Today's postings

  1. [Baren 40217] Re: Cross Hatching ("Orgren Alex C (Alex)")
  2. [Baren 40218] Re: Cross Hatching (Viza Arlington)
  3. [Baren 40219] little introduction and ink suggestions (Jill Smith)
  4. [Baren 40220] Re: little introduction and ink suggestions (thadeenz97 #
Member image

Message 1
From: "Orgren Alex C (Alex)"
Date: Wed, 09 Dec 2009 06:33:00 GMT
Subject: [Baren 40217] Re: Cross Hatching
Send Message: To this poster

>With lino, I am afraid the material will compress under the punch and
>then slowly expand as you print, ruining the effect. With wood, you can

> smack the nail hard enough that the indentation will be relatively
>permanent during the printing.

I had mixed results with that technique in wood, as can be seen in my
print for Exchange 37a. The wood slowly expanded during printing, which
changed the number and character of light spots I tried to create in the
water. If I were doing it again, I would take the time to cut them with
a to, tedious as that may be.

Alex Orgren
Member image

Message 2
From: Viza Arlington
Date: Wed, 09 Dec 2009 07:37:20 GMT
Subject: [Baren 40218] Re: Cross Hatching
Send Message: To this poster

Good luck! I hope all works out well for your print. i have no advice or
tips. i feel like the two block criss cross is the best option though. i
suppose it all depends on how large your edition is going to be. I
personally find printing to be the most tedious and often aggravating part
of block printing so I would gladly spend more time carving or even
re-carving if it means less time spent printing.

Member image

Message 3
From: Jill Smith
Date: Wed, 09 Dec 2009 11:50:24 GMT
Subject: [Baren 40219] little introduction and ink suggestions
Send Message: To this poster

Hi, I just stumbled onto this forum, in my search for some new inks.
My name is Jill Saxton Smith and I am currently working and living in
Cairo, Egypt. Before Cairo I was in the Washington D.C. area for five
years. I am a woodcut artist and I work in the reduction method. I
typically use 4 or more layers to complete an image. I am currently
using Graphic Chemical oil based block inks, but it is time to order
more and I'm considering changing ink. I was wondering if anyone has
any suggestions.

Reasons I like this ink:
vibrate colors
light fast
great consistency
I like the drying time of the prints.

Reasons why I don't like this ink:
difficult to clean up without using solvents (My studio is now in my
home so I'm done using solvents)
older less used colors have dried up in tins :(
if I have too many layers, the print will end up shiny (even if I add
recommend modifiers for this problem)

I'm looking into:

Akua Intaglio
good price, sounds like they are good quality. It would be fun to try
a soy based ink. I'm worried about the drying time.

Caligo Safe Wash Relief Inks
I can mix these with my current inks and modifiers. I'm already
comfortable with oil based inks. I don't know anyone who has used

Sorry if this topic has already come up a few times. Any help would
be appreciated.


Jill Saxton Smith
Member image

Message 4
From: thadeenz97 #
Date: Wed, 09 Dec 2009 12:11:02 GMT
Subject: [Baren 40220] Re: little introduction and ink suggestions
Send Message: To this poster

Hi, Jill,

I too work in reduction with GC oil-based inks. I share the same concerns as you, but after looking around at alternatives, I chose to stay with the inks I use. Others in the group will extol the virtues of other inks, but I just want to share some of the things I have found with oil-based inks.

I never found the matting agents helpful either. I guess I've just learned to accept it. Customers don't seem to mind it. One thing I've been doing is using a lot less ink on the block. You can check out my blog to see the results. This keeps the shine to a minimum.

As far as the odor, I've been around the block a few times on that. I used to clean up using vegetable oil. It works, but it's a pain, and really not worth it. I use odorless mineral spirits now. Of course, "odorless" isn't exactly correct. But it's a non-offensive odor and, if you take used rags out to the trash after each printing session, it shouldn't be a problem in your home. My studio used to be right next to my bedroom, and my wife is sensitive to a lot of chemicals, and it never bothered her (wood splinters in the carpet, another story).

And as for little used inks drying up, yes, that is an issue. You can get oil-based inks in a tube (I've seen one kind that uses a caulking gun for dispensing). There are only two solutions as far as I know - seal the cap on the can with vinyl tape, or make more prints and use up the ink!

Looking forward to seeing your work!
Jeff Dean
Buffalo, NY