Today's postings

  1. [Baren 41154] Print exchange (Jean Womack)
  2. [Baren 41155] Re: Michael Gorrie/Woodcut Prints (Michael Gorrie)
  3. [Baren 41156] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Jean Womack
Date: Thu, 29 Apr 2010 15:57:43 GMT
Subject: [Baren 41154] Print exchange
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I am through printing my reduction exchange print, "Bay View," and am now
signing them. They will be in the mail tomorrow or Monday!

This print was made using the new balsa foam material which is very easy to
cut and print with water-based media, but does not hold a find detail. It
seems to leave a little bit of grit on each print, giving a nice textural
feel to the print. Sorry to say, I have included as a bonus, some foxes and
a few bleach stains from trying to get rid of the foxes.

This print was sandwiched in between and among some education classes,
tutoring kids, and a trip to the Washington/Baltimore area for a national
art teachers' convention.

I do not let any moss grow under my feet.

Jean Womack

Jean Womack
510-237-5540 (h)
or 510-375-1722 (c)

One kind word can warm 100 winter nights
Japanese proverb
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Message 2
From: Michael Gorrie
Date: Thu, 29 Apr 2010 20:26:17 GMT
Subject: [Baren 41155] Re: Michael Gorrie/Woodcut Prints
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Charles & Luis,
Thanx for the advice!

Digest Appendix

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

Subject: Printing Last Color
Posted by: Ellen Shipley

Finished printing color three.  All 52 (I thought there were 50, but I guess I can't count).  ;-j  At least 40 good ones.  No registration problems, surprisingly, but a few incidental marks on the paper.  I may be able to eliminate some of them with a cuttle fish.

A bit more of the process:
inking the block and brushing on the talc

[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Pressing-Issues.
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Subject: Burnishings Featured on a "Top 50" Bloglist
Posted by: Amie Roman

Wow! I was just advised that Burnishings has been featured on in their Tips & Tools section of their website under their "50 Must-See Print Design Blogs". My goodness, I'm blushing.

Thanks for the nod!

This item is taken from the blog Burnishings.
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Subject: Printmaking How To - Monotype
Posted by: Amie Roman

This month, Horsley Printmakers' Carol Nunan of Carol's Original Prints has requested that printmakers post a "how to" on their blog about monotypes in May. So I thought I'd take her up on her suggestion (a little early, whatever!). If you're a printmaker and want to do the same, make sure to link back to Carol's blog and send her a comment on her post so that she knows to add your link to her list.

Here's a clip from my website talking about monotypes:

These terms [monotype and monoprint] are often used interchangably; however, I like to think of them as completely different techniques. Both printmaking techniques result in a "one-off" image; you can never repeat that image. Some people have difficulty understanding how this can be a print if only one is produced, but it is the method of production that makes it a print. Probably the best description of the differentiation between these two techniques can be found in Monotype - Mediums and Methods for Painterly Printmaking by Julia Ayres:
"...the term monotype is used for work developed on top of an unaltered plate, utilizing its flat surface, while monoprint refers to monotype work that also includes elements of another printmaking process such as etching, woodcut, lithography, silk screen, and so on."
(Watson-Guptill Publications, New York, 1991, page 8)
I use either watercolour or acrylic paints to produce monotypes. I paint onto frosted Mylar, and while the paint is still wet, I make the transfer by laying a registered sheet of paper over the Mylar and pressing gently by hand on the back of that paper. I repeat the process until I've completed the image. There is another method whereby you prepare the surface of the plate so that you can paint the image in its entirety, leave the paint to dry, then use a moistened sheet of paper to lift the image. I find this method more restrictive, but many artists prefer it because there is an added level of control to how the printed image will turn out.

This item is taken from the blog Burnishings.
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