Today's postings

  1. [Baren 43247] Re: black paper (cjchapel #
  2. [Baren 43248] Re: black paper ("Maria Arango Diener")
  3. [Baren 43249] Re: black paper (Graham Scholes)
  4. [Baren 43250] Re: black paper ("Maria Arango Diener")
  5. [Baren 43251] Re: black paper (Sharri LaPierre)
  6. [Baren 43252] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: cjchapel #
Date: Fri, 22 Apr 2011 22:14:23 GMT
Subject: [Baren 43247] Re: black paper
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How about printing a white field that would "back" all subsequent printing?

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Message 2
From: "Maria Arango Diener"
Date: Fri, 22 Apr 2011 22:56:19 GMT
Subject: [Baren 43248] Re: black paper
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Yep, that sure works with oily stuff. I will experiment and see what
happens. What's the worst that can happen? A few sheets of Arches black in
the recycle...


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Message 3
From: Graham Scholes
Date: Sat, 23 Apr 2011 01:37:47 GMT
Subject: [Baren 43249] Re: black paper
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Hi Maria,

I have spent many days.... probably should say weeks... trying to solve the difficulties of printing on Black stock.
I can't be done in Moku Hanga technique

The best I can offer is using petroleum base pigments and even with those it took me two printings to get the colour to maintain the strength.

I did piece that required 32 passes through the press and managed 15 prints before I threw in the towel..... I won't bore you with the details ... you can see the happening here. Scholes Studio --

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Message 4
From: "Maria Arango Diener"
Date: Sat, 23 Apr 2011 02:31:34 GMT
Subject: [Baren 43250] Re: black paper
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Great image Graham!

Thank you for your comments.

I have printed on black paper with the oily stuff, really just needs to be
printed several times or over a white background. But I was wondering about
the watery stuff. Thank you for your experience.



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Message 5
From: Sharri LaPierre
Date: Sat, 23 Apr 2011 05:48:37 GMT
Subject: [Baren 43251] Re: black paper
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I haven't tried black paper, but the image I have in mind would also
be great printed on black. But, I will first try to print it with
sumi, and if that doesn't work I'll go back to my oily roots and go
with that. I'm trying to keep the colors down to black, red, white,
and gold. The white can be the paper. I'm thinking KISS. Keep It
Simple, Stupid! So, here's my question: has anyone used gold hanga
ink? (I'm sure David or Graham will have an answer to this one!) If
so, what brand, where can I get it, etc. I have some gold metallic
color - could I use that? What would I mix it with?

Cheers ~

Digest Appendix

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

Subject: Freeways of Fuchsia or Where is your Inspiration Super Highway?
Posted by: Elizabeth Busey

In my last post, I wrote about my use of a stencil to create a linoleum reduction print that had colors that were not analogous.  This is my interpretation of a leaf of Rugged Jack Kale:

Elizabeth Busey, Freeways of Fuchsia.  Linoleum Reduction Print, 16 x 24in image size, 2011.

I am pleased with the results.  The stencil, while a bit difficult to work with, did keep the vein areas free from green so I could layer them with pinks and blues.  I worked more slowly, and subsequently did not have those pesky stray printing marks in the plainer areas of the print.  

When I started this print, I was a bit concerned that the stenciled area would not feel integrated with the rest of the print.  Given that the colors were so different, asking for integration seemed optimistic.  I took on this challenge by having the stenciled area share colors with three of the leaf layers.  The first two layers were warm blues, and then the stencil was used.  On the last layer of the vein, I actually used the same blue that was used as the last layer of the leaf.  So . . .
[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog The World in Relief.
'Reply' to Baren about this item.