Today's postings

  1. [Baren 39101] Re: New Baren Digest (HTML) V47 #4853 (Jun 15, 2009) (Marilynn Smith)
  2. [Baren 39102] Re: Paper ("Patricia B. Phare-Camp")
  3. [Baren 39103] paper ("viza arlington")
  4. [Baren 39104] Re: paper... our love and hate relationships (Charlie overshoe)
  5. [Baren 39105] paper choices (Andrew Stone)
  6. [Baren 39106] Re: Rives paper (Julio.Rodriguez #
  7. [Baren 39107] paper (Shireen Holman)
  8. [Baren 39108] Welcome to the Baren Ads & Ops Newsletter June 15, 2009 (Mary Kuster)
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Message 1
From: Marilynn Smith
Date: Mon, 15 Jun 2009 15:18:49 GMT
Subject: [Baren 39101] Re: New Baren Digest (HTML) V47 #4853 (Jun 15, 2009)
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For oil based printing: Somerset, which has a soft rougher texture.
The work horse Rives BFK which is not as soft as somerset.
Stonehenge, which is smooth and comes in a nice black as well as white
and beige. Magnani prescie (might have misspelled that) which is
smooth and comes in lovely whites and they have a nice blue color. I
love Arches 88 for water based monotypes, I use Akua kolor, watercolor
and Createx inks. I have had some success with lightweight watercolor
paper using water based inks from powdered pigments. I used a paper I
bought in Mexico, it was similar to Fabriano 90lb watercolor paper for
hanga and had reasonable success. I have also had some success with
Masa and water based pigment. I have some gorgeous Japanese papers,
but don't remember what and they are not labeled. I have found oil
based inks are much easier to print on just about anything, water
based hanga is much more sensitive to the right papers. Unfortunately
my studio might look organized but my flat file is stuffed with a
grand assortment and I don't remember what the names of the papers are
I just use whatever seems right at the moment. I have almost always
used Dan Smith oil based relief inks and find them very good. The only
other oil based inks I have tried are graphic chemical, I purchased a
brown litho ink (graphic chemical label) on the way to Mexico a few
years back and it works well.

I started out years ago with each of the drawers in my flat file
labeled and organized, that simply did not last. I buy pretty paper
that often works well but fail to label it and over time I just don't
recall what it is. Barbara you are not the only one who has an
unorganized assortment but at times it can be fun. When I went to do
my ox print it was nice to discover a stack of leftover pieces trimmed
from another series that fit perfectly. I actually got into that
studio and finished my cards and will be slowly sending out the rest
of them in the next few weeks. I had oil based ink leftover on my
plate, after finishing my ox, and a brayer out so I grabbed a tiny
collagraph plate that had been lying around. I opened my top file
drawer and on top of the stack was some leftover long thin strips of
lovely paper. I can tell it is acid free and that it had a deckled
edge, but it is uncertain what it is. (I am guessing Stonehenge)
That is a common occurrence for me, especially when I do monotypes, I
just open a drawer and grab something. That little plate had been run
briefly as an intaglio and now it has been run as a relief print,
interesting how versatile some things can be. I am an unorganized fly
by whatever strikes me person, wish I could be more specific on hanga
papers. I do recall that Mike Lyon sent out a list of papers that work
well for hanga about a year or year and a half ago. It must be
somewhere in the encyclopedia.

Good task Barbara, it will be a helpful one. Hey if that paper from
Mexico works well for hanga I want the name of it, please. We do have
one art store in the area of Baja I go to but not much paper suitable
for hanga. If I get the name of that paper perhaps I can get the store
to supply me with some from the mainland.
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Message 2
From: "Patricia B. Phare-Camp"
Date: Mon, 15 Jun 2009 16:49:13 GMT
Subject: [Baren 39102] Re: Paper
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When it comes to paper I experiment.

As I carve my plates I imaging the qualities of paper that will enhance
the print. When the plates are carved I go to the local supply
proprietor who has a loverly paper room. There I will go through sample
books asking her to pull certain one that seem to fit my idea and a few
that strike me as possibilities I hadn't thought of. Then I touch each
one and examine it in the light. After examination and culling out
which ones to proof with I purchase one sheet of each take them home
tear them to size and proof on each one. Once I've decided on the paper
for the edition I call the proprietor and have her pull the number of
sheets it will take to complete an edition plus ten.

I often print on papers not designed for printing. But, I will say that
some great standards that I use again and again are BFK light and heavy,
Stonehenge, Mulberry white or natural and Masa. I love the smooth
surface and crisp whiteness of Masa for black and white hand burnished
relief prints. Its a strong paper and can take quite a bit of abuse...
Masa also prints beautifully with an ink jet printer, then I can over
print it with just about any traditional printmaking technique. Did I
mention that I'm an experimental artist -- it's not just paper that I
tinker with...
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Message 3
From: "viza arlington"
Date: Mon, 15 Jun 2009 17:18:02 GMT
Subject: [Baren 39103] paper
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I have limited funds and I don't just print relief prints so I need papers that are fairly inexpensive and work for all printmaking methods.
I use the 250gsm Rives BFK for everything and it is probably my favorite paper. It is a nice white paper i print it damp for hanga and etchings and usually dry for oil based block printing. i use a ball bearing baren for most relief printing but occasionally i do use my small press.

I accidentally bought the 280gsm Rives BFK Heavyweight last year and did use it for hanga prints but i think it is too thick to print dry with a ball bearing baren.

I use Rives Lightweight for most of my hanga prints and i like it just fine. It has a creamy white color. i also print it dry with oil based inks. I like to use it for chine colle because it is easy to print dry with a baren even with the additional layers of paper.

I also like Masa for printing dry with oil based inks mostly because it prints a very crisp line and it is easy to print by hand with a baren also very inexpensive. i don't like it for hanga. It is a cool white boring paper but i do love that crisp line it reminds me of the way newsprint prints except only white and acid free.

I think i will try some Rives Heavyweight this year. I was wondering if the "white" is as white as the Rives BFK white or is it more like the Rives Lightweight" white" or some other shade of white? Also is it just the difference in weight or is it sized differently that makes it good for hanga?

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Message 4
From: Charlie overshoe
Date: Mon, 15 Jun 2009 18:04:34 GMT
Subject: [Baren 39104] Re: paper... our love and hate relationships
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Have been collecting paper since I was a kid ... love the different feel of the various papers .... and though I've always planned to use my collection, SOMEDAY,.......all the odds, ends and discontinued papers will probably eventually go to my daughter Kate, who is also a printmaker.

As to the paper I most use .... it is Magnani Pescia. This paper feels right to me and takes Charbonelle inks beautifully. The one problem I have run into while using this paper is it's tendency to delaminate in large areas of ink. However, once this is known, you just dampen less or wait until the paper is dryer.

The Magnani P. is also a great paper for computer drawings but has to be fed into the printer a sheet at a time.

Barbara P.
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Message 5
From: Andrew Stone
Date: Mon, 15 Jun 2009 18:10:21 GMT
Subject: [Baren 39105] paper choices
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Like the golfer who is convinced he'll play better with new clubs, or a different ball, or a new glove, I keep hoping I can shortcut the long apprenticeship needed to get better at Moku Hanga by buying another chisel or seeking a new paper. I'm still a beginner but here's my experience with a few of the papers already mentioned for Moku Hanga printing on damp paper. As a member of the disorganized, untidy club most of my printing efforts include paper too wet, block too dry, too much ink, ink drying on block, etc. etc. so the papers that work for me will for any other challenged printer. I tend to print small so paper stretch hasn't been too much an issue.

Nishinouchi from McClains is reasonably priced as its a large sheet. It is thicker around the perimeter than in the center so take that into consideration when you cut it.
It is a warm natural color that benefits some prints more than others. I use a backing sheet when I print or it starts to pill. I use a lot of it and I'm always surprised at how strong it is once cut to size and printed (compared to the flimsy feeling it has when handling a full sheet).

I've had decent luck with Rives lightweight for small (4X6) or 8"X10" size prints with 3-4 blocks. It's cheap and the prints have come out bright and clear.

Similarly, I use the very inexpensive student-grade, machine-made Shin Torinoko from McClains for proofing but often I'm happier with my proofs than the one's printed on the more expensive papers. It's bright white and feltlike but handles well if protected with backing sheet while printing. Made with linen/wood pulp it's ph neutral so although "Student Grade" I use a lot of it.

I have had no luck with the Masa Dosa from McClains. Too cool a white, rough, prints badly for me/by me.

I really like the Gampi from McClains as the paper is just beautiful and opalescent but I've had problems with printing and paper delamination but when It's too wet. And I haven't yet mastered how to get it to behave.

I'd like to hear more about the Baren Mall other papers as I haven't tried them yet: Gekko, New Hosho, etc.

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Message 6
From: Julio.Rodriguez #
Date: Mon, 15 Jun 2009 20:49:18 GMT
Subject: [Baren 39106] Re: Rives paper
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Viza writes:
"I think i will try some Rives Heavyweight this year. I was wondering if
the "white" is as white as the Rives BFK white or is it more like the
Rives Lightweight" white" or some other shade of white? Also is it just
the difference in weight or is it sized differently that makes it good for

Viza, the Rives Heavyweight looks (color) and feels just like the
lightweight, just heavier. The light is 115gms and the heavy is 175gms. I
purchase sheets that are approx. 19" X 26". Lightweight is fine for prints
which require just a few impressions...I favor the heavy and use it if for
multi-color prints. The heavy has more of the 'feel' of the Japanese
handmade papers (but not as good !).

I use it exclusively for all my printmaking except when I upgrade to
Japanese washi for special projects. I saw Dick Blick is having a 40-50%
off sale:

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Message 7
From: Shireen Holman
Date: Mon, 15 Jun 2009 22:49:52 GMT
Subject: [Baren 39107] paper
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If you are compiling information about oil based printing as well,
here is what I use. Mostly I use handmade paper, but I also like
Arches 88, dry, and Rives BFK, damp. Both take multi layers very well.
I use Daniel Smith oil based relief ink. Depending on the consistency,
which varies depending on the colour, I add setswell or miracle gel
reducer or clove oil. That also depends on how many layers I plan to

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Message 8
From: Mary Kuster
Date: Tue, 16 Jun 2009 03:00:10 GMT
Subject: [Baren 39108] Welcome to the Baren Ads & Ops Newsletter June 15, 2009
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*Baren Ads & Ops*

* *June
15, 2009

Welcome to the Baren Ads & Ops Newsletter


In depth Moku Hanga DVD instructional video. This DVD
is playable on your Computer or a Video player attached to the TV.

The information and instructions shown on this professionally made DVD
is over an hour long and is second to none. It is the accumulation of 18
years of hands on experience by Graham Scholes who has created over 100
print images, carving 600 plates and printed approximately 55 thousand
sheets of Hosho Paper. Full details are available at...

*/New Directions in Printmaking: The Technical
Side/* Nik Semenoff

produced DVD - which contains the following:

Toner in All Media: General information on how toner can be used in
print media.

Waterless Lithography: Explains how to use common caulking silicone
as the ink rejection surface on the plate.

Toner in Intaglio: How toner is used with photo intaglio plates and
using electro-etching for safer etching.

Copper sulfate Mordant: Using inexpensive copper sulfate and common
salt to etch metal plates. It can be converted to cupric chloride for
etching copper plates.

Order on the Internet by using PayPal:


*Japanese Woodblock:* *Moku Hanga SANTA CRUZ
*Classes are in the traditional water base woodcut technique of Japan,
printed with watercolor and sumi ink. This refined woodcut technique
offers rich, light-fast color, precise registration, non-toxic cleanup
and printing without a press. It is the same technique used by the
Japanese ukiyoe masters in the 19th century, made accessible for western
artists. These workshops include an historical overview and focus on how
the technique can be useful for contemporary printmakers.

Class dates (Class #01CAMH1-05) are: Sat. & Sun., August 23 & 24, 10:00
am to 4:00 pm

Registration: $200, plus $50 materials fee at class. (This includes
wood, paper and color, and the loan of printing and cutting tools. Block
size will be 6 x 8 inches, image size approximately 5 x 7 inches.)

Cabrillo Extension and Community Education 6500 Soquel Drive, Aptos,
California 95003 The class is in room 5010 in the horticulture area at
the top of the hill, overlooking Monterey Bay. Cabrillo main office:
831-479-6331 fax: 477-5239

Register on line at: *

*_Marketing Tools:_*


Making a living as an artist, the brave way! Entertaining and thorough
account on how to launch a career as an art festival artist. A book for
artists who embark on the treacherous and most wonderful adventure of
selling artful creations in art festivals and generally directly to the
What you will need, how to choose shows, sales at the booth, marketing
and promotion, setting goals for continued success, display tips,
tricks of the trade, staying healthy and much more.

*_Artist Opportunities_*

*/North/* due October 15, 2009

*/Cardinal Directions/* will be taking sign-ups soon.

* *

*/Southern Winter Northern Summer Solstice 2009 Print Exchange/*
You are invited to join an international group of printmakers who hold a
print exchange at the time of the two yearly solstices.
Here are the details for our next exchange. We remind you to please be
mindful of the deadlines.
Sign-up deadline: June 21, 2009 ... sign up by sending private email to:

*_Exhibits To See_*

Waves, Waterfalls and Ripples: Water in Japanese Art, a small exhibition of classic prints is showing at the Allentown Art Museum through July 18.
It includes 17 prints, mostly Hiroshige and Hokusai, with a couple by Hiroshige II. The Hokusai prints are all from the waterfall series and are posthumous.
The Hiroshige prints are mostly from the 36 views of Fuji series.


Graphic Chemical and Ink

McClains Printmaking Supplies

Stephen Kinsella Paper -- Fine Art Papers

Whelan Press Printmaking Etching Press


Ads & Ops published on the 15th of each month

Send your ad or opportunity request before the 13th to

Newsletter coordinator: Mary Kuster

Mail Mary Kuster