%20web%20site/bookart/JapBook%20files/JBB%20images/Orihon%20construction%201.gif
If that URL doesn't work, use this one instead:
http://tinyurl.com/2hptl
The main difference with my book is that (1) both sides of the page are
hinged and (2) my overlap goes both ways instead just just a single hook
shown in the diagram. The only reason I went with the double hook is that
I had such a small hinge (1/4") with paper I've never used before (photo
paper). I felt it would be inappropriate for my book to fall apart while
the judges were trying to decide if they wanted me in their craft show. ;)
Now that the book is done I'm sure that I could have gotten away with a
single hook.
I used PVA to glue each sheet to the next one. Normally I'd use corn
starch paste, but I wanted the least amount of warp, so I used the fastest
drying glue.
Enjoy!
emma
--
Emma Jane Hogbin
[[ 416 417 2868 ][ www.xtrinsic.com ]]
Message 9
From: "Phare-Camp"
Date: Sun, 21 Mar 2004 23:12:24 -0800
Subject: [Baren 24708] RE: New Baren Digest (Text) V26 #2594 (Mar 22, 2004)
Send Message: To this poster
OOOOhhhh,,,I just want to add to the comments that I made regarding the next
exchange, uh the haiku one, I hope it's not too small for those of us who
would like to face the challenge of carving text. I do have some skill with
the tools but if it gets too small, say under 5"x7", well I'm not that
talented and I'll be forced to purchase some cokebottlerreadingglasses:^D
just soz I can read everbody else's. I still prefer the idea of leaving how
the text is incorporated (or even if it is incorporated) up to the
individual artists. Oh and for those of you who are afeared a
writtin---illustrate a classic haiku that is so old it's in the public
domain. There are soooooo many!
Cheers, Patti P-C
exchange, uh the haiku one, I hope it's not too small for those of us who
would like to face the challenge of carving text. I do have some skill with
the tools but if it gets too small, say under 5"x7", well I'm not that
talented and I'll be forced to purchase some cokebottlerreadingglasses:^D
just soz I can read everbody else's. I still prefer the idea of leaving how
the text is incorporated (or even if it is incorporated) up to the
individual artists. Oh and for those of you who are afeared a
writtin---illustrate a classic haiku that is so old it's in the public
domain. There are soooooo many!
Cheers, Patti P-C
Message 10
From: Sharri LaPierre
Date: Mon, 22 Mar 2004 11:00:05 -0800
Subject: [Baren 24709] Re: Haiku site
Send Message: To this poster
Jan, Thanks for a wonderful link. It answered a lot of my questions
about haiku. I have never successfully written one, and now I know
why, THEY ARE HARD! But, in reading that page about how they used to
write: the first person would write 5-7-5 and then another would write
7-7 to finish it off, brought yet another future exchange idea to mind.
THE COLLABORATIVE PRINT EXCHANGE. Two people would work together:
the first would start the print, the second would finish it. Now,
don't go turning your noses up like that. This could be a real
challenge and stretch exercise, and could send us places we never
thought of, or wanted to go. Hey, it was just an idea, fellas. Stop
all right with the fruit throwing.
BTW: John Furr, you're right, prints can be put through the laser or
inkjet printer. Just be sure the ink is dry. LOL They will print
beautifully - I do it all the time. Also, you can do it the other way
around. Lay down your base on the printer and then cut your blocks and
print. My print, Psyche and Her Sisters, which is in the American Print
Alliance traveling show, Theater of the Mind, is done that way. You can
see that print at www.printarts.org/artists/SharriLaPierre. Experiment
with the new papers, made by most all the major paper companies,
especially made for the trip through the printer. If anyone has
questions about this, let me know -
Cheerfully,
Sharri
Message 11
From: Barbara Mason
Date: Mon, 22 Mar 2004 11:04:15 -0800 (PST)
Subject: [Baren 24710] books and barens
Send Message: To this poster
Sorry for the non woodblock question...but, I am teaching a class to kids and want them to make a simple book with out sewing out of the prints we are making. Anyone have a folded paper book pattern? I know that there must be one, if it had pockets in the pages that would even be better! I used to know how to do this, but in my old age have just forgotten how.
thanks in advance..send it off line if you like.
Mike, I don't know the physics of this baren verses a press, but my arm sure knows it is easier to print an edition with a press! But I am still using the baren some of the time. I think John is just afraid of having to replace the bamboo....it is not easy! But a shame to keep that car in the garage!
Best to all,
Barbara
thanks in advance..send it off line if you like.
Mike, I don't know the physics of this baren verses a press, but my arm sure knows it is easier to print an edition with a press! But I am still using the baren some of the time. I think John is just afraid of having to replace the bamboo....it is not easy! But a shame to keep that car in the garage!
Best to all,
Barbara
Message 12
From: Emma Jane Hogbin
Date: Mon, 22 Mar 2004 14:18:00 -0500
Subject: [Baren 24711] Re: books and barens
Send Message: To this poster
Barbara Mason wrote:
> Sorry for the non woodblock question...but, I am teaching a class to
> kids and want them to make a simple book with out sewing out of the
> prints we are making. Anyone have a folded paper book pattern? I know
> that there must be one, if it had pockets in the pages that would even
> be better! I used to know how to do this, but in my old age have just
> forgotten how.
http://www.hgtv.com/hgtv/crafting/article/0,1789,HGTV_3352_1399724,00.html
Basically you're making an accordion book (check back a few emails for the
other set of instructions that I sent), but before you do the accordion
folds, you bring the bottom up to make a pocket. OR you can fold the
entire sheet in half (length-wise: so that your book is now half as tall)
and bring both bottoms up.
Looking at a cross section of the book you'd get a pocket on the front and
back of every page.
/\
/ \
\P / \P /
\/ \/
Or a more complicated folded book:
http://www.yasutomo.com/project/foldedbook.html
emma
--
Emma Jane Hogbin
[[ 416 417 2868 ][ www.xtrinsic.com ]]
> Sorry for the non woodblock question...but, I am teaching a class to
> kids and want them to make a simple book with out sewing out of the
> prints we are making. Anyone have a folded paper book pattern? I know
> that there must be one, if it had pockets in the pages that would even
> be better! I used to know how to do this, but in my old age have just
> forgotten how.
http://www.hgtv.com/hgtv/crafting/article/0,1789,HGTV_3352_1399724,00.html
Basically you're making an accordion book (check back a few emails for the
other set of instructions that I sent), but before you do the accordion
folds, you bring the bottom up to make a pocket. OR you can fold the
entire sheet in half (length-wise: so that your book is now half as tall)
and bring both bottoms up.
Looking at a cross section of the book you'd get a pocket on the front and
back of every page.
/\
/ \
\P / \P /
\/ \/
Or a more complicated folded book:
http://www.yasutomo.com/project/foldedbook.html
emma
--
Emma Jane Hogbin
[[ 416 417 2868 ][ www.xtrinsic.com ]]
Message 13
From: Woodblocksteve # aol.com
Date: Mon, 22 Mar 2004 16:36:03 EST
Subject: [Baren 24712] Exchange 21, Haiku and printing forces.
Send Message: To this poster
Hi Everyone,
Is the plan to pick just one of the four elements or is that going to be left
open?
I have to admit that I hadn't heard of Haiku before. I had a mooch around
the web to find some examples but I'm a bit confused. One site said that Haiku
has to be written in 17 syllables which are normally in the form 5/7/5.
However most of the English examples did not match that either in number of
syllables or pattern. Is this just because its an oriental thing which has been
transposed into western languages?
On the subject of printing pressures. I think its possible to use a much
greater force with a roller press than with a Baren. Of course a press has an
adjustable force by turning the screws so you can make it as light or heavy as
you like but I have a small etching press and if I screw that up I can
practically flatten the aquatint on a copper plate and I'm sure it would crush a wood
block if I could get one in. I know that it can flatten out a piece of lino
because my lovely daughter has done that with it by accident. I doubt if you
could do that with a baren even working on a small area. I think part of the
reason is, as someone else said, that the contact area is a long thin line.
Cheers
Steve
Is the plan to pick just one of the four elements or is that going to be left
open?
I have to admit that I hadn't heard of Haiku before. I had a mooch around
the web to find some examples but I'm a bit confused. One site said that Haiku
has to be written in 17 syllables which are normally in the form 5/7/5.
However most of the English examples did not match that either in number of
syllables or pattern. Is this just because its an oriental thing which has been
transposed into western languages?
On the subject of printing pressures. I think its possible to use a much
greater force with a roller press than with a Baren. Of course a press has an
adjustable force by turning the screws so you can make it as light or heavy as
you like but I have a small etching press and if I screw that up I can
practically flatten the aquatint on a copper plate and I'm sure it would crush a wood
block if I could get one in. I know that it can flatten out a piece of lino
because my lovely daughter has done that with it by accident. I doubt if you
could do that with a baren even working on a small area. I think part of the
reason is, as someone else said, that the contact area is a long thin line.
Cheers
Steve
Message 14
From: David Bull
Date: Tue, 23 Mar 2004 08:34:54 +0900
Subject: [Baren 24713] Re: Ref:Surimono/Haiku
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Harry wrote:
> Their identification is of academic interest to me, but from a
> woodblock printer's point of view they are a treasured inspiration,
> particularly because in book form the colours have kept their
> brilliance.
Nice find ... quite a little treasure! As Mike said, they are
small-scale carved and printed reproductions of full-size Hiroshige
designs (nothing to do with the genre known as surimono). Bit difficult
to tell without being able to fondle them, but I think they are around
mid-20th century, the Tokaido prints being perhaps pre-war. Is there a
page inside the Omi Hakkei set with any kind of publisher's information?
Could you scan that?
The label for the Tokaido prints (which you are showing upside-down,
sorry!) is marked with the character indicating that this is the first
volume of the set, so I guess they published the 53 stages in two
separate books, and you have the first one.
Lucky man!
***
Dan asked:
> How much pressure is applied to the baren in Hanga style printing?
Easy to answer that one, Dan! From 'nothing' up to 'infinite' ... just
choose the level appropriate for the job at hand ... :-)
Dave
> Their identification is of academic interest to me, but from a
> woodblock printer's point of view they are a treasured inspiration,
> particularly because in book form the colours have kept their
> brilliance.
Nice find ... quite a little treasure! As Mike said, they are
small-scale carved and printed reproductions of full-size Hiroshige
designs (nothing to do with the genre known as surimono). Bit difficult
to tell without being able to fondle them, but I think they are around
mid-20th century, the Tokaido prints being perhaps pre-war. Is there a
page inside the Omi Hakkei set with any kind of publisher's information?
Could you scan that?
The label for the Tokaido prints (which you are showing upside-down,
sorry!) is marked with the character indicating that this is the first
volume of the set, so I guess they published the 53 stages in two
separate books, and you have the first one.
Lucky man!
***
Dan asked:
> How much pressure is applied to the baren in Hanga style printing?
Easy to answer that one, Dan! From 'nothing' up to 'infinite' ... just
choose the level appropriate for the job at hand ... :-)
Dave