Today's postings
- [Baren 24069] The Puzzle Project (GWohlken)
- [Baren 24070] Re: The Puzzle Project (FurryPressII # aol.com)
- [Baren 24071] Lefties Rolling (ArtfulCarol # aol.com)
- [Baren 24072] Re: New Baren Digest (Text) V26 #2530 (Jan 31, 2004) (audley sue wing)
- [Baren 24073] Exchange 18, Murdered Kozo (John and Michelle Morrell)
- [Baren 24074] Re: Exchange 18, Murdered Kozo (David Bull)
Message 1
From: GWohlken
Date: Sat, 31 Jan 2004 09:36:22 -0500
Subject: [Baren 24069] The Puzzle Project
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Can't wait for those pictures to go up, Maria and Barbara. You sound
like you are having too much fun with your hard work. Some of us are
having fun, too -- sharing sneak previews of each others' Shunga
prints. :-)
By the way, John Center, did my package get there okay? I think it
should be in Chicago by now.
Gayle/Burton, Ohio
like you are having too much fun with your hard work. Some of us are
having fun, too -- sharing sneak previews of each others' Shunga
prints. :-)
By the way, John Center, did my package get there okay? I think it
should be in Chicago by now.
Gayle/Burton, Ohio
Message 2
From: FurryPressII # aol.com
Date: Sat, 31 Jan 2004 11:17:22 EST
Subject: [Baren 24070] Re: The Puzzle Project
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the following came today Darrell madis, Gayle Wohlken B. Paterix, Carol
Lyons, Christina Blank.
also 18a came too my human teenagers saw your print mike l. there
responce hotttttt!!!!!!!!!2 ditto on shunga print
and that is not even the shunga print but the one in 18a
one more day till dead line.
john of the yiskira
Lyons, Christina Blank.
also 18a came too my human teenagers saw your print mike l. there
responce hotttttt!!!!!!!!!2 ditto on shunga print
and that is not even the shunga print but the one in 18a
one more day till dead line.
john of the yiskira
Message 3
From: ArtfulCarol # aol.com
Date: Sat, 31 Jan 2004 14:39:03 EST
Subject: [Baren 24071] Lefties Rolling
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Hi,
Our Lefties Can Carve group is comfortable with a small number of
participants. We are 10. And an extra print to be made for the file or possible exhibit.
George Jarvis (Japan)
Bobby McCarthy
Juan Guerrero (Mexico)
Julio Rodriguez
Maria Arango ( She promises to do everything with her left hand!)
Alain Cislaghi (China)
Carol Lyons
Gayle Wohlken
Carole Baker
Sheila Fane (Guest)
Possibly Lynita Shimizu
Carol Lyons
Message 4
From: audley sue wing
Date: Sat, 31 Jan 2004 21:35:18 -0800 (PST)
Subject: [Baren 24072] Re: New Baren Digest (Text) V26 #2530 (Jan 31, 2004)
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--- lists@barenforum.org wrote:
> New Baren Digest Saturday, 31st of January,
> 2004 Volume: 26 Number: 2530
Dave wrote: "...It's not specifically to make the
paper thin that I want to do this -
that's a sort of undesirable side-effect - it's to
give a _perfectly_
smooth front surface. ..."
Dave, take a look at old textile finishing machinery
used to calender 36 inch wide fabric. They contain
cylinders made of steel and some of a paper
composition which had to be sanded level occasionally.
The old comercial technology involved mild steam
heating of a hollow steel cylinder which ran at a
slightly different speed from the 'paper' one. This
combination produced the smooth finish that is typical
of calendered cloth, in your case it would be paper.
One difference is that these machines are normally
'roll-fed' not sheet-fed. However they can be
sheet-fed carefully by hand one sheet at a time, as
long as one remembers to let go of the sheet and avoid
fingers being caught in the 'nip' of the rollers. Look
it up, you may even find a small family finishing
house that would be prepared to calender your paper
for a reasonable fee that would allow you more time to
get on with your creative work.
Audley in the Caribbean
Message 5
From: John and Michelle Morrell
Date: Sat, 31 Jan 2004 21:51:06 -0900
Subject: [Baren 24073] Exchange 18, Murdered Kozo
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To the others who participated in Exchange 18, I have to apologize for not
sending my print in the proper format. After I saw everyone else's
yesterday, I immediately remembered that we were supposed to do it on a
larger sized piece of paper. Lordy, but I am getting patchy. I think I
even asked Mike Lyon that specific question!
Oh well. What I am interested to know, David Bull, is how hot pressing your
paper kills the kozo. I am totally perplexed by possibility. It would be
interesting reading if you could explain it, although I can't promise I
would remember the explanation except in intervals.
Michelle Morrell
jmmorrell@gci.net
P.S. Really, really enjoyed the #18 exchange prints. Some excellent work
there!
sending my print in the proper format. After I saw everyone else's
yesterday, I immediately remembered that we were supposed to do it on a
larger sized piece of paper. Lordy, but I am getting patchy. I think I
even asked Mike Lyon that specific question!
Oh well. What I am interested to know, David Bull, is how hot pressing your
paper kills the kozo. I am totally perplexed by possibility. It would be
interesting reading if you could explain it, although I can't promise I
would remember the explanation except in intervals.
Michelle Morrell
jmmorrell@gci.net
P.S. Really, really enjoyed the #18 exchange prints. Some excellent work
there!
Message 6
From: David Bull
Date: Sun, 1 Feb 2004 18:37:59 +0900
Subject: [Baren 24074] Re: Exchange 18, Murdered Kozo
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> Oh well. What I am interested to know, David Bull, is how hot pressing
> your
> paper kills the kozo. I am totally perplexed by possibility.
When I was talking about damaging the kozo, I was referring to what I
think happens when the papermaker is drying his wet sheets. No pressing
is involved at this point.
The raw sheets are 'couched' onto a large stack, and this is left for a
while for the bulk of the water to run out. Weights are sometimes placed
on boards on top of the stack to help squeeze out water. The paper then
must be dried. The traditional way is to brush it sheet by sheet onto
wide boards which are then placed out in the sun (or into gas-fired warm
air cupboards in long periods of inclement weather), but some
papermakers have gas driers - upright metal panels heated from behind by
gas jets; kind of like vertical griddles. These are used in pairs - the
papermaker brushes a sheet onto one panel, then brushes another sheet
onto the neighbouring panel. By the time he turns back to the first
panel, the sheet is dry, and he quickly pulls it from the hot metal.
Back and forth, back and forth ... All during the process, clouds of
steam are shooting from the wet paper, as it _very quickly_ dries out.
My problem with this, is that I think that what is happening here is
basically 'cooking' the paper. It's very thin, the griddle is extremely
hot, the paper is made of nothing but 'vegetable' material ... Surely
some of the protein structures or whatever down inside the fibres _must_
be partially broken down by this superheating? The paper doesn't look
much different, but I just don't trust this process - when thinking
forward a hundred years or so ... But please understand that I have no
'proof' of any damage; many if not most papermakers use this system, and
probably nearly every sheet of Japanese paper you have ever bought has
been dried this way (air drying boards are _very_ expensive to maintain).
***
The other phrase I used - 'killing' the paper - is no connection with
this. Anytime that there is a fear that the paper might stretch or lose
stability during the upcoming printing, it's common to 'kill' it before
starting. For us that means working it on a blank block with a strong
baren; making sure it does any stretching before the real work begins.
For western printmakers, I suppose they do this with a press, I don't
know if it is common ...
The thin paper used for making 'kyogo-zuri' (the colour transfer sheets)
must be treated this way, as any subsequent stretching would be fatal to
getting the print properly registered later.
Dave
> your
> paper kills the kozo. I am totally perplexed by possibility.
When I was talking about damaging the kozo, I was referring to what I
think happens when the papermaker is drying his wet sheets. No pressing
is involved at this point.
The raw sheets are 'couched' onto a large stack, and this is left for a
while for the bulk of the water to run out. Weights are sometimes placed
on boards on top of the stack to help squeeze out water. The paper then
must be dried. The traditional way is to brush it sheet by sheet onto
wide boards which are then placed out in the sun (or into gas-fired warm
air cupboards in long periods of inclement weather), but some
papermakers have gas driers - upright metal panels heated from behind by
gas jets; kind of like vertical griddles. These are used in pairs - the
papermaker brushes a sheet onto one panel, then brushes another sheet
onto the neighbouring panel. By the time he turns back to the first
panel, the sheet is dry, and he quickly pulls it from the hot metal.
Back and forth, back and forth ... All during the process, clouds of
steam are shooting from the wet paper, as it _very quickly_ dries out.
My problem with this, is that I think that what is happening here is
basically 'cooking' the paper. It's very thin, the griddle is extremely
hot, the paper is made of nothing but 'vegetable' material ... Surely
some of the protein structures or whatever down inside the fibres _must_
be partially broken down by this superheating? The paper doesn't look
much different, but I just don't trust this process - when thinking
forward a hundred years or so ... But please understand that I have no
'proof' of any damage; many if not most papermakers use this system, and
probably nearly every sheet of Japanese paper you have ever bought has
been dried this way (air drying boards are _very_ expensive to maintain).
***
The other phrase I used - 'killing' the paper - is no connection with
this. Anytime that there is a fear that the paper might stretch or lose
stability during the upcoming printing, it's common to 'kill' it before
starting. For us that means working it on a blank block with a strong
baren; making sure it does any stretching before the real work begins.
For western printmakers, I suppose they do this with a press, I don't
know if it is common ...
The thin paper used for making 'kyogo-zuri' (the colour transfer sheets)
must be treated this way, as any subsequent stretching would be fatal to
getting the print properly registered later.
Dave