Today's postings
- [Baren 30153] Watercolor dispersions ("April Vollmer")
- [Baren 30154] Re: Yupo and printmaking? ("Robert Canaga")
- [Baren 30155] Re: 2/21/2006 07:25:24 PM (Mike Lyon)
- [Baren 30156] Alternatives to a "baren" ("Chris Bremmer")
- [Baren 30157] Re: Alternatives to a "baren" (Mike Lyon)
- [Baren 30158] Re: Alternatives to a "baren" (Mike Lyon)
- [Baren 30159] Re: Alternatives to a "baren" ("Chris Bremmer")
- [Baren 30160] Re: Alternatives to a "baren" ("Robert Canaga")
- [Baren 30161] my exchange #28 key block ("Robert Viana")
- [Baren 30162] Baren Member blogs: Update Notification (Blog Manager)
- [Baren 30163] : Alternatives to a "baren" (FurryPressII # aol.com)
- [Baren 30164] Re: Alternatives to a "baren" ("amy dean")
- [Baren 30165] Re: 2/21/2006 07:25:24 PM (richard stockham)
Message 1
From: "April Vollmer"
Date: Fri, 24 Feb 2006 08:34:26 -0500
Subject: [Baren 30153] Watercolor dispersions
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Leigh, Since I demonstrated woodblock on the Akua Color DVD, I want people
to know that Akua Color does work, and it will mix with watercolor if you
use both. However, it is designed as a slow drying monoprint ink, so the
glycerin in it makes it a stickier than optimum. Pigment dispersions
(pigment ground in water) offers the cleanest printing and the richest
color.
April
www.aprilvollmer.com
>From: Leigh Beatty
>Thanks for the reply. I am assuming that Akua color monotype inks
>will act like watercolor but what about the water soluble Daniel
>Smith? Will it stick? Will it peel off after drying? Will it stick
>today and peel off 5 years from now? If I don't want the fingerprints
>to resist, what should I clean it with?
to know that Akua Color does work, and it will mix with watercolor if you
use both. However, it is designed as a slow drying monoprint ink, so the
glycerin in it makes it a stickier than optimum. Pigment dispersions
(pigment ground in water) offers the cleanest printing and the richest
color.
April
www.aprilvollmer.com
>From: Leigh Beatty
>Thanks for the reply. I am assuming that Akua color monotype inks
>will act like watercolor but what about the water soluble Daniel
>Smith? Will it stick? Will it peel off after drying? Will it stick
>today and peel off 5 years from now? If I don't want the fingerprints
>to resist, what should I clean it with?
Message 2
From: "Robert Canaga"
Date: Fri, 24 Feb 2006 09:03:56 -0800
Subject: [Baren 30154] Re: Yupo and printmaking?
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You can clean with a little alcohol. I don't print on it, I use it to print from or as a stencil.. I am not sure about how well the paint will stay over long periods but if is kept stable and framed I imaging it would last.
Thanks for the reply. I am assuming that Akua color monotype inks will act like watercolor but what about the water soluble Daniel Smith? Will it stick? Will it peel off after drying? Will it stick today and peel off 5 years from now? If I don't want the fingerprints to resist, what should I clean it with?
Thanks for the other suggestions, Leigh
Robert Canaga wrote:
Remember, if you get oil on it or even too many fingerprints it will act as a resist. ( also a cool effect)
RC
Thanks for the reply. I am assuming that Akua color monotype inks will act like watercolor but what about the water soluble Daniel Smith? Will it stick? Will it peel off after drying? Will it stick today and peel off 5 years from now? If I don't want the fingerprints to resist, what should I clean it with?
Thanks for the other suggestions, Leigh
Robert Canaga wrote:
Remember, if you get oil on it or even too many fingerprints it will act as a resist. ( also a cool effect)
RC
Message 3
From: Mike Lyon
Date: Fri, 24 Feb 2006 13:29:54 -0600
Subject: [Baren 30155] Re: 2/21/2006 07:25:24 PM
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Richard wrote:
>Thanks for responding, Mike. I now really hope you will post to your
>site the full 12 blocks impression of the aspen grove print! I was
>really taken with the eight blocks impression. I'm still wrestling
>with the issue of how many blocks to make a certain reduction image,
>and seeing what you ultimately ended up with may help.
>
>As for your proposed use of goma, do I understand it rightly, that
>you plan to use a goma to create a pointalist effect to "smooth out"
>the gradient transition from one plate to the next. That's a neat
>idea. I can't wait to see if it works.
It's kinda hard for me to get a decent image of those big prints as I
don't have any way to evenly light them, but I'll try to get
something shot and up for you later today -- the "Leaves" print is
quite successful, I think, but I went too dark too fast on the "Aspen
Grove" and the darks, although DEEPLY pigmented (intense darks,
really), kinda flatten out and aren't exactly 'right' to my
eye... I'll try to improve on that in the next print.
Grainy printing is a technique I've used in many of my prints for
years and it works just as described -- did you have a look at the
prints I offered yesterday? Here's another which uses some of the
same general technique:
http://mlyon.com/images/2004_06_29_Sarah_robe.jpg -- you can still
see the block contours in this print made from fewer blocks (16
blocks -- not a reduction, but reduction-like in that each block
printed 'on top of' previous), but they are made more 'gentle' by the
fine-grain goma-zuri... Well, actually, thie graininess in this
print isn't 'true' goma-zuri -- although there is goma present, I
don't know any name for the technique -- I began by printing this one
with smooth application (including paste) of pale colors, then
capitalized on the tendency of 'pigment-sticks-to-pigment' (and high
spots on the paper itself) by printing darker tones on top of lighter
tones, using little or no paste in deeper colors, and using a 'light
touch' of the baren over later blocks to produce this grainy
printing... Also, I was careful not to allow the color to become too
deep in this print -- only a 'medium' density, as I was shooting for
a subtle 'smokey' effect...
Here's an experiment you can try SO EASILY on your own: Start with
CLEAN brushes and blocks (no buildup of paste or pigment).
Print 1: brush up your uncarved or largely uncarved (big surface area
to print) block with NO paste, using only pigment in water, then
print -- you should see a nice big dotty goma-zuri. Try again with
more water, try again with less water, try again with less baren
pressure and more baren pressure (you can see differences most
clearly if you press firmly on 1/2 the print and feather-light on the
other half)...
Print 2: brush up your block with plenty of paste and pigment and
print as above -- you should obtain smooth color on the print -- vary
water and printing pressure as above.
Print 3: brush up your block with LOTS of paste (too much paste) and
print -- you should see brush marks in the color and NO granularity
at all -- vary water and pressure as above...
This is a VERY fast and direct way to experience the relationship
between water, paste, and printing pressure -- pretty dramatic differences!
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>Thanks for responding, Mike. I now really hope you will post to your
>site the full 12 blocks impression of the aspen grove print! I was
>really taken with the eight blocks impression. I'm still wrestling
>with the issue of how many blocks to make a certain reduction image,
>and seeing what you ultimately ended up with may help.
>
>As for your proposed use of goma, do I understand it rightly, that
>you plan to use a goma to create a pointalist effect to "smooth out"
>the gradient transition from one plate to the next. That's a neat
>idea. I can't wait to see if it works.
It's kinda hard for me to get a decent image of those big prints as I
don't have any way to evenly light them, but I'll try to get
something shot and up for you later today -- the "Leaves" print is
quite successful, I think, but I went too dark too fast on the "Aspen
Grove" and the darks, although DEEPLY pigmented (intense darks,
really), kinda flatten out and aren't exactly 'right' to my
eye... I'll try to improve on that in the next print.
Grainy printing is a technique I've used in many of my prints for
years and it works just as described -- did you have a look at the
prints I offered yesterday? Here's another which uses some of the
same general technique:
http://mlyon.com/images/2004_06_29_Sarah_robe.jpg -- you can still
see the block contours in this print made from fewer blocks (16
blocks -- not a reduction, but reduction-like in that each block
printed 'on top of' previous), but they are made more 'gentle' by the
fine-grain goma-zuri... Well, actually, thie graininess in this
print isn't 'true' goma-zuri -- although there is goma present, I
don't know any name for the technique -- I began by printing this one
with smooth application (including paste) of pale colors, then
capitalized on the tendency of 'pigment-sticks-to-pigment' (and high
spots on the paper itself) by printing darker tones on top of lighter
tones, using little or no paste in deeper colors, and using a 'light
touch' of the baren over later blocks to produce this grainy
printing... Also, I was careful not to allow the color to become too
deep in this print -- only a 'medium' density, as I was shooting for
a subtle 'smokey' effect...
Here's an experiment you can try SO EASILY on your own: Start with
CLEAN brushes and blocks (no buildup of paste or pigment).
Print 1: brush up your uncarved or largely uncarved (big surface area
to print) block with NO paste, using only pigment in water, then
print -- you should see a nice big dotty goma-zuri. Try again with
more water, try again with less water, try again with less baren
pressure and more baren pressure (you can see differences most
clearly if you press firmly on 1/2 the print and feather-light on the
other half)...
Print 2: brush up your block with plenty of paste and pigment and
print as above -- you should obtain smooth color on the print -- vary
water and printing pressure as above.
Print 3: brush up your block with LOTS of paste (too much paste) and
print -- you should see brush marks in the color and NO granularity
at all -- vary water and pressure as above...
This is a VERY fast and direct way to experience the relationship
between water, paste, and printing pressure -- pretty dramatic differences!
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 4
From: "Chris Bremmer"
Date: Fri, 24 Feb 2006 14:16:57 -0600
Subject: [Baren 30156] Alternatives to a "baren"
Send Message: To this poster
Hello,
I'm curious as to what others are using for a baren.
I do realize that getting a good baren is probably worth the money,
but for now I'm curious as to what others are using for an alternative
(wooden spoon, drawer knob, etc.).
Thanks,
Chris
I'm curious as to what others are using for a baren.
I do realize that getting a good baren is probably worth the money,
but for now I'm curious as to what others are using for an alternative
(wooden spoon, drawer knob, etc.).
Thanks,
Chris
Message 5
From: Mike Lyon
Date: Fri, 24 Feb 2006 16:00:33 -0600
Subject: [Baren 30157] Re: Alternatives to a "baren"
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Dear Chris,
A decent baren is a HUGE technological leap above your alternative
examples -- and you CAN make your own and obtain decent results,
certainly much better than with a spoon or knob! (cut a 6" or so
diameter disk from 1/4 or 3/8 inch plywood, sand one side so the
edges are slightly bevelled from the outer edge to about 1.5" in from
the center (you're making a giant wooden spoon here with a VERY
shallow convex side)... Then (this is the time consuming part) braid
three 15 to 20 foot long strands of heavy cotton twine (not too heavy
-- but maybe 3 or 4 times thicker than kite twine -- maybe a little
less than 1/16" diameter) -- braid it tight and evenly, helps if you
make little spools of each strand so you don't have to untangle every
5 seconds... Then, cut the braid at one end and starting at the
center of the disk, on the rounded side, hot melt glue the braid to
the disk, coiling it around and around tightly, flat side of braid
against the wood -- when you get done, the whole bottom of the disk
should be covered with tight braid -- you can heat it on warm (200
degrees F) in an oven if you like, then take it out without burning
yourself and flatten it against a counter-top if you've made any big
bumps during glue-up. Then cover it with a takenokawa in the usual
way and you've got a $5 baren at least as good as any $70 baren
around... Instead of takenokawa, you can use shrink wrap or tie some
very thin uhmw (anything thin, durable, and slick) around it -- if
the material doesn't make a 'handle', you can add a strip of plastic
for a handle and tack it firmly to the baren tight enough so you can
just get your finger tips all the way underneath.
This kind of thing (a baren) offers a significant mechanical
advantage over a flat disk or spoon shape in that it contacts the
block on MANY very small points over a relatively large area, so with
only a few overlapping strokes, you can firmly print a large block
very evenly -- a spoon or knob usually has a greater surface area in
contact with the block (so more pressure is reqd to print the same
density) and that surface area is concentrated, so MANY close
together passes are reqd to print evenly.
Hard to explain but it's TRUE that a decent baren prints MUCH easier
and quickly and better than any spoon or knob -- try it, you'll like
it (except the re-covering part -- save your alternative approaches
and ingenuity for cover material design if you like) -- the "sosaku"
baren on this page http://barenforum.org/mall/products/barens.php at
$40 is a 'decent' baren for the price -- you can make good prints
easily with it if you don't want to make your own... The "korokoro"
baren on the same page at $137.37 NEVER needs recovering and works
great using zillions of tiny ball-bearings instead of knots or
braids. It's a GREAT tool and very low maintenance!
-- Mike
PS -- a press offers less control (fewer 'artistic' printing
effects), but works just fine for hanga and oil printing, but costs
more than a spoon or baren. :)
Mike Lyon
Kansas City, Missouri
http://mlyon.com
A decent baren is a HUGE technological leap above your alternative
examples -- and you CAN make your own and obtain decent results,
certainly much better than with a spoon or knob! (cut a 6" or so
diameter disk from 1/4 or 3/8 inch plywood, sand one side so the
edges are slightly bevelled from the outer edge to about 1.5" in from
the center (you're making a giant wooden spoon here with a VERY
shallow convex side)... Then (this is the time consuming part) braid
three 15 to 20 foot long strands of heavy cotton twine (not too heavy
-- but maybe 3 or 4 times thicker than kite twine -- maybe a little
less than 1/16" diameter) -- braid it tight and evenly, helps if you
make little spools of each strand so you don't have to untangle every
5 seconds... Then, cut the braid at one end and starting at the
center of the disk, on the rounded side, hot melt glue the braid to
the disk, coiling it around and around tightly, flat side of braid
against the wood -- when you get done, the whole bottom of the disk
should be covered with tight braid -- you can heat it on warm (200
degrees F) in an oven if you like, then take it out without burning
yourself and flatten it against a counter-top if you've made any big
bumps during glue-up. Then cover it with a takenokawa in the usual
way and you've got a $5 baren at least as good as any $70 baren
around... Instead of takenokawa, you can use shrink wrap or tie some
very thin uhmw (anything thin, durable, and slick) around it -- if
the material doesn't make a 'handle', you can add a strip of plastic
for a handle and tack it firmly to the baren tight enough so you can
just get your finger tips all the way underneath.
This kind of thing (a baren) offers a significant mechanical
advantage over a flat disk or spoon shape in that it contacts the
block on MANY very small points over a relatively large area, so with
only a few overlapping strokes, you can firmly print a large block
very evenly -- a spoon or knob usually has a greater surface area in
contact with the block (so more pressure is reqd to print the same
density) and that surface area is concentrated, so MANY close
together passes are reqd to print evenly.
Hard to explain but it's TRUE that a decent baren prints MUCH easier
and quickly and better than any spoon or knob -- try it, you'll like
it (except the re-covering part -- save your alternative approaches
and ingenuity for cover material design if you like) -- the "sosaku"
baren on this page http://barenforum.org/mall/products/barens.php at
$40 is a 'decent' baren for the price -- you can make good prints
easily with it if you don't want to make your own... The "korokoro"
baren on the same page at $137.37 NEVER needs recovering and works
great using zillions of tiny ball-bearings instead of knots or
braids. It's a GREAT tool and very low maintenance!
-- Mike
PS -- a press offers less control (fewer 'artistic' printing
effects), but works just fine for hanga and oil printing, but costs
more than a spoon or baren. :)
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 6
From: Mike Lyon
Date: Fri, 24 Feb 2006 16:19:23 -0600
Subject: [Baren 30158] Re: Alternatives to a "baren"
Send Message: To this poster
Chris wrote:
>I'm curious as to what others are using for a baren. I do realize
>that getting a good baren is probably worth the money,
>but for now I'm curious as to what others are using for an
>alternative (wooden spoon, drawer knob, etc.).
PLUS! A baren does a much better job than a spoon or knob of
bridging large carved-out gaps without blotching (pushing the paper
down onto inky carved-out areas).
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>I'm curious as to what others are using for a baren. I do realize
>that getting a good baren is probably worth the money,
>but for now I'm curious as to what others are using for an
>alternative (wooden spoon, drawer knob, etc.).
PLUS! A baren does a much better job than a spoon or knob of
bridging large carved-out gaps without blotching (pushing the paper
down onto inky carved-out areas).
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 7
From: "Chris Bremmer"
Date: Fri, 24 Feb 2006 20:14:34 -0600
Subject: [Baren 30159] Re: Alternatives to a "baren"
Send Message: To this poster
Mike,
Thanks much for the very informative post, much appreciated! I also
found an article on the Baren encyclopedia that gave some other
suggestions as well, so I'm going to do some experimenting this
weekend.
Thanks again,
Chris
Thanks much for the very informative post, much appreciated! I also
found an article on the Baren encyclopedia that gave some other
suggestions as well, so I'm going to do some experimenting this
weekend.
Thanks again,
Chris
Message 8
From: "Robert Canaga"
Date: Fri, 24 Feb 2006 18:42:00 -0800
Subject: [Baren 30160] Re: Alternatives to a "baren"
Send Message: To this poster
Bone folders work very well and are good even with a baren for detail areas.
>I'm curious as to what others are using for a baren...
>I'm curious as to what others are using for a baren...
Message 9
From: "Robert Viana"
Date: Sat, 25 Feb 2006 01:32:41 -0200
Subject: [Baren 30161] my exchange #28 key block
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Hello everyone!
Talk about being on time for the next exchange! If you want a sneak peek at what my print is starting out as, click the link. It is the key block. I have big plans for this simple block!
http://www.printmakers.info/boot.htm
cheers, rob
Talk about being on time for the next exchange! If you want a sneak peek at what my print is starting out as, click the link. It is the key block. I have big plans for this simple block!
http://www.printmakers.info/boot.htm
cheers, rob
Message 10
From: Blog Manager
Date: 25 Feb 2006 04:55:05 -0000
Subject: [Baren 30162] Baren Member blogs: Update Notification
Send Message: To this poster
This is an automatic update message being sent to [Baren] by the forum blog software.
The following new entries were found on the listed printmaker's websites during the past 24 hours. (13 sites checked, just before midnight Eastern time)
*****************
Site Name: David Bull, Woodblock Printmaker
Item: Scroll Project - Update to progress reports: February 21
http://woodblock.com/scroll/progress/02_21.html
*****************
Site Name: m.Lee Prints
Author: m.Lee
Item: Cypress WIP Originally uploaded by m.Lee. ...
http://mleeprints.blogspot.com/2006/02/cypress-wip-originally-uploaded-by-m.html
*****************
[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:
http://barenforum.org/contact_baren.php
The following new entries were found on the listed printmaker's websites during the past 24 hours. (13 sites checked, just before midnight Eastern time)
*****************
Site Name: David Bull, Woodblock Printmaker
Item: Scroll Project - Update to progress reports: February 21
http://woodblock.com/scroll/progress/02_21.html
*****************
Site Name: m.Lee Prints
Author: m.Lee
Item: Cypress WIP Originally uploaded by m.Lee. ...
http://mleeprints.blogspot.com/2006/02/cypress-wip-originally-uploaded-by-m.html
*****************
[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:
http://barenforum.org/contact_baren.php
Message 11
From: FurryPressII # aol.com
Date: Sat, 25 Feb 2006 00:12:22 EST
Subject: [Baren 30163] : Alternatives to a "baren"
Send Message: To this poster
VANDERCOOK
john c.
john c.
Message 12
From: "amy dean"
Date: Sat, 25 Feb 2006 00:44:47 -0500
Subject: [Baren 30164] Re: Alternatives to a "baren"
Send Message: To this poster
I'm sure everyone has an opinion on this, and there is, of course, no right or wrong. I've been using a wooden spoon for years. Because it kills my hand, I purchased a teflon baren. I like it, but because I do reduction woodcuts which require heavy pressure for layers to cover layer, a baren won't do. I have also, at times, used the bottom of a baby food jar, or my feet, or my hands. And on those "rare" occasions when a print goes bust on the second-to-last color, I find banging my despairing forehead into the block repeatedly makes an interesting impression.
My personal advice, go cheap. It's only pressure.
Jeff Dean
Hamburg, NY
My personal advice, go cheap. It's only pressure.
Jeff Dean
Hamburg, NY
Message 13
From: richard stockham
Date: Fri, 24 Feb 2006 23:38:43 -0800 (PST)
Subject: [Baren 30165] Re: 2/21/2006 07:25:24 PM
Send Message: To this poster
Thanks for the suggestions. I have a hard time seeing
the fine grain of those prints you put up yesterday,
unlike the close up section of the aspen grove on your
blog. Maybe its my monitor, my eyesight, or some
combination. I did get a better feel from the one you
put up today, though the layers were more distinct
than I thought they would be. As for your proposed
experiments, trial # 2 is what I'm usually shooting
for, while trial # 3 is what too often happens when
I'm just starting proofing on a new print. I'll have
to try trial # 1. I have a newly cut plate of a line
of trees with finely cut branches and I'll try the
technique to see if it will simulate a bark texture,
and using the feather pressure out on the fine end of
the branches, and using little water and then lots of
water to vary the size of the goma. Thanks for the
suggestion. This way I may not have to cut a second
plate. Do you know those kinds of backgrounds Koson
gets with the varying bokashi and goma (some of Toshi
Yoshida's prints have that ground effect as well). It
just occured to me that I might be able to get that
effect using a variation of your suggested Trial # 1
as well.
Thanks again,
Richard