Today's postings

  1. [Baren 33098] Acrylic transfers and Rice starch ("Lee Churchill")
  2. [Baren 33099] Exchange #33 ("lmhtwb")
  3. [Baren 33100] Baren Exchange #33 is open for sign-up ("Mike Lyon")
  4. [Baren 33101] Re: using waterbased moku hanga inks on blocks that have been used previously for oil based? (Wanda Robertson)
  5. [Baren 33102] Re: New Year Prints Exchange (Julio.Rodriguez #
  6. [Baren 33103] Long ..... long .... woodblock print ... (baren_member #
  7. [Baren 33104] Longest print photo ... (baren_member #
  8. [Baren 33105] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: "Lee Churchill"
Date: Mon, 2 Apr 2007 09:23:52 -0600
Subject: [Baren 33098] Acrylic transfers and Rice starch
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Hi All,
Has anyone here tried this out before?

using acrylic mediums to 'seize' ink or toner from printed images, with
acrylic/ink layers then being burnished onto other surfaces. It's often
used for collage but some sites said they'd successfully transferred to
>>>>I have used acrylic transfer techniques for a lot of different
things... the technique I learned for transferring to wood was to coat
the wood with acrylic, coat the paper with acrylic so the photocopy
expanded, with both layers wet, lay the photocopy face down onto the
wood and burnish it down until it mostly dried (otherwise you can end up
with bubbles). Let it finish drying completely then roll the paper off
the back gently, using a very small amount of water to help and for the
final layer spit gets the fuzz off best. I've never needed layers and
layers of acrylic for this; I have done the layering technique when I
wanted to have a clear sheet for sculpting with but not to attach it to

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.

>>>The conservator in me thinks this is not a great method, especially
when purified rice starch paste is soooo cheap to buy. By using the
whole rice you end up with all the other 'stuff' that is in the rice
grain which is usually not archival, can be prone to yellowing and all
sorts of other nasty behaviors.


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Message 2
From: "lmhtwb"
Date: Mon, 2 Apr 2007 10:29:50 -0700
Subject: [Baren 33099] Exchange #33
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Hi folks,

I know I have recently (re)joined this group so maybe I don't understand
what's going on, but is there going to be a print exchange #33 or not? If
so, what is the size and theme?

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Message 3
From: "Mike Lyon"
Date: Mon, 2 Apr 2007 13:34:04 -0500
Subject: [Baren 33100] Baren Exchange #33 is open for sign-up
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I wound up out of town over the weekend and unable to remove the 'error'
reply page from Baren #33 sign-up, so apologies for the confusion - the
exchange IS open for sign-up at and this will be a
THEMED exchange in an 'other' (other than chuban or oban) size - I received
a number of 'votes' for size and theme (thank you all) and tried to find
some consensus in order to arrive at the following for Exchange #33:

Size: Chu-tanzaku -- about 15 x 5 inches (39 x 13 cm)

Theme: Three colors (prints must be pulled from at least three blocks using
three or more colors)

See the sign-up page for additional details, but you may print in any inks
you like - water borne, oil-based, or combination.

Should be a VERY interesting exchange - get yourself signed up now!

OH - last thing - I will be traveling again 4/4 through 4/18, so will be
unable to move the 'holding pen' into the exchange proper until after I
return - but don't fret, the order will be retained and all will be properly
sorted out after I return.



Mike Lyon
Kansas City, MO
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Message 4
From: Wanda Robertson
Date: Mon, 2 Apr 2007 11:45:25 -0700
Subject: [Baren 33101] Re: using waterbased moku hanga inks on blocks that have been used previously for oil based?
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Hi Marissa,

Yes, methyl cellulose is non-toxic. It's basically the stuff that
holds paper fibers together. I like to use it because my climate has
lots of bugs & little animals (mice) that just love the taste of rice
paste! Since I started using methyl cellulose I haven't had any mice
or insect problems in my flat files. It has kind of a mild wet
newspaper odor - but not much. Keeps well in the fridge - but my
studio is kept quite cool, so I usually just leave the jar out on the
table. I have found that if it freezes - it turns watery & useless.

You should be able to print hanga with a press. But, it is so much
faster using a baren. I know it sounds like more trouble, but it is a
very efficient process and quite enjoyable. I use the less expensive
(about $40 now, I think) baren & it works fine.

Hope this helps,
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Message 5
From: Julio.Rodriguez #
Date: Mon, 2 Apr 2007 15:25:26 -0500
Subject: [Baren 33102] Re: New Year Prints Exchange
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Welcome to our two new members from the UK; Katherine and Sue....and to
any new lurkers out there....we are looking forward to seeing your work
sharing ideas...

Carole Baker and I have updated the Chinese New Year for
those that never got to see all those wonderful images of galloping
horses, barking dogs, cute monkees, cockling roosters, sheep (what does a
sheep do ???), etc....all the prints (except the snakes and dragons which
will be up in a week or so) are now up on the gallery. This is almost
eight years worth of imagery....close to 300 prints !!!

If you participated and your images are not up on the webpage let us know
and we will make it right....

Not sure what the future will bring but certainly there is some ideas in
consideration such as a traveling exhibition, an e-book or a dvd-format
gallery to share all these images once the project completes and goes full
circle.... in 2011 !!!!

If you enlisted and have prints outstanding...IT'S NOT TOO LATE....the
last four years of the participants lists are still available online so go
ahead and get busy....CUT & problem sending late
prints........we love getting these critters in the mail.

thanks....Julio Rodriguez
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Message 6
From: baren_member #
Date: 3 Apr 2007 00:43:25 -0000
Subject: [Baren 33103] Long ..... long .... woodblock print ...

Message posted from: Google alerts

OXFORD, Miss. A University of Mississippi student hopes to get confirmation soon that his woodblock print is the world's longest.
Christopher Brady's master's thesis project may indeed break a Guinness World Record.

The finished product -- officially measured this past Thursday -- is at 281 feet and three-quarters.

The entire process took about four months, not counting a couple of months spent in preproduction and planning out the logistics.

Brady has been spreading the word about his project to arts organizations around the state and hopes to show it at other galleries and museums.
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Message 7
From: baren_member #
Date: 3 Apr 2007 01:13:50 -0000
Subject: [Baren 33104] Longest print photo ...

Message posted from: Google alerts

World's longest woodblock print debuts at Vaught-Hemingway



As they watched it take shape over the last few months, what seemed at first a harebrained idea slowly became a miracle for marvel and cheer.

"How many feet do you have today, Chris?" the art students would ask, as Christopher Brady carved and rolled and pressed his way toward creating his master's thesis project.

The finished product -- officially measured Thursday at 281 feet and three-quarters inches -- happens to be the world's longest woodblock print. But that's not really the point.

"It was a secondary thing to go for this record," said Brady, who's wrapping up his master of fine arts degree at the University of Mississippi.

"I really was wanting to make this print as an exhibition of obsession and the ridiculous lengths we as humans go to sometimes to just fill time and space," he said.

"I know what it's about for me, but I think everybody can bring their own obsession. Everybody has their own ticks and compulsions, and I think everybody can bring that into it."

Victory -- and tragedy

In the end, more than 50 of his cheerleaders turned out Thursday afternoon at Vaught-Hemingway Stadium to watch as officials measured the print for submission to Guinness World Records.

The anticipated debut was not without tragedy. Despite a line of carefully laid sandbags and friends stationed along the way, a gust of wind caught the middle of the print and flung it in the air, ripping it in half -- just as the measuring was finished and the artist stood back to enjoy the scene.

The crowd of mostly fellow artists gasped, then quickly hushed. Quietly, they worked together to lay the fly-away center gently back into place. The artist paced out his hot disappointment across the yard lines.

"I'm not necessarily happy about what happened, but I'm resolved with it," he said later. "I'm going to patch it and show it and talk about it, and obviously it works its way into my idea."

The initial concept -- a single line drawn in intricate patterns and connected across a football-field-length of paper -- is one that took some selling when Brady first presented it to his thesis committee.

"There was probably an 'Oh-my-God' moment," said Matt Long, assistant professor of art and a committee member.

"We felt like it was just a huge task to take on, and within the timeframe he was talking about, it just seemed unattainable."

Process of obsession

Determined, the artist proved his own point through the exercise. He worked out the schedule of his project down to the hours it would take to produce and print each of the 35 2-by-4-foot carved wood blocks. That's about 10 hours each.

The entire process took about four months, not counting a couple of months spent in pre-production, planning out the logistics.

As with any project, it didn't go quite as planned. The nearly 400-pound roller that Brady created to press the inked panels onto the paper didn't give him the dark and solid look he wanted. In the end, he used a wooden spoon to apply more-targeted pressure.

After it's been measured -- and patched -- the finished product, "Type A," will be on exhibit in April at the Powerhouse Community Art Center. To fit the print into the space, the artist plans to hang it on posts like a fence, in a double-sided circular format.

Brady is leaving Oxford soon to rejoin his wife, Jackson attorney LeAnne Brady, and follow a career in fine art and teaching. His final work here is, he feels, a way to show his appreciation for the support the Oxford community has shown him.

"I'm not sure what's next for me,' he said. "But I feel like if I have the patience and wherewithal to make this monster, whatever life throws at me, I'll be OK."

Brady has been spreading the word about his project to arts organizations around the state and hopes to show it at other galleries and museums.

Also in his plans: Reprinting the blocks as a 300-foot-long piece, like he'd originally planned. He lost a few feet this time on trial-and-error, and 281 feet just isn't precise enough.

"It's kind of been bugging me," he said.
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Message 8
From: Blog Manager
Date: 3 Apr 2007 03:55:23 -0000
Subject: [Baren 33105] 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: Woodblock Dreams

Author: Annie B
Item: I Like This Better


Site Name: Belinda Del Pesco Fine Art Blog

Author: Belinda Del Pesco
Item: Monotype: Poker & Pepsi


Site Name: Blue Notes - A Printmaking Sojourn

Author: Jenn
Item: Elements


[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: