Today's postings

  1. [Baren 43951] Black and white prints (Marilynn Smith)
  2. [Baren 43952] Re: Registration problem on damp paper. (key sevn)
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Message 1
From: Marilynn Smith
Date: Wed, 17 Aug 2011 16:17:43 GMT
Subject: [Baren 43951] Black and white prints
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Gillyin I liked your comment about the black and white print. Color
prints are wonderful and I have done them. I d think there are times
when the simplicity of black and white shines. If one gets that
"bounce" or bit of character into a print it can be stunning. One need
not have color to have that stunning bit of bounce. For me, I find the
stark contrast of a very white paper and black ink wonderful. On my
last little black and white print I used a light coating of ink and
left the press roller at a height that barely picked it up. It made
for a very delicate look. That look fit my delicate little subject, in
my mind. There are so many interesting variables in printmaking. It
is, in the final end, up to the artist to express their image in the
way they specifically want to express it. Using multiple plates and
may colors does not, to me make a work better. It certainly makes the
work more technically challenging. Intricate carving can also be a
challenge. Fine lines that hold, on a hard wood are a challenge. Not
just color.

Good prints come in all sizes, colors and values. Thanks for the
reminder that black and white can be stunning.

MAIL! I am constantly telling people that we truly get poor mail
service when in Mexico. One must send parcels via DHL and that costs a
lot more. I only do exchanges when I am in the states for that reason.
Even in the states when I mail from our small post office it takes an
extra day or so to get to its destination, routing through the big
city. When mailing to a foreign entity it is wise to inquire of the
recipient what is the best way to send it. We are blessed with an
excellent postal system here in the United States. Few realize how
lucky we are. Another thing we are fortunate to have is access to a
wide range of supplies for printmaking. Even living in a rural area
does not prohibit my ability to get supplies I can order them and they
do arrive in a timely manner, not so where I live in Mexico.

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Message 2
From: key sevn
Date: Thu, 18 Aug 2011 11:17:47 GMT
Subject: [Baren 43952] Re: Registration problem on damp paper.
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Let me give you an advice (I've akready showed that but maybe it will be
more complex)
In attachment there's a drawing and down there is a legend and description:

1; the block
2; your printing paper, wet and ready for the process.
3; registration mark. straight line with a pointer of left corner of your
printing paper
looks like this
You don't have to use backing paper, you can also write it directly on your
printing press table, or mark it with glue tape (wchich I personally prefer)
4; backing paper with a mark
5; printing press table.

I. draw a mark (3) on a printing press table.
II. mark a position of a block
III. put a wet paper due to the mark: left corner of the paper to the
pointer and the down edge to the long line.
put down the paper EASILY on the block (if you use large formats you can
roll up the paper and after registration roll it off freely(???))
IV. print
V. change the block, put another colour block exactly on the same marked
VI. repeat from the IIIrd point.

Paper shrink and expand when it's wet and dry that's obvious. When you dry
the paper it is going to be smaller, but when it's wet again it will expand
to its wet size. Moisten the paper always at the same manner.
Sometimes people prepares a paper making few blind prints under the printing
press, I don't use blind printing now because I don't have to. It's usually
used in lithographic process.

Its quite usueful technique not just in blockprinting. In litho printing you
make a mark directly on the stone. there are many variations. You can also
customize it to your needs.

Ask me if you don't understand (my english or anything)
Drawing made by myself in paint, sorry :}}}


2011/8/15 Phil Hillmer

> First a thanks to everyone on Baren who helped me last week with the
> invaluable info about dampening paper etc in the "printing on wet paper with
> etching inks" thread. An update on that, I printed some small test samples
> - 4 different layers - colors of etching inks in the same session on damp
> Rives BFK paper and got a very even tone, colors look great, not blotchy
> like they were when printing dry, and the sureset seems to work AOK to
> reduce shine on top layers. Came out much better than what I was doing
> printing dry.
> Now that problem has been solved I have another major problem that just
> cropped up recap I am printing 4 relief color blocks using
> etching ink mixed with burnt plate oil.
> I am using a hole punch registration set up. I made a registration frame
> and spaced my pins on the frame to exactly match the hole pattern of my hole
> punch. I am providing some excess paper on one edge of the print to punch
> with a hole punch holes to be trimmed off after printing. I get perfect
> registration when printing dry, but now my problem is, after soaking and
> blotting off my rives, the holes are off by maybe 1/32 (maybe more) of an
> inch - apparently the paper expands when wet. So now my dampened paper will
> not register properly.
> Any suggestions on this? Does this mean I can't use a hole punch type
> registration when printing on dampened paper?
> PH