Today's postings

  1. [Baren 41806] RE: New Baren Digest (Text) V52 #5341 (Aug 16, 2010) ("Sales")
  2. [Baren 41807] fabric printing (Barbara Mason)
  3. [Baren 41808] Re: fabric printing ( slinders #
  4. [Baren 41809] Chihuly Exhibit (Linda Beeman)
  5. [Baren 41810] Re: fabric printing (Renee)
  6. [Baren 41811] Re: fabric printing ("Bea Gold")
  7. [Baren 41812] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: "Sales"
Date: Mon, 16 Aug 2010 13:39:44 GMT
Subject: [Baren 41806] RE: New Baren Digest (Text) V52 #5341 (Aug 16, 2010)
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Thanks Marilyn -

I really found the treatment unusual, but as I've stated to others - up
until this trip, we've found that no matter how difficult the border
crossing into Canada - it has always been worse coming back into the
States. This time,... not so much.

It was one person who was really impressed with the power vested in her
job. I cringe to think what would have happened if we had an animal or,
god forbid, food with us. In actuality we had 4 (that's right 4)
nectarines with us that we hadn't declared. We ate two in Canada (they
were great!) and declared the other two when we returned to the US. (US
agents weren't interested).

I did do another blog entry clarifying a few things so, you'll probably
see it tomorrow.

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Message 2
From: Barbara Mason
Date: Mon, 16 Aug 2010 14:08:37 GMT
Subject: [Baren 41807] fabric printing
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This is not woodblock, sorry but I did say I would report what happened with my
printing on Fabric

I successfully printed intaglio on silk with no problems at all, I taped the
silk at one end and then slid the plate under, holding the fabric sort of taunt
I sprayed the back of it and printed with the press...perfect print on silk. I
don't know why I was surprised, the Japanese have been printing on silk for
hundreds of years. My next test will be to try it on a woodcut, I think I will
tape the fabric on all 4 edges to give it more body and use a carrier sheet to
drop it onto the block...I am sure it will work. I do not think I can use
water-based inks as it will probably wash out but I will test it...the pure
pigments we use might just die it.
At any rate this was very successful and when I get done will post photos on my
So, all in all a success.
I wish I had had this good a success with white line printing...My hats are off
to those of you that did. I am re-carving that image for the next exchange and
printing it in the real way and then will put them on my site side by side...I
think there will be no comparison. But it is taking about 7 blocks to
that is a pain.
My best to all
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Message 3
From: slinders #
Date: Mon, 16 Aug 2010 15:34:49 GMT
Subject: [Baren 41808] Re: fabric printing
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Hi, Inkyfolk,

You should have no problem printing on silk either intaglio or
woodblock. Some of our adventurous students do it every year.
And some students have incorporated silk ribbons and sewn
embellishments to their prints to good effect!

Using 'china silk' is best, but many fabric stores no longer
carry it. I'd gotten a quantity of it a few years ago from an
ebay source. (It's amazing many yards of it can come in a
little envelope, and be nearly weightless!) One challenge with
silk is that it's really difficult to finish the edges! It's
very lightweight and you need a light hand and very delicate
thread and needle. One of our students had a tailor finish the
edges of a small silk banner a couple of years ago, and it cost
over $50.

One good resource for silk is Blick. They have silk squares and
panels of varied sizes that have already finished edges, and
they aren't very expensive. Another resource for fabric and
ready-made clothing suitable for printing is Dharma, in

If you're using fabric from a fabric store you'll want to find
natural fabrics like cotton, linen, or silk. Frequently fabrics
have 'sizing' in them that should be washed out before printing.

There's no problem printing woodblock on fabric. We usually
stretch and tape the fabric edges onto or over a matboard to
keep it flat, and use a paper behind it to catch the excess ink.
And it may help to put the block 'face down' onto your fabric.

The ink on silk may stay 'wet' for many days, as the drying
process of ink is dependent on the paper for faster drying. In
this wet state it feels 'rubbery'.

Oil inks should remain 'fast', and stay well in the fabric
they've been printed on. (Think of your shop apron!!! ;-) )
It does help to 'heat set' the ink on cotton and linen, ironing
with a hot iron between two sheets of paper, --but that would
melt silk!

It becomes an interesting 'puzzle' to design your block so that
it will 'edge match', and will print in sequence, like
wallpaper, with a flowing pattern. Then you can print big
panels with an all over design. (..and when you do this it's
interesting to see unexpected patterns show up in the design!)
This block was perhaps 15" x 30", and could be printed in series
end to end or side to side. I still enjoy the length of silk I
printed with it.

And there's something about the change of a print from a flat,
two dimensional thing to a print that can wrap or bend! ---and
it's fun to quilt a printed panel!

If it doesn't move, print on it! See what happens!

p.s. And there's always if this doesn't work!
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Message 4
From: Linda Beeman
Date: Mon, 16 Aug 2010 15:37:05 GMT
Subject: [Baren 41809] Chihuly Exhibit
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I had the opportunity yesterday to go to Grand Rapids, Michigan, and see Chihuly at Frederik Meijer Gardens and Sculpture Park: A New Eden.  It's not printmaking but I posted it on my blog if you are at all interested.  I included pictures of other sculptors work as well.
It was very inspiring to me!
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Message 5
From: Renee
Date: Mon, 16 Aug 2010 15:41:39 GMT
Subject: [Baren 41810] Re: fabric printing
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Thank you Barbara and Sharen for your information of printing on fabric -- silk! You both are very brave, and Sharen the Venus flytrap print is just gorgeous!


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Message 6
From: "Bea Gold"
Date: Mon, 16 Aug 2010 17:58:45 GMT
Subject: [Baren 41811] Re: fabric printing
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Hi Bareners, In case you thought I disappeared, I have been lurking in the background because I've been working on a non woodcut project that has been more than the last two years. 36, one page stories and 36, 9" x 12" paintings as illustrations for each story. I have been following the Baren Forum though and couldn't help connecting now about the print on fabric thread. I was very impressed with Karen Felicity Berkenfeld who was a Baren member for the #9 exchange. Take a look and read her statement. We made friends and I was suggesting that she use fabric instead of paper for one of our exchanges but Karen became ill and died the next year. Very sad. I'll be back soon when book is published. Miss you. Bea Gold

Digest Appendix

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

Subject: One more trick on the eternal quest for perfect registration!
Posted by: Maria

For my last print (previous blog post) I wanted to print through the press and maybe do a reduction or two on some of the blocks. With so many decisions to make along the way, the most flexible approach to registration is to resort to the traditional Japanese kento-cut-on-block method.

My usual M.O. is to cut the key block, kento and all, and print several copies on prepared hanshita paper to simply paste on the color blocks. I have a left handed toh to avoid flipping the block while cutting the kento; I have pretty good transfer and glue skills and getting better all the time at actually cutting the darned things straight and square.

And yet I always have to strive for another tweak that will make my art life less stressful and more efficient. The solution is so simple I don't know why I didn't think of it before.

Roughly, the tools needed, left to right:
-Close-up glasses if you are over 50 (yeah, even barely over 50)
-The block, of course, with freshly pasted hanshita or drawn kento
-A smallish steel square
-Cutting tool of choice, shown a toh and a standard utility knife
-Clamps behind the block, the quick release type
-Cat licking itself (optional to make things interesting)

1. Here we go, step numero uno is to carefully place the square EXACTLY on the kento marks.

You can place the square inside the line or outside the line or right on the line as long as you do it the same way on every block.

The easiest thing is to place it exactly ON the line, then you don't have to remember anything.

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

This item is taken from the blog 1000 Woodcuts Updates.
'Reply' to Baren about this item.

Subject: Crystalline (white line woodcut)
Posted by: Viza Arlington

Artist: Viza Arlington
white line woodblock print on Rives BFK
image size:approx. 4.5X6 inches
paper size 6x9 inches

I used water soluble crayons, spray mist, and printed using a small hard lino roller. Today i plan on making another horse print and experimenting with some HP 140 lb. watercolor paper. i am hoping the smooth paper meant for watercolor will give a more even watecolory looking print.

This item is taken from the blog VIZArt.
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Subject: Print success
Posted by: Sue

I recently sent two of my engravings off to the selection panel of the Society of Wood Engravers, to see if I could exhibit them in their prestigious travelling annual exhibition. I've had prints accepted the past two years.

I'm very happy to reveal that both the prints have got into the exhibition!

They are:

Late Shopping and my latest print, Winter Walkies.

Details of the exhibition venues are on the SWE website, more venues to be announced.

This item is taken from the blog Studio Window.
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Subject: Back to the studio
Posted by: JennifersCabin

Finally have done some work in the studio. Up against deadlines as the grandchildren are back at the end of this week. Finally had a go at whiteline in preparation for a Xmas card. A local church. The angelic minstrals are stone carvings inside the same building, I thought they looked rather fun all playing away together instead of being stuck up on separate pillars as they are in reality.

This item is taken from the blog Jennifer Martindale.
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