Today's postings

  1. [Baren 39587] mica ("viza arlington")
  2. [Baren 39588] Re: mica (Diane Cutter)
  3. [Baren 39589] RE: mica ("Mike Lyon")
  4. [Baren 39590] Re: if a tree falls in the woods...... (Sharri LaPierre)
  5. [Baren 39591] RE: mica (ArtSpotiB #
  6. [Baren 39592] Re: mica (ArtSpotiB #
  7. [Baren 39593] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: "viza arlington"
Date: Wed, 26 Aug 2009 15:19:59 GMT
Subject: [Baren 39587] mica
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hi all,
i was wondering if i just want a little mica simmer can i sprinkle it on and carefully brush it off right after printing a color or do i have to "print" the glue in order for it to print/stick? i don't want full coverage/thick layer i want just a hit all over the large printed area. if i do have to print the glue can i use nori thinned down something or does it have to be gum arabic?

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Message 2
From: Diane Cutter
Date: Wed, 26 Aug 2009 16:17:39 GMT
Subject: [Baren 39588] Re: mica
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I don't know about mica but I gently brushed on dry gold watercolor pigment onto 'just printed' oil relief prints a while back. It worked well and has not come off on the few prints I still have here in the studio:

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Message 3
From: "Mike Lyon"
Date: Wed, 26 Aug 2009 17:36:39 GMT
Subject: [Baren 39589] RE: mica
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Mica will tend to 'stick' anywhere your print is damp -- it won't all brush
off easily.

If your paper is not very damp (about halfway to dry from ideal softness for
printing), then fine mica will stick to the damp area just printed and you
can sprinkle it on and shake (and brush) off the extra, BUT it won't likely
stick permanently and little mica sparkles will transfer to everything near
the print for years -- mica is one of those gifts that keeps on giving!

You can also dust through a stencil to keep the mica off the rest of the

But... I think you'll get best results using a more conventional process.
Keep your sheet damp as usual for printing, then print paste or glue
(preferably glue) from a block carved with the area to get the mica, then
dust the right areas of the block just printed with mica, shake off any
excess, and print the mica from the block onto the paper. Then the mica
will only be applied exactly where you want it and it will be pressed well
into the binder. You can use the same technique to print metallic powders
etc and the stuff will remain more or less where you intend.

Mica, by the way, shows up best when applied over dark areas -- it barely
shows up when applied over lighter areas.

Feel free to experiment and let us know what worked best for YOU!

-- Mike

Mike Lyon
Kansas City, MO
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Message 4
From: Sharri LaPierre
Date: Wed, 26 Aug 2009 20:04:42 GMT
Subject: [Baren 39590] Re: if a tree falls in the woods......
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If a cherry tree falls in the woods, and you have two teenage boys to
help, will there be woodblocks? I like that one a whole lot better
than, "If a man says something in the woods and no woman hears it, is
he still wrong?

Some silliness while I wait for some glass to be delivered...

BTW, I had the pleasure of meeting Tibi Chelsea in Portland last week
and he is the most delightful young man. We attended a print
exhibition opening at Print Arts Northwest's gallery. Tibi, I hope
you will let me know the next time you are in Portland.

Cheers ~
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Message 5
From: ArtSpotiB #
Date: Thu, 27 Aug 2009 10:28:58 GMT
Subject: [Baren 39591] RE: mica
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I'm no expert, but I got some great advice from Baren member Carol

I had tried various printings with glue rolled onto a block to no avail.
Following Carol's advice as I understood it, I did print with white ink, then
immediately shook some powdered irridescent color on the block. I used a
dedicated, wide, soft brush to manipulate the powder from one side of the print
to the other. I wonder if some may find printing with such as gloss or matt
medium for painting acrylics or the like to be of interest. Or maybe a

Tipping the paper onto it's edge, it was then knocked against the table top
to clear off excess/areas not wet. Wax paper acted as a catcher, with my
tilting the catcher paper so that the pile was on one end. The next wet print
was placed on the same wax paper with my gently flipping the powder onto the
next white printed sheet ready to receive the paper.

Have fun!

ArtSpot Out
Benny in Oakland

Art is the visible face of any culture."
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Message 6
From: ArtSpotiB #
Date: Thu, 27 Aug 2009 10:33:52 GMT
Subject: [Baren 39592] Re: mica
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Oh dear, I see I neglected to say block print in the first paragraph. I did
not succeed when attempting to put the pigment onto the block. Zeesh! Sorry
for posting twice, tho the error is obvious to many, I am sure.


Art is the visible face of any culture."

Digest Appendix

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

Subject: September Woodblock Workshop
Posted by: Annie B

Experiments in Woodblock Printing: the Japanese Method
September 26-27, 2009, at Zea Mays Printmaking in Florence, MA

Regular readers of this blog know that the Japanese method with its waterbased pigments, brushes and hand printing tends to produce softer and more painterly relief prints than western methods. This two-day workshop will focus on the printing aspect of the Japanese method of woodblock rather than the carving. Using just two or three very simple carved blocks, students will explore the great variety that can be achieved by varying the printing methods. The workshop is open to beginners as well as students who want to expand their relief printing practice.

Hope to see you there!

This item is taken from the blog Woodblock Dreams.
'Reply' to Baren about this item.

Subject: Pelican/Chivalry Block
Posted by: Ellen Shipley

Baroness Kolfinna, already a Knight, is being elevated to the Pelicans. I've been working on a woodcut design all day to commemorate the occasion. I've only got a couple weeks, so I've got to get busy.

The belt is white, as is the bird. Only the blood drop adds color. Makes for a rather stark image. Perhaps I can give it a border or a background color. She likes bold colors. Her device is blue, black and white; her badge is orange.

I developed the image from an earlier one, the Laurel/Pelican block I did for Sven & Kolfinna to give as largesse at Lillies War in '06.

The theme for the war was Laurels vs Pelicans, so it seemed apropos. A laurel/pelican wanted one (which I need to rework slightly to remove the Lillies and Caid references). Now all I need to do is work up a Chivalry/Laurel block (but that's for another time).

Maybe a blue background, at least for Kolfinna. I'll carve the pel and belt and leave them white. I can roll it up in blue (or orange), with a spot of red for the drop.

I could carve a patterns background of some sort, just to give texture to the color.

Hmm. Kitty is using a round shield with her viking ladies...on orange. Maybe orange is the way to go afterall.

This item is taken from the blog pressing-issues.
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Subject: The Lovers Keyline is Complete
Posted by: Phare-Camp

The Lovers Keyline block is complete

This is a photoshop phake proof. This is what I hope the printing of this will look like tomorrow when I proof then transfer this keyline to the woodblocks I will use to carve the color plates.

This item is taken from the blog Phare-Camp Art Journal.
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