Today's postings

  1. [Baren 33074] Re: using waterbased moku hanga inks on blocks that have been used previously for oil based? ("Marissa ")
  2. [Baren 33075] Re: Baren Digest (old) V38 #3850 ("Marilynn Smith")
  3. [Baren 33076] regarding acetate ("Oscar Bearinger")
  4. [Baren 33077] Re: regarding acetate (Charles Morgan)
  5. [Baren 33078] Re: using waterbased moku hanga inks on blocks that have been used previously for oil based? (L Cass)
  6. [Baren 33079] Nori (cucamongie #
  7. [Baren 33080] Baren Member blogs: Update Notification (Blog Manager)
  8. [Baren 33081] image transfer using acrylics (David Harrison)
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Message 1
From: "Marissa "
Date: Fri, 30 Mar 2007 14:31:53 -0400
Subject: [Baren 33074] Re: using waterbased moku hanga inks on blocks that have been used previously for oil based?
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Thanks for the tips and information Mike. I was on April's website yesterday
and I couldn't find her email address to save my life! But I am planning a
trip to NYC in May to teach a workshop of my own maybe I could get together
with her. I will look into Wesleyan.

The only reason why I was planning on using gouache is because it is
something that I already have on hand. If I end up liking moku hanga I
totally plan on getting some pure pigments. I just don't want to invest the
money in a bunch of pigments that I may end up not using if I don't take to
the process.

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Message 2
From: "Marilynn Smith"
Date: Fri, 30 Mar 2007 12:54:42 -0700
Subject: [Baren 33075] Re: Baren Digest (old) V38 #3850
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Marissa, I am a lousy technician for hanga and advice. But Mike is a good
one to take advice from. I would only say that with hanga there are enough
things to learn that to start with a block that had been used with oil based
inks is just one more variable that you have to work with and that block
might not work well. I should think that two small basswood block from say
McClains would not be very costly and worth the money to get you started
well. You would have 4 surfaces and could do a 4 color print! April Vollmer
is wonderful and so is her work. If you can take a workshop from the right
person it will definitely help you. Good luck!!

Welcome into the world our new grandson, Asher Lee Mills.
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Message 3
From: "Oscar Bearinger"
Date: Fri, 30 Mar 2007 17:01:05 -0500
Subject: [Baren 33076] regarding acetate
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hi folks

a while ago there was a small discussion about engraving with plexiglass. someone mentioned using acetate as well.
I was in an office supply store and checked these sheets out. they seem extremely thin.
can someone explain the how of this technique and the specific material (acetate) used.
is there some thicker acetate available?


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Message 4
From: Charles Morgan
Date: Fri, 30 Mar 2007 14:49:38 -0700
Subject: [Baren 33077] Re: regarding acetate
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I have not tried this process myself. But there is a good description
in an article titled "Drypoint variations" in the magazine
"Printmaking Today", vol. 15, no. 4, Winter 2006, page 20. The idea
is proposed as an alternative to using plexiglass (perspex), which is
very hard (and expensive) in comparison. The author suggests using
binding covers ... very thin stuff.

Basically, you use a sharpened tool to scratch into the surface of
the acetate ... you can also use roulettes, sand paper, etc. for
shading effects. Then ink and wipe as usual ... print on dampened
paper with an etching press (or you could use my little palm press).
I did not see any reference to how large an edition you could get.

The author's contact information is given as:

Sue Brown

A Ph.D. student in Europe emailed me a few years ago, and we had an
exchange of techniques. I told her about foilography, and she told me
about her process. Basically, she coats stiff paper (card stock??)
with acrylic medium. Then she scratches through it, or in some cases
peels off a layer. Then the paper plate is inked and printed. The ink
is held by the scratches and bare paper. Just something else to try ...

Hope this helps.

Cheers ...... Charles
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Message 5
From: L Cass
Date: Fri, 30 Mar 2007 18:02:53 -0400
Subject: [Baren 33078] Re: using waterbased moku hanga inks on blocks that have been used previously for oil based?
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Marissa - if you want to experiment without spending much I have a
suggestion - give it a try using the stiff (flat bottom Chinese )
stencil brushes found in most art suppliers-
here in Toronto I've found them in different sizes- also you should
also be able to get a cheap Taiwanese baren (if you don't possess one
) and when I recently ran out of Nori
I took Richard Steiner's advice to boil white rice until it more or
less turned into paste and refined it by pushing thru' cheesecloth or
you can use a blender -it keeps a week or
so in the frig. Gouache colours will produce more opaque layers than
transparent watercolours but why not give it a go - the paste should
be thinned enough just to drop
in a 'glob' off the end of the popsicle stick you'd use to stir the
paste. Colors you print will most likely look mottled or uneven
(espec when still wet) but you will learn by
doing it as I did -but then I'm not fussy about 'perfect' technique
which would probably appall many printmakers. I find the method
speedier and cleaner that rolling out inks,
and you can print western style over it, etc as someone else pointed
out- so much fun to be had!!!
Louise C.
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Message 6
From: cucamongie #
Date: Fri, 30 Mar 2007 18:12:07 -0400
Subject: [Baren 33079] Nori
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Marissa, IMHO the pre-mixed Nori is fine, I have used it a lot in the past. If that is what is most available to you, and you don't want to mail-order something, I would say go for it!

Another option, which IMHO is a step up from the pre-mixed Nori (and without getting into the complication of making your own rice paste) would be methyl cellulose. You can order this from Talas. It comes in a powder form and a little bit lasts a LONG time. You just mix water with it and you're good to go.

Talas' website

there is also a recipe for the methyl cellulose on their website.

Happy printing!

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Message 7
From: Blog Manager
Date: 31 Mar 2007 03:55:15 -0000
Subject: [Baren 33080] Baren Member blogs: Update Notification
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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. (32 sites checked, five minutes before midnight Eastern time)


Site Name: Belinda Del Pesco Fine Art Blog

Author: Belinda Del Pesco
Item: Monotype & Mixed Media: Social Skills


[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:

For reference, sites/blogs currently being checked are:
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Message 8
From: David Harrison
Date: Sat, 31 Mar 2007 11:08:57 +0100
Subject: [Baren 33081] image transfer using acrylics
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Hi all,

During another insomnia-fuelled Google session, I found mention of using
acrylic mediums to 'seize' ink or toner from printed images, with the
acrylic/ink layers then being burnished onto other surfaces. It's often
used for collage but some sites said they'd successfully transferred to

Now I guess this means that you'd end up cutting and printing from a
wood/acrylic composite rather than 'raw' wood, and this might affect things.

Has anyone here tried this out before?

all the best,

David H