Today's postings

  1. [Baren 25325] Embossing on dry paper (GWohlken)
  2. [Baren 25326] Re: Embossing on dry paper (Bette Norcross Wappner)
  3. [Baren 25327] Re: Embossing on dry paper ("marilynn smih")
  4. [Baren 25328] Hanga hang ups ("marilynn smih")
  5. [Baren 25329] Re: Hanga hang ups (Bette Norcross Wappner)
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Message 1
From: GWohlken
Date: Wed, 23 Jun 2004 09:24:01 -0400
Subject: [Baren 25325] Embossing on dry paper
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About embossing, I would actually like to emboss something on dry
kitakata paper, but I always print by hand, using oil based inks.
Kitakata is not an easy paper to try to use dampened. I have tried it.
Also, my method of registration requires I keep the paper on the
registration board until the whole print is finished, which means, of
course, it would dry out before the print is completed. Yesterday I
experimented with a scrap of kitakata and tried embossing it dry, and
it does seem to work. Thanks, everyone, for your input.

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Message 2
From: Bette Norcross Wappner
Date: Wed, 23 Jun 2004 09:46:19 -0400
Subject: [Baren 25326] Re: Embossing on dry paper
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Hi Gayle -

Cutting an embossing die out of Mat Board

1. Take a piece of scrap mat board - about 2" larger than your print so
you can make a registration.
2. Copy your image right side down onto the mat board where you want
your embossing to be.
3. Figure your registration (where your print will lay face down on top
of your image after you make your embossing die). I always make hash
marks outside of the print area where your embossing image is so you
know the general vicinity of your embossing image.
4. With an X-acto knife, you are going to cut out the image design that
you want embossed on your print. You are going to only cut half way down
in the mat board.
5. Peel only the top half of the mat board away - leaving your depressed
6. Using your registation, lay your print face down. With a burnishing
tool (its amazing what you can find around the house) that isn't too
pointed (so you don't pierce the paper) press down onto the back of the
print into the depressed image to make your embossing.

If I haven't made this clear, let me know. I didn't do a google search,
so maybe these instruction are available. Calligraphers and book makers
use this technique. I learned it from my calligraphy teacher and I used
this technique on my compositions when I was an Art Director.

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Message 3
From: "marilynn smih"
Date: Wed, 23 Jun 2004 09:23:12 -0700
Subject: [Baren 25327] Re: Embossing on dry paper
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Bette, Gayle, I would think this would also work with a press. I have
embossed a lot of collagraph plates, they have a raised surface such as you
are describing. Also I should think that you coudr rewet your paper for the
Now I am getting intrigued about what everyone is out there doing for 21. I
have had my share of problems, solvable so far. And one accident oops
that will become part of the print. Another color, value problem I am not
sure about. Yes still at the proofing stage. Some time i guess it takes a
bit to get everything adjusted just right.
Jeanne you asked about this ball bearing baren and wow it is making a world
of difference. At the summit I struggled to get a deep color with one drop
of the paper, instead i was dropping it 3 and 4 times to get a good color
depth. With this baren and a heavy color mix I can get darker tones in one
drop, so much easier. The Baren is doing the work for me instead of me
pushing so hard. And that means I also get more even color because I have
the same degree of weight all over.
I might try that emboss template, I cut my emboss plate backwards, ooops. I
told you there have been some problems, but I am betting none that have not
already been experienced by the more knowledgeable of this group.
Do others some times feel that an accident was not really an accident but
meant to be? Sort of like something is there making them happen?

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Message 4
From: "marilynn smih"
Date: Wed, 23 Jun 2004 15:52:49 -0700
Subject: [Baren 25328] Hanga hang ups
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I said my color was more even. so it seemed yesterday. Now I am getting
uneven color, especially along the edges. It got better when I got more
pigment on the plate, not less. I am thinking this is a pigment, rice paste
and using a new baren adjustment. But i wonder is it too much pressure, I
am so used to that old thing that I had to work so hard???? I did not have
this problem with my last print, so I do not think it is that I am not
brushing it on evenly. Perhaps it is the amount of paste or pigment??? Any
suggestions would be a help
Sorry about the 2 posts, just would like input so I can get on with this

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Message 5
From: Bette Norcross Wappner
Date: Wed, 23 Jun 2004 19:23:59 -0400
Subject: [Baren 25329] Re: Hanga hang ups
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hi marilynn

a hunch would be that your paper isn't evenly damp - especially around
the edges where you're having problems.

if it was a paste problem, you'd see it throughout.

doubt if its pressure or baren related.