Today's postings
- [Baren 40661] Re: Problem with picking up blog posts ... (thadeenz97 # verizon.net)
- [Baren 40662] RE: Inks for Reduction Print ("Maria Arango Diener")
- [Baren 40663] Survey on Indian printmaking , (RAKESH BANI)
- [Baren 40664] Re: Inks for Reduction Print (Barbara Mason)
- [Baren 40665] Re: Inks for Reduction Print (Juergen Stieler)
- [Baren 40666] Re: Inks for Reduction Print (thadeenz97 # verizon.net)
- [Baren 40667] Re: Inks for Reduction Print (thadeenz97 # verizon.net)
- [Baren 40668] Exchange #43 Arrived! ("Ellen Shipley")
Message 1
From: thadeenz97 # verizon.net
Date: Wed, 24 Feb 2010 15:28:55 GMT
Subject: [Baren 40661] Re: Problem with picking up blog posts ...
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I followed your directions and found that the RSS did not post right away. In fact, I waited an hour without luck. It was there this morning, however. I'm pretty low tech, so I have no idea what this means, but I hope it helps diagnose the problem!
Message 2
From: "Maria Arango Diener"
Date: Wed, 24 Feb 2010 15:56:05 GMT
Subject: [Baren 40662] RE: Inks for Reduction Print
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Process colors are specifically designed to be transparent and, although
they mix much cleaner and purer, they are not opaque enough for the
reduction that you are is planning.
Try standard printmaking oil-based inks, they tend to be very opaque. I have
printed reductions on black paper, light over dark, dark over light.
Graphic Chemical has a good selection of oil-based inks. Also the new
water-based inks are quite opaque although I just can't get used to the
consistency. Daniel Smith's inks consistency (water-based) is a bit closer
to oil-based.
http://www.1000woodcuts.com/fullsize/floweryucca.html this is a two-block
reduction on black paper
http://www.1000woodcuts.com/thumbnails/desertblooms.jpg another
The colors faded a little on the black paper, but after the second or third
color, they were bright.
For multiple colors with oil-based inks, try mixing the ink with a bit of
set-swell compound; this keeps the lower ink layer "open" for top layers and
reduces or eliminates the shine that you will get when overlayering inks.
Maria
[=o=][=o=][=o=][=o=]
www.1000woocuts.com
ww.artfestivalguide.info
[=o=][=o=][=o=][=o=]
they mix much cleaner and purer, they are not opaque enough for the
reduction that you are is planning.
Try standard printmaking oil-based inks, they tend to be very opaque. I have
printed reductions on black paper, light over dark, dark over light.
Graphic Chemical has a good selection of oil-based inks. Also the new
water-based inks are quite opaque although I just can't get used to the
consistency. Daniel Smith's inks consistency (water-based) is a bit closer
to oil-based.
http://www.1000woodcuts.com/fullsize/floweryucca.html this is a two-block
reduction on black paper
http://www.1000woodcuts.com/thumbnails/desertblooms.jpg another
The colors faded a little on the black paper, but after the second or third
color, they were bright.
For multiple colors with oil-based inks, try mixing the ink with a bit of
set-swell compound; this keeps the lower ink layer "open" for top layers and
reduces or eliminates the shine that you will get when overlayering inks.
Maria
[=o=][=o=][=o=][=o=]
www.1000woocuts.com
ww.artfestivalguide.info
[=o=][=o=][=o=][=o=]
Message 3
From: RAKESH BANI
Date: Wed, 24 Feb 2010 15:56:36 GMT
Subject: [Baren 40663] Survey on Indian printmaking ,
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Dear Artist Printmaker Friends,
Here I am doing a survey on Indian Printamking, and for this I want to know
other country printmakers views on about developments in Indian
Printmaking techniques and printmaking works, I don't know you like my
questions or not but I like your views , if you know any thing about
Indian printmaking ,so I request you all please send me your views ,
Q- 1 -- Do you think that Indian Printmakers are doing right efforts
to improve printamking in India.
Ans --
Q- 2 -- which Indian Printmaker work you like.
Ans --
Q -3 -- How you compare your printmaking work to our Indian print works.
Ans ---
Q - 4 -- Your suggestions to improve our Printmaking Quality .
Ans ---
Q - 5 -- Please send your short resume and 2 image of your print work
to this e mail -
rakeshbani@gmail.com
thanks,
rakesh bani
INDIA
Here I am doing a survey on Indian Printamking, and for this I want to know
other country printmakers views on about developments in Indian
Printmaking techniques and printmaking works, I don't know you like my
questions or not but I like your views , if you know any thing about
Indian printmaking ,so I request you all please send me your views ,
Q- 1 -- Do you think that Indian Printmakers are doing right efforts
to improve printamking in India.
Ans --
Q- 2 -- which Indian Printmaker work you like.
Ans --
Q -3 -- How you compare your printmaking work to our Indian print works.
Ans ---
Q - 4 -- Your suggestions to improve our Printmaking Quality .
Ans ---
Q - 5 -- Please send your short resume and 2 image of your print work
to this e mail -
rakeshbani@gmail.com
thanks,
rakesh bani
INDIA
Message 4
From: Barbara Mason
Date: Wed, 24 Feb 2010 16:10:31 GMT
Subject: [Baren 40664] Re: Inks for Reduction Print
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Robert,
Use lithography ink, put a very tiny drop of dryer in the ink. Cobalt dryer is poison so use a piece of paper to dip into the tiny jar and drop the drop onto the ink, mix really well. Seal the dryer jar and store in a safe place.
If you need a color to print more opaquely, add a little white or under-print with white. Use 5% setswell in the ink to loosen it and to prevent the ink from being shiny. If you use 5 layers of ink, the ink is laying on itself so wait a day or so between printings for the ink to dry. It will be opaque. Also you can strip the ink back after printing, lay a clean piece of newsprint over the print and rub the side of your hand down the print, be careful not to let the newsprint move. This will take off some of the surface ink and let things dry faster. Do it after each color. You can use etching ink or relief ink. Lithography ink has the highest amount of pigment to binder. I recommend Graphic Chemicals Handschy inks. If you do not use the dryer, opaque coats of ink one over the other take a long time to dry and in some cases just never dry. I have heard of ink being sticky for years without the dryer. You do not usually need it for one layer or if you are
modifying the inks. I used transparent colors with lots of setswell when I was doing viscosity printmaking and did not use dryers, but I was using very very thin layers of ink.
My best
Barbara
Use lithography ink, put a very tiny drop of dryer in the ink. Cobalt dryer is poison so use a piece of paper to dip into the tiny jar and drop the drop onto the ink, mix really well. Seal the dryer jar and store in a safe place.
If you need a color to print more opaquely, add a little white or under-print with white. Use 5% setswell in the ink to loosen it and to prevent the ink from being shiny. If you use 5 layers of ink, the ink is laying on itself so wait a day or so between printings for the ink to dry. It will be opaque. Also you can strip the ink back after printing, lay a clean piece of newsprint over the print and rub the side of your hand down the print, be careful not to let the newsprint move. This will take off some of the surface ink and let things dry faster. Do it after each color. You can use etching ink or relief ink. Lithography ink has the highest amount of pigment to binder. I recommend Graphic Chemicals Handschy inks. If you do not use the dryer, opaque coats of ink one over the other take a long time to dry and in some cases just never dry. I have heard of ink being sticky for years without the dryer. You do not usually need it for one layer or if you are
modifying the inks. I used transparent colors with lots of setswell when I was doing viscosity printmaking and did not use dryers, but I was using very very thin layers of ink.
My best
Barbara
Message 5
From: Juergen Stieler
Date: Wed, 24 Feb 2010 16:10:50 GMT
Subject: [Baren 40665] Re: Inks for Reduction Print
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Hi Robert,
I made the same experience Jeff made, although I didn't try his
suggestions by adding a colour. For exchange #43 I printed raw umber
over light green, and the umber came out almost black. Next time I'll
know what to do.
For the type of inks: I started with a woodblock and wanted to print
five colours, but the third layer came out really bad, and I hope to
find the real words when I say that the transfer of the ink from the
woodblock to the already printed paper was rather sticky, or spotty,
with numrous little hills of colour. For a finalized object or other
pictures this circumstances could have been really pretty. but as a base
for two following layers not. It came out for me that the inks I used
were not perfect for this purpose, by all means in my hands. I used
Daler Rowney "Georgian" oil painting colours with "Georgian" block
printing medium.
I decides to try a second print, reduced to two layers, having three
colours including white (paper). I ordered oil based block printing inks
by gerstaecker.de, their own brand.
http://www.gerstaecker.de/GERSTAECKER
Buchdruckfarbe-druckfarben-hilfsmittel.htm
What a difference! I never tried oil based block printing inks before
and didn't know how much difference in handling quality there is.
Although I like the Georgian very much for painting, it is best to use a
special ink for this purpose. And for mulitlayer printing i recommend
oil based inks, anyway.
Best regards
Juergen
Robert Arnold schrieb:
> Could I get some recommendations on inks for reduction printing a
> linocut. I would like to print 3 or 4 colors on dry paper, I am trying
> Graphic Heavyweight for the first time. I would like the colors to be
> opaque, I think I am using the term correctly for this application. I
> want the color I am applying to the block be the same color on the
> paper or as close as possible. I do not want to print yellow and then
> blue and where they overlap be green. Any suggestions?
>
> Thanks, Robert
>
>
I made the same experience Jeff made, although I didn't try his
suggestions by adding a colour. For exchange #43 I printed raw umber
over light green, and the umber came out almost black. Next time I'll
know what to do.
For the type of inks: I started with a woodblock and wanted to print
five colours, but the third layer came out really bad, and I hope to
find the real words when I say that the transfer of the ink from the
woodblock to the already printed paper was rather sticky, or spotty,
with numrous little hills of colour. For a finalized object or other
pictures this circumstances could have been really pretty. but as a base
for two following layers not. It came out for me that the inks I used
were not perfect for this purpose, by all means in my hands. I used
Daler Rowney "Georgian" oil painting colours with "Georgian" block
printing medium.
I decides to try a second print, reduced to two layers, having three
colours including white (paper). I ordered oil based block printing inks
by gerstaecker.de, their own brand.
http://www.gerstaecker.de/GERSTAECKER
Buchdruckfarbe-druckfarben-hilfsmittel.htm
What a difference! I never tried oil based block printing inks before
and didn't know how much difference in handling quality there is.
Although I like the Georgian very much for painting, it is best to use a
special ink for this purpose. And for mulitlayer printing i recommend
oil based inks, anyway.
Best regards
Juergen
Robert Arnold schrieb:
> Could I get some recommendations on inks for reduction printing a
> linocut. I would like to print 3 or 4 colors on dry paper, I am trying
> Graphic Heavyweight for the first time. I would like the colors to be
> opaque, I think I am using the term correctly for this application. I
> want the color I am applying to the block be the same color on the
> paper or as close as possible. I do not want to print yellow and then
> blue and where they overlap be green. Any suggestions?
>
> Thanks, Robert
>
>
Message 6
From: thadeenz97 # verizon.net
Date: Wed, 24 Feb 2010 16:41:59 GMT
Subject: [Baren 40666] Re: Inks for Reduction Print
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Ah, yes, I forgot to mention the drying between layers. Learned that after a few dozen head-scratching moments. I used to try to do 6 colors in one day. Ha! Not only was the fresh ink not adhering, the old ink was getting pulled off. Oh, how fun those days were! Printing has helped me learn to be patient. And to grit my teeth. And to not let the tears fall into the oil-based ink.
Message 7
From: thadeenz97 # verizon.net
Date: Wed, 24 Feb 2010 16:46:03 GMT
Subject: [Baren 40667] Re: Inks for Reduction Print
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Juergen,
I understand exactly what you mean by printing the green over the umber. I printed a very transparent blue over a light umber and it, too was black as black. Adding white -- and I mean the smallest amount, not even a drip, not even a drop, not even a bit, but perhaps a notion, a suggestion of white. It's just enough to bring out the color.
I understand exactly what you mean by printing the green over the umber. I printed a very transparent blue over a light umber and it, too was black as black. Adding white -- and I mean the smallest amount, not even a drip, not even a drop, not even a bit, but perhaps a notion, a suggestion of white. It's just enough to bring out the color.
Message 8
From: "Ellen Shipley"
Date: Wed, 24 Feb 2010 23:31:07 GMT
Subject: [Baren 40668] Exchange #43 Arrived!
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Yay! My exchange prints arrived today! They're gorgeous. And so varied, just like typography.
This was great fun to do. Thanx Kristine for all the hard work.
Ellen
This was great fun to do. Thanx Kristine for all the hard work.
Ellen