Today's postings

  1. [Baren 39113] Paper Recommendations (Gayle Wohlken)
  2. [Baren 39114] paper (Cucamongie #
  3. [Baren 39115] paper, p.s. (Cucamongie #
  4. [Baren 39116] Re: paper, p.s. ("Louise Cass")
  5. [Baren 39117] Exchange 41 (josepht280 #
  6. [Baren 39118] Re: paper choices (J Cloutier)
  7. [Baren 39119] Re: paper choices (Graham Scholes)
  8. [Baren 39120] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Gayle Wohlken
Date: Tue, 16 Jun 2009 14:04:27 GMT
Subject: [Baren 39113] Paper Recommendations
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Barbara, is it just moku hanga paper you are interested in knowing
about? I don't do moku hanga, but my all-time favorite for black
prints, and even for color work is Kitakata. This is how it is

"Kitakata is manufactured from mitsumata. Mitsumata fibers produce a
soft, smooth surface with a natural gloss. The silky touch makes this
paper a favorite.

Sheets measure 16" 20" (approximately 40.5 cm 51 cm), and are
sized and acid-free, with deckle edges. Weight is 30 gsm."

One thing I find interesting about the above description from Blick is
that I never thought kitakata paper was sized. I don't think it must
be sized very much.

Anyway, for black ink work, I like it very much. I don't like pure
white paper, and the natural tone of this paper seems to make the
image more attractive. I also like the way the image comes through on
the back so you can see what you are doing when hand burnishing. It's
a strong paper, but sometimes there are little nubs in it that can
tear if you aren't careful. If you see those, I recommend using a
piece of parchment paper over that area. Whenever I've been lazy and
not used the parchment, I've been sorry. I've ruined a couple
beautiful prints by not following my own advice.

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Message 2
From: Cucamongie #
Date: Tue, 16 Jun 2009 14:50:57 GMT
Subject: [Baren 39114] paper
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Hi folks, enjoying reading what paper, inks etc everyone likes to use,
thanks for sharing!

for hanga:
once in a while when I can use expensive paper, I would spring for
Yamaguchi -- it prints very easily and holds the color really well. Like Mike
said, it is somewhat sparkly but I don't have a problem w/that!

If I need to use cheaper paper (which is most of the time) I have found
that Stonehenge works very well, particularly if you have a ball bearing baren
on hand, as you have to press down hard (or sometimes do multiple
printings) for the color to transfer.

Another cheapo paper I have used that works well is hanga-shi, which I get
from Hiromi Paper. It is yellowy in color though so you have to want that
look. I printed my Self-Portrait/Tree print on that most recently.

As for inks, I use Guerra Pigments and Akua Kolor. The Akua Kolor can get
a bit sticky (it has honey in it) but I have found the colors to be nice
and bright. Generally I use Guerra pigments for the more earthy colors, as
some of these types of color in the Akua Kolor (at least in the older
mixtures I have) can be a bit thin in texture, and Akua Kolor or Guerra for the
brighter colors, as either one of these have worked well for me.

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Message 3
From: Cucamongie #
Date: Tue, 16 Jun 2009 15:21:42 GMT
Subject: [Baren 39115] paper, p.s.
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Hi folks, sorry about the 2nd post but I forgot to mention that I also have
frequently used Nishinouchi for hanga printing. It doesn't print as
easily as the hosho, but it is a very nice paper that is in between in price
between the hosho and the cheap papers like Stonehenge, Rives Heavyweight and
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Message 4
From: "Louise Cass"
Date: Tue, 16 Jun 2009 16:35:20 GMT
Subject: [Baren 39116] Re: paper, p.s.
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Hi everyone - I love collecting papers and like some other people have a number I can't identify - BUT I notice from my order slips at the Japanese Paper Place here in Toronto that I've bought and used a lot of Kozuke (90%) Kozo White (sized -43g) which sells for CDN$ 3.80 - 24" x 39" sheet . Since I don't do big editions I am v fond of a paper now called Mura Udaban (formerly Tamura Udaban - it's 100% kozo fiber- 54g (handmade) -sells for CDN $12.00 - 16" x 56" -a v convenient size - I've used various Rives and Stonehenge but they're too heavy and/or smooth since I handprint with cheap bamboo barens and can't get enough pressure - have used these papers for both brayer applied Western style with both oily and waterbased Graphic Chemical inks. When doing 'hanga' I use Windsor Newton artists' (tube) watercolours (with rice paste). Right now I've begun to use Dr Martin's 'Radiant Concentrated Watercolors' for bamboo reed pen and colour wash ptgs (on the heaviest japanese papers I can find -I like the textural quality better than cold pressed heavyweight Watercolour papers.) have also used Gampi Torinoko Whie - 90g (too expensive!) We don't appear to have any papers labelled 'Hosho' what fiber is it??
Louise C.
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Message 5
From: josepht280 #
Date: Tue, 16 Jun 2009 21:13:08 GMT
Subject: [Baren 39117] Exchange 41
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Hi Everyone in Exchange 41,

Whew! I hope your month has been better than mine. In 48hrs I lost a parent to natural causes, my youngest had a substantial car accident (she walked away) that we happened upon while driving back from dinner celebrating my wife's birthday! And my dog hiked his leg on our new HD tv and shorted it out. And this morning my neighbor told me she saw a rat go under my back porch. Not to mention the letter from the IRS and my mortgage lender. And it seems that that is only the beginning. So I have a list of things to take care of but I'm still working on my woodcut for exchange 41. There have been several drops from the list so please check to see who is off the waiting list. If you haven't let me know you are "IN" please email me atcoordinator41@barenforum.orgso I know that your email address is working and that the list is current. And to be fair, let me know ASAP if you find that you have to drop out so that others will have sufficient chance to work on their prints.

Thank you so much for your work to make this a success.

Joe Taylor
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Message 6
From: J Cloutier
Date: Tue, 16 Jun 2009 21:34:25 GMT
Subject: [Baren 39118] Re: paper choices
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Thanks, Andrew for mentioning the shin torinoko. I was feeling shy
about it, since it's a cheaper paper. But I've had the same experience
as you - I used shin torinoko for my proofs, and torinoko or Rives for
my prints - and ended up liking the proofs better. The colors seemed
livelier and clearer. I'm using only shin torinoko for my exchange 41
prints. (Pulling proofs this weekend!)

Jane Cloutier
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Message 7
From: Graham Scholes
Date: Tue, 16 Jun 2009 21:54:32 GMT
Subject: [Baren 39119] Re: paper choices
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You might want to check re the archival qualities of shin torinoko...
The stuff I am aware of is not.


Digest Appendix

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

Subject: Baren Ads & Ops June 15, 2009
Posted by: Julio

Welcome to the Baren Ads & Ops Newsletter


Moku Hanga DVD
In depth 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...
e-mail to:

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 . . .
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Subject: Color Plates Carved
Posted by: Annie B


I've carved four plates for the colors, so I'm ready to start printing "American Bible Story" tomorrow. I've been alternating between Nishinouchi paper and Echizen Kozo for this series depending on what effect I'm looking for. I like the rich off-white tone of the Nishinouchi and it makes these Pilgrim prints look "old," but I don't think it holds up as well under many many impressions. I did the Dorothy May Bradford print on Echizen Kozo because I thought it would take the overprinting inks better, but I think I'll use Nishinouchi for this print.

I'm also thinking about printing the keyblock differently. When I printed the proofs I liked the effect made by printing with etching ink and I may try doing this keyblock with Akua etching ink on top of the moku hanga style color blocks. The advantage I see to this is that the keyblock would stay dry, so the thin lines wouldn't swell as they do with the hanga method.

My trip to Plymouth last weekend was pretty interesting. Lynn and I weren't too enamored of the town itself and our hotel was...hmmm, how shall I say this...not too pleasant, but we spent a lot of time at Plimoth Plantation and learned a lot. I've been imagining the "curtain" in my new print as a kind of cranberry red color so I was amused to see this interpretation of John Alden's bed at Plimoth Plantation:


And another view of the one-room dwelling:

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