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Message 1
From: Jan Telfer
Date: Wed, 7 Apr 2004 22:06:57 +0800
Subject: [Baren 24811] Re: Japanese papers
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Harry wrote:

> I have no experience of selecting Japanese papers. My
> normal approach to anything new is heuristic...mhmmm.. trial and
> error,

Harry,

Don't panic about finding Japanese papers in an English
environment..... Isolated in Australia we have much the same problem,
mainly because not enough "people" are using them that they don't
bother to stock them and if they do they are expensive ....like about
$10AUS a sheet..... Baren Mall have a good supply and because the paper
is light, the postage is "light" too, so give Barbara Mason at the
Mall a try otherwise I have been using Fabriano 200 gsm (90lb) hot
press/smooth and I like it. BFK (soft paper and colours are more
sutble) or Lana Royale (good printmaking paper) too are OK.

My Exchange #21 will be on Fabriano.

Good luck,
Jan

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Message 2
From: "marilynn smih"
Date: Wed, 07 Apr 2004 08:34:45 -0700
Subject: [Baren 24812] Re: Japanese papers
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Jan, do you know if the fabriano 90lb hot press will emboss??? Nor sure yet
but I am wanting a decent paper that is not highly expensive and fairly easy
to get that will emboss. Still owe you a print. I have never run the
plates I carved at the workshop.
Marilynn

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Message 3
From: "Ramsey Household"
Date: Wed, 7 Apr 2004 08:56:29 -0700
Subject: [Baren 24813] Re: Japanese papers
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Hahnemuhle paper will emboss beautifully when it is dampened. It is 300
weight. Tackach has a very good price on it but you have to buy $50 worth.

I learned about the paper when I took the solar plate class with Dan Weldon.
Thank you Barbara Mason for telling us about the class. It was a great. I
learned so much. But I have a question. Have you done the process with
only the sun? If so, how long did you expose the plate? Did you use the
screen, or did you just do relief?

Carolyn

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Message 4
From: Mike Lyon
Date: Wed, 07 Apr 2004 11:53:12 -0500
Subject: [Baren 24814] Re: Japanese papers
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Carolyn wrote:
>Hahnemuhle paper will emboss beautifully when it is dampened. It is 300
>weight. Tackach has a very good price on it but you have to buy $50 worth.

Do you recall which Hahnemuhle paper you were using? They make a LOT of
papers!

-- Mike


Mike Lyon
http://mlyon.com

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Message 5
From: "Ramsey Household"
Date: Wed, 7 Apr 2004 10:29:55 -0700
Subject: [Baren 24815] Re: Japanese papers
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I believe it is the Copperplate (300 gm). Takach Paper Co. has it for
$2.39 for 22x30 sheet, minimum order $50. Their number is 877-611-7197. I
have ordered some, but have not received it yet. According to Daniel
Smith, you must soak it for 1/2 an hour. We didn't soak it for that long
(more like 10 minutes) and we blotted it well. It could be embossed very
deeply, and it was also beautiful for etching type prints.

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Message 6
From: Barbara Mason
Date: Wed, 7 Apr 2004 11:59:44 -0700 (PDT)
Subject: [Baren 24816] solarplates
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Carolyn,
You always need to use the screen if you want good blacks and no open bite . The sun takes longer, maybe 15 minutes as opposed to 2 minutes with a machine...do a test strip to be sure. Get good contact, use a heavy piece of glass and set your work on a piece of foam so the glass will push it down well.
Best to you,
Barbara

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Message 7
From: "HARRY FRENCH"
Date: Wed, 7 Apr 2004 20:40:19 +0100
Subject: [Baren 24817] An old dog and new ( Hanga ) tricks.
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Greetings Gurus, mentors and mortals.

Well I'm off to Shoreham on Sea to see my family armed with a wealth of advice about Hanga printmaking from Baren on and off line. The dialogue has been great so many things to think about when I buy my yearly printmaking gear at Lawrence's on Saturday. Alexis is on duty so she can give me even more advice. It will be a fasinating day with a steep learning curve.
I try to stick to important issues on the Forum, but the reason for the sudden switch from intaglio/letterpress printing has been because of a mischievous gift of a baren and sheets of GampiVellum paper from my family on my birthday! Apparently all I seem to talk about these days are Baren topics and the characters involved with it!
I'll keep you informed of how I get on.
Harry
Lincoln (UK)

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Message 8
From: FurryPressII # aol.com
Date: Wed, 7 Apr 2004 20:21:01 EDT
Subject: [Baren 24818] artist and craft
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"As far as the craft is concerned, I know of course that for the creation of
any image whatsoever the hand is the miraculously refined tool, the
intermediary between spirit and matter. But the illustrator doesn't know anything about
what we graphic artists call "the craft"-- the struggle with the unmanageable
material, the process of conquering a hostile material resistance, which the
wood-carver and the Engraver do know (more or less in the way the carpenter
knows it), and I fell sorry for the illustrator because he is thus deprived of
a great joy."
Letter to Oey Tjeng Sit, 26 May 1950 M. C. ESCHER

I had the pleasure of looking at Escher wood cuts and wood engraving as
well as some of his blocks a wonder to behold esp his registeration and use
of multi blocks and the same block multiple times in the same print. Some
times i wonder why he is not held in a high enough postition by print makers.

john center

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Message 9
From: "Patsy Wilson"
Date: Thu, 8 Apr 2004 01:53:21 -0500
Subject: [Baren 24819] Re: New Baren Digest (HTML) V27 #2608 (Apr 3, 2004)
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Sharri,
maybe you're referring to an advertisement I don't recognize, but don't you
mean, "Calgon"? as in "Calgon take me away"? I got quite a giggle out of
the image of the Culligan water guy visiting like the postman, who always
rings twice. ;)

& all,
now, for the on-topic stuff -- I have come into a huge amount (I mean huge
in the way that a 1' stack is huge, thanks to my mom who came into a couple
lots at the Unclaimed Baggage center here in AL) of Canson student-grade
watercolor paper. I've already made an edition of watercolor books for my
friends, and I used up quite a bit doing a Mandala collage workshop at the
library's staff development day last year, so it's not a complete waste of
space, I'm just trying to maximize its potential. I've been using it for
lino-cuts with so-so results, and some intaglio with slightly better results
(probably because of its low weight).

Here's the newbie question; does the amount of sizing in a paper interfere
with how the color soaks in, or could it just be that funky "watercolor"
texture that's getting in my way? The color doesn't seem to be as vibrant
as I think it should -- are some papers more receptive to water media than
oil, even if soaked long enough? It's just a shame to let this stack of
paper just sit there, so I'm just wondering if I'm committing a major faux
pas by using this watercolor paper for printmaking, or if the quality is
perceived to be substandard. Am I just trying to make a fish ride a
bike? --or a fish be a wife?

btw, Mike Lyon, I love your nude-twins print, incredible sense of
presence -- the rhythm of the 4 figures is elegant and substantial.


Walk Brightly!

Patsy
Huntsville, AL (sans y'all)

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