Today's postings

  1. [Baren 43153] Re: Printing Problem (Viza Arlington)
  2. [Baren 43154] Re: Printing Problem ("Maria Arango Diener")
  3. [Baren 43155] Printing Problem ("Phare-Camp")
  4. [Baren 43156] Re: Printing Problem (bridget bobinger)
  5. [Baren 43157] Re: Printing Problem ("Maria Arango Diener")
  6. [Baren 43158] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Viza Arlington
Date: Sun, 10 Apr 2011 16:16:59 GMT
Subject: [Baren 43153] Re: Printing Problem
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when i print blocks on an etching press i use rails (strips of wood or
lino) on each side of the block. longer than the block but the same
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Message 2
From: "Maria Arango Diener"
Date: Sun, 10 Apr 2011 17:56:10 GMT
Subject: [Baren 43154] Re: Printing Problem
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In addition to the rails, two magic time saving and headache avoiding words
for all etching-press-woodcut-printmakers: "rubber blankets". Try getting
some discards from a graphic print shop, same blankets they use in offset.
Thickness doesn't matter but I like the 4-ply best.


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Message 3
From: "Phare-Camp"
Date: Sun, 10 Apr 2011 18:10:04 GMT
Subject: [Baren 43155] Printing Problem
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you don't need a cobble, instead use "rails" I use two strips of door trim
near the same height as the printing plate one each side of the press bed.
They are near the length of press bed and hold the roller up enough so that
it doesn't bump up onto the plate (shifting stuff around) or jump off the
plate (shifting stuff around) it also puts less wear and tear on the
rollers. Oh yeah and using mat instead of blankets with relief works
soooooo much better.
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Message 4
From: bridget bobinger
Date: Mon, 11 Apr 2011 03:13:17 GMT
Subject: [Baren 43156] Re: Printing Problem
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What do you mean by rubber? Not the wool blankets that usually are used?

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Message 5
From: "Maria Arango Diener"
Date: Mon, 11 Apr 2011 03:54:09 GMT
Subject: [Baren 43157] Re: Printing Problem
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I never understood the need to use felt or wool blankets with woodcuts. Felt
and wool blankets are used on etching presses in order to press the paper
into the etched lines of an etching plate so that the paper can pick up the
ink in the grooves. One of the blankets also absorbs extra moisture (and
sizing) squeezed from the paper.

In relief printing there is absolutely no need to press the paper into any
lines. The paper just needs to "kiss" the relief (non-carved) part of the
woodblock or lino-block or whatever. The pressure is also much less to print
woodblock than that needed to print etchings.

When using an etching press to print woodblocks, however, there is a need to
support the roller for two main reasons. When passing under the roller, the
paper may shift position due to slipping off the relief block. I imagine
this is one reason people insist on using etching blankets with woodblocks.
But a much better solution is to support the roller with wooden rails either
the same height (ideally) or slightly higher than the block being printed.
Then a tympan can be placed on the block to build the backing to roller
height and obtain a crisp print.

The other reason for supporting is that the roller, under pressure, tends to
"bounce" the block and cause similar problems as above. With supporting
rails, there is no such bounce when the roller hits the leading and trailing
end of the block being printed.

For relief blocks the blankets will press the paper into uncarved portions
of the block and either indent, emboss or actually pick up unwanted ink. So
a hard tympan is much more desirable than a soft blanket unless deep
embossing is desired. I have used any combination of smooth pressed wood,
matboards and blotters sufficient to build up the block and obtain a dark
print. The more embossing desired, the more softer stuff I use (matboard and
blotters). For engravings, I use mostly hardboard with a matboard backing.

A while back I happened upon a set of graphic blankets, rubber on one side,
a canvas-like surface on the other. These are printer's blankets made for
offset printing in commercial settings. Just so happens, they are ideal for
printing woodblocks and especially wood engravings, which tend to be more
temperamental to print on etching presses. The rubber "blankets" (really
more like rubber mats) have just enough tack to prevent paper slipping, just
enough "give" to pick up ink evenly from high and low spots and just enough
hardness to obtain a perfect even print, even on large black areas. Being
rubber, they clean up very easily.

I picked mine up from Ebay, just search for rubber blankets or printing
blankets under the Industrial, Printing, Graphics categories. Or if you know
a commercial print shop nearby, you might get their discards. Used rubber
mats are okay as long as they are thoroughly cleaned. Years and years of
doing woodcuts and it took me this long to find the perfect backing

I hope this helps. As usual, different strokes for different folks, your
mileage may vary, etcetera.




Digest Appendix

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

Subject: Short Cuts and Long Cuts
Posted by: Andrew Stone

Sometimes trying to cut corners just makes the path a whole lot longer.

I ordered paper for my last print directly from Japan and when I saw that they also offered blocks of small, postcard paper in 4" X 6", 50-sheet blocks I thought it was a great idea.
I'm working on a postcard sized print for the Year of the Rabbit.
So I ordered 2 packs or 100 postcards. "Wow, these are already cut to size",
"think of all the time I'll save.....".

Then, I needed blocks. I ordered blocks too at 4" x 6" size. Since the paper is already pretty small, I'll print right to the edges so I don't waste any paper.
"think of the money I'll save on smaller blocks and I won't waste any wood or paper scraps....."
Usually I carve my registration system into each block using the traditional kento system of corner and edge stops that are part of each woodblock.

This is a traditional kento system of registration:Here is the corner stop or "kagi kento"

The corner kento is carved in a lower corner of the block and the corner of the damp paper would normally seat into this to line up each time it was printed. Another straight edge is carved to catch the lower edge of the paper; this is instead the line stop or lower edge stop called the hikitsuke kento.

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

This item is taken from the blog Lacrime di Rospo.
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Subject: 12 Views of the Shiawassee Exhibit
Posted by: Linda Beeman

The Gallery at Craig Mitchell Smith Glass
proudly presents the
Lansing exhibit of
12 Views of the Shiawassee River
by Linda J. Beeman
May 1 - 30, 2011
1st Sunday Gallery Walk
Opening Reception, May 1
Noon to 6:00 p.m.

A special print, "Weeping", made in response to the earthquake and
tsunami in Japan, will be available with 100% purchase price donated to the Japanese Red Cross Society for relief efforts.

Craig Mitchell Smith Gallery
Macy's Wing, Meridian Mall
Okemos, Michigan
Hours: Mon. - Sat. 10am-9pm
Sun. noon - 6pm

This item is taken from the blog Linda Beeman - Printmaker.
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Subject: Who moved my trail markers?
Posted by: Sherrie Y

I've often said that I'm the sort of person for whom loop trails were invented. Without them I might never make it back home. I'm the person on an out-and-back trail who says, "Let's just see what's around the next corner, and then I'll be ready to turn back." But of course around the next corner is another intriguing corner, and another, and another... and I always feel like I missed something

[This was a summary of the original entry. The full entry can be viewed here]

This item is taken from the blog Brush and Baren.
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