Today's postings

  1. [Baren 38856] Re: New Baren Digest (HTML) V47 #4814 (May 12, 2009) (Marilynn Smith)
  2. [Baren 38857] Re: New Baren Digest (HTML) V47 #4814 (May 12, 2009) (Monica Bright)
  3. [Baren 38858] Re: New Baren Digest (Text) V47 #4814 (May 12, 2009) ("Patricia B. Phare-Camp")
  4. [Baren 38859] Re: New Baren Digest (Text) V47 #4814 (May 12, 2009) (Charles Morgan)
  5. [Baren 38860] gold leaf on prints (Georgina Leahy)
  6. [Baren 38861] Re: gold leaf on prints (ArtSpotiB #
  7. [Baren 38862] Re: gold leaf on prints (ArtSpotiB #
  8. [Baren 38863] RE: gold leaf on prints ("scottd - kaizen design llc.")
  9. [Baren 38864] Re: gold leaf on prints (Georgina Leahy)
  10. [Baren 38865] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Marilynn Smith
Date: Tue, 12 May 2009 14:00:47 GMT
Subject: [Baren 38856] Re: New Baren Digest (HTML) V47 #4814 (May 12, 2009)
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Umm, Maria you are in charge. But this is the first time I have heard
that collagraph printing is something we accept????? I love doing this
type of printing and my ox is a collagraph that is both inked and
rubbed as well as rolled with ink, using both possible techniques,
thus making my print both intaglio and relief. I looked up a
definition of collagraph to be sure I had it right. Here it is:

Printmaking: Collagraphs/Collage Blocks

A Collagraph print is a collage printmaking technique and is a form of
Intaglio printing. The collagraph plate is printed in the same way as
etchings, but also include the basic principle of relief printing and
can be printed either as intaglio or relief.

The term collagraph refer to a collage board where the materials are
assembled on a flat base or plate (matrix) to form a relief block with
different surface levels and textures.

Collagraph plates are created by sticking and gluing materials like
textured paper or fabric onto the plate and then coat it with varnish
or acrylic medium afterwards to protect the materials.

The plate can be made from wood plates or cardboard plates that you
build up using different materials.

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Message 2
From: Monica Bright
Date: Tue, 12 May 2009 14:27:34 GMT
Subject: [Baren 38857] Re: New Baren Digest (HTML) V47 #4814 (May 12, 2009)
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Exchange 40 showed up in my mail box yesterday. I just want to say WOW!! Thank you Robert
for your effort and time. I tremendously enjoyed looking through them, then showing them to
my husband, then trying to show my 16 month old-while teaching him to look with his eyes, not
his hands. Ironically, I remember my mom saying that to me; and I didn't listen either. :) School
is almost out for me and I look forward to a summer of playing with my son and creating more of my own art!
-Monica Bright
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Message 3
From: "Patricia B. Phare-Camp"
Date: Tue, 12 May 2009 17:02:19 GMT
Subject: [Baren 38858] Re: New Baren Digest (Text) V47 #4814 (May 12, 2009)
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> "Question: The people who use handmade paper - how do you register
> accurately with those deckled edges?"

The card paper in my master's thesis project is deckled on all four
edges. The prints are bleed prints so clips wont work in this case. I
wear strong reading/magnifying glasses and when I register I register to
the farthest edges of the deckle, lining the edges of the kento with the
edges of the deckle with the strongest 90 degree angle. If a part of
the deckle sticks out so much as to angle the paper too much I simply
fold just that part of the deckle over and LEAVE it folded throughout
the printing of all the blocks. When finished printing it is easy to
gently fold any folded deckle back with a pallet knife while the paper
is still damp. I've been carefully registering this way and so far a
majority of the prints have come out with very nice registration. On
the one print where the registration was off it was because one of my
kentos had been carved a little off! When I've multi color printed
large sheets of deckled paper I simply fold the deckle edge back at the
kentos creating a straight edged notch that I can easily drop in again
and a again. When done I use a pallet knife to gently fold the smooth
the deckle back into place.

I anticipated that registration would be difficult and purchased enough
paper so that I could print 20 cards in a 10 card edition. I'm grateful
that I have been able to register accurately with the above technique
and usually end up with 20 well registered cards, the variations are due
to variations in ink application, or changes made to a block after I'd
printed a few and found cut marks I didn't like etc...but very few of
the variations have been due to the registration!

hope this helps!

Patti Phare-Camp
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Message 4
From: Charles Morgan
Date: Tue, 12 May 2009 17:35:55 GMT
Subject: [Baren 38859] Re: New Baren Digest (Text) V47 #4814 (May 12, 2009)
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I must be missing something here. How are you doing a bleed print when the edges are folded?

Cheers ..... Charles
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Message 5
From: Georgina Leahy
Date: Wed, 13 May 2009 04:57:22 GMT
Subject: [Baren 38860] gold leaf on prints
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I am about to experiment with some gold leaf on a print (still have to buy it
but was planning on buying the real stuff).  I was just speaking to a man at the
shop and they have gold leaf transfer - apparently you just rub it on and it sticks. 
Has anyone used this sort of thing with success?  Also what size do you use for ordinary
gold leaf when using paper. In Iconography classes I attend we used garlic juice!
And finally can you roll the print after or does it have to stay flat foreveor more.
I was thinking about sending a print to an exhibion across the country and if the print
cannot be rolled I won't put the gold on.
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Message 6
From: ArtSpotiB #
Date: Wed, 13 May 2009 07:06:55 GMT
Subject: [Baren 38861] Re: gold leaf on prints
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HI Georgina.

I'm sure that wiser folk than I will have more to say on the topic of using
metallic leaf in prints.

In answer to your question, gold leaf comes in two general ways. One is
loose, which is to say that the sheets are packaged in a pink tissue booklet
and without a sticky side. The other is meant to be placed on a surface (glass
is the traditional use for this type) and then gently rubbed so that the
sticky side adheres to the glass. Probably it is best to keep a sheet of paper
between the actual gold leaf and the burnisher so as to not wear down the
gold leaf. If you choose to cut either one, be sure to keep it between
something for control in cutting unless you go the traditional route of leather
pad and knife as it is terribly thin. Breathe on true gold leaf and watch it
fold and tear! You can control it somewhat using static electricity. Some use
the static from their hair by sweeping the tools/brush on their head's

I've used metallic leafs in my art for many years as both a painter and a
printmaker. As a printmaker I used silver colored leaf that is actually
Aluminium to avoid tarnish issues. The prints were embellished AFTER being
pulled. I used gloss medium (Liquetex) and a finely tipped Japanese brush for
control. I would cut the leaf while it was still in the pink thin paper, placing
clusters of leaf on a plate for easy access. The sissors used were very
sharp. I only did a little section at a time in order to not warp the paper
much. My last step was to seal it all again with the gloss medium. I avoided
having water in the brush as much as possible in order to keep the gloss
medium clear. The strokes were slow and with the side of the brush to avoid
bubbles. My use was in large areas. If carefully done, this is very durable. You
can see examples of these prints here California Society of Printmakers -
Benny Alba.

By the way, my half baked print for exchange #40 is placed upside down in
the documentation. The red chop mark should be at the bottom right. And Carol
M. I have your treat picked out, just have to send it!

Bet you'll get some fab advice from the group. I am looking forward to
reading it all.

ArtSpot Out
Benny at OMebase

Art is the visible face of any culture."

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Message 7
From: ArtSpotiB #
Date: Wed, 13 May 2009 07:11:32 GMT
Subject: [Baren 38862] Re: gold leaf on prints
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Darn! Georgina, I had it wrong. Just rethought the sticky gold. It's
attached to a sheet and is designed to be pressed against the surface to be
embellished. That surface should have a material on it to make the gold stick.
After burnishing, one peels away the sheet. I apologize! I've never used that
kind and forgot how it works.

Sorry for posting twice.

I'll go crawl under a rock now...

Art is the visible face of any culture."
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Message 8
From: "scottd - kaizen design llc."
Date: Wed, 13 May 2009 12:31:33 GMT
Subject: [Baren 38863] RE: gold leaf on prints
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I have a gold leaf kit that I bought for a project last year and never
used it. It has all of the adhesives and cover coatings in it, plus 25
sheets of leaf (I believe these are imitation leaf). You are welcome to
the kit to practice with before you start with the good stuff. If you're
in the US, I can ship it for little of nothing. I have daily UPS pickup.
If you're out of the US, shipping may be more than the kits worth. Let
me know if you can use it. Take care.
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Message 9
From: Georgina Leahy
Date: Wed, 13 May 2009 12:36:59 GMT
Subject: [Baren 38864] Re: gold leaf on prints
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thank you very much for that kind offer.  I live in Australia so it would
probably be to expensive.  Thank you.  Your kind gesture is initself a lovely gift.


Digest Appendix

Postings made on [Baren] members' blogs
over the past 24 hours ...

Subject: balloon gets a string
Posted by: Andrew Stone

Well, I managed to finish clearing the 3rd block last night and this morning to dampen a few sheets of paper to see how it looks.
Here's the carved block of cherry and heres the proof. I wish the string were thinner but this is as thin as I can go (I can carve thinner lines with the toh/outlining knife but its the clearing chisels that still cause trouble for me and as this line needs to be continuous I didn't want to risk losing any. I need to clean up a few spots of the block where there's some unwanted spotting but I'm pretty happy with the additions.

The background is still a cobalt violet but a bit too dark, the striations are from too much paste and a cheap stencilling brush. The darker lines are still a mix of indanthrone blue and cobalt blue. I'm pretty happy with the composition and the hair is an improvement. When the time comes to print I'll try to better define the two different sets of lines for the hair (It should be enough just to change the order of printing and print the keyblock last instead of first). Now there's just to work out some color choices for the background . . .
[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Lacrime di Rospo.
'Reply' to Baren about this item.