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Message 1
From: Claude "Aimée" Villeneuve
Date: Fri, 9 Jul 2004 06:30:15 -0700 (PDT)
Subject: [Baren 25503] Re: western oil based vs western water based ink
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Hi Charles!
For rewettable watersoluble ink to use with children,
speedball is what you need.

Claude Aimée

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Message 2
From: Daniel Dew
Date: Fri, 9 Jul 2004 09:38:23 -0400
Subject: [Baren 25504] Re: western oil based vs western water based ink
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By the way, call Speedball at 1-800-898-7224 and ask for Celeste
Feismster. At times, for the right reasons, they will give away free
ink and stuff (label misprints and funky colors). Worth a try.

Daniel L. Dew

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Message 3
From: Charles Morgan
Date: Fri, 09 Jul 2004 06:39:36 -0700
Subject: [Baren 25505] Re: western oil based vs western water based ink
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Hello, Hello Calude Aimée,

Yes, Speedball is what I am using now. But it is not that good in terms of
quality ... I was hoping for something a bit better.

I have seen some recipes for watercolors in the Handbook, but have not
tried them ... wonder how they would roll out? It would be nice to be able
to EASILY make decent quality water based, rewettable inks using my own
pigments.

How is the new house, new studio, etc.????

I hope to get to Montreal sometime this year, and if so I will be in touch.

Cheers ....... Charles

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Message 4
From: Claude "Aimée" Villeneuve
Date: Fri, 9 Jul 2004 06:50:13 -0700 (PDT)
Subject: [Baren 25506] Re: western oil based vs western water based ink
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Hi again Charles!
Graphic Chemicals makes a kind of water-soluble
vehicle to use with water-based ink. I've got a can
but haven't used it yet. I was thinking of trying it
with Speedball water-based ink to see if it improves
the way they roll up. Dean from Graph. Chem - if he's
around might help us there.

After a year in the new house, I'm finally setting up
my printmaking studio which until now looked like a
disaster area. Had to move everything in the hallway
everytime I needed to print something. In about a
week, I'll have an organized, bright and cheerful
studio. Can't wait to really get working again
seriously after 2 crazy years. I've been doing a lot
of experimenting with fibers to make my own handmade
paper. One of my first projets will be a series of
small linocuts on handmade paper made from the fibers
of ash tree branches.

Claude Aimée

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Message 5
From: Jeanne Norman Chase
Date: Fri, 9 Jul 2004 06:55:11 -0700 (PDT)
Subject: [Baren 25507] Re: SGC
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Hi Barb.

Do you have the mailing address or URL of the SGC?

I intend to go but do not have any information. I was once a member but let the membership lapse , would like to enrol again.

A demo booth sounds good to me.

Jeanne N.

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Message 6
From: Sharri LaPierre
Date: Fri, 9 Jul 2004 09:31:56 -0700
Subject: [Baren 25508] Re: Expletive Deleted
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Fellow Bareners,
If you are interested in more news about the article which we are not
allowed to mention and have not received an update via private message
let me know and I will forward the latest to you. Hope I haven't
offended anyone.

I'm actually going to drag the Haiku prints from the freezer this
morning and do a couple of more color runs. (Threw that in so I could
claim it has something to do with woodcut.)

Cheers!
Sharri

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Message 7
From: Mike Lyon
Date: Fri, 09 Jul 2004 12:15:23 -0500
Subject: [Baren 25509] Re: transfer paper
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Brad Teare wrote:
I remember someone mentioning that there was a kind of paper you could
photocopy to and then transfer to a block (peeling off a layer and applying
the adhesive part to the block, I believe). Do you know of such paper? And
where would I buy such a product?

Dear Brad,

There are many papers you can use for this, but one I know of which is made
especially for the purpose. It's available from the Baren Mall
http://www.barenforum.org/mall/products/paper.php and is paper #22,
"Hanshita paper" 930 x 630 mm (36" x 24") Double layer paper; draw your
design on this, paste it down, then peel off the back layer to leave the
image visible on the wood. $6.80 per sheet.

It works a bit differently than you described -- it's a two-layer paper --
one layer is tissue and the other is like a half-weight card stock. You
can cut it to size (like 8 1/2 x 11 copier paper size) laser or inkjet or
photocopy onto the tissue side, then you paste the whole thing image side
(tissue side) down onto the block (rice paste will work very well). When
the paste is dry, you peel off the thick backing and... VOILA! You can
see your image through the almost transparent tissue. If it's too opaque,
you can lightly oil the paper, or dampen it and carefully rub off the paper
leaving only the image on the block. After carving is complete you can
easily remove paper and paste remnants by dampening the surface and rubbing...

I've also experimented with litho transfer paper (
http://www.printmaking-materials.com/printshop/shopdisplayproducts.asp?id=83&cat=Dolphin+Litho+Transfer+Paper
) with sometimes-decent results -- litho transfer paper is coated with a
thin layer of gum arabic -- you print on the gum side (oil based ink or
toner (laser jet or xerox photocopy work ok, but do not use inkjet), then
transfer the image by fixing the paper image side down onto the wood and
dampening the back of the paper and pressing which dissolves the gum and
sorta lightly 'stick's the printed ink or toner to the wood. The Baren
Mall paper works better and easier, though.

With xerox process (heat fused toner) you can also directly transfer any
photocopy or laser print to your block. Depending on the photocopy, you
can use a HOT iron to heat-transfer the toner to the wood. My irons have
never been hot enough to effect a decent transfer, but I am told that with
a hotter iron it works great -- I've also heard that fresher copies
transfer more easily than older copies. Toner in laser printers and
dry-toner photocopiers is mostly thermo-plastic sorta like a dust made of
hot-melt-glue-coated carbon particles with special electro-static
properties ideal for xerox process machines... You can also melt toner
with solvents like acetone or lacquer thinner. That's pretty toxic,
though. A description of solvent transfer is here:
http://www.monoprints.com/info/techniques/reduction_print.html and also
here: http://www.barenforum.org/archives/vol21/v21_2069.txt

-- Mike


Mike Lyon
http://mlyon.com

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Message 8
From: "GONZALO FERREYRA"
Date: Fri, 09 Jul 2004 10:53:06 -0700
Subject: [Baren 25510] Kuchi-e burnishing
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Hello everyone,
Any clues as to the secret behind printing the black-on-black "burnishing"
as seen in the hair of many (or most, it seems) kuchi-e beauties?

Many thanks...

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Message 9
From: David Bull
Date: Sat, 10 Jul 2004 07:29:53 +0900
Subject: [Baren 25511] Re: Kuchi-e burnishing
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> Any clues as to the secret behind printing the black-on-black
> "burnishing" as seen in the hair of many (or most, it seems) kuchi-e
> beauties?

Sure Gonzalo, it's called 'sho-men-zuri' (front side printing). The
area in question is first printed in the 'normal' way, using a black
with plenty of glue in it, to help it appear a bit shiny.

Then, once the print is finished and dried, the paper is placed _face
up_ over a block specially cut to fit that same area, and the _front_
of the sheet is rubbed with the baren, creating the shine you see.

One important point to note is that this special block has two
particular characteristics different from normal blocks:

1) it is of course not in 'reverse', as are all the other blocks.
2) it is 'smaller' than it would normally be, as the paper shrinks when
it dries; if the block were cut to the same dimensions as the other
blocks, the pattern wouldn't fit in the correct place ...

This technique was also used with other colours, not just black, and
was also used to create patterns sometimes - you might see kuchi-e
prints with a burnished pattern on the kimono ...

Are you trying this?

Dave

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Message 10
From: "GONZALO FERREYRA"
Date: Fri, 09 Jul 2004 16:08:38 -0700
Subject: [Baren 25512] Re: Kuchi-e burnishing
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>Are you trying this?

Many thanks, Dave...my money was on you to be the one to reveal this
mystery. I'm thinking of giving it a try on an effort to duplicate one
portion of an original kuchi-e and frankly, had always been curious as to
just how it was done. As I expected, the technique is both beautifully
clever and unexpectedly straightforward.

Gonzalo

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Message 11
From: eli griggs
Date: Fri, 9 Jul 2004 16:14:11 -0700 (PDT)
Subject: [Baren 25513] Re: transfer paper
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Hi there:

I have had good results using kitakata, an inkjet
printer and rice flour paste.

See the Baren site for info on how to make the paste
and lay down the paper.


Use the smooth side paper for the inkjet and take your
time rolling off the excess from the back side. Dont
try to get it all off at once and you should be able
to get the paper VERY thin.

Cheers,
Eli

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Message 12
From: "Amanda Yopp"
Date: Fri, 09 Jul 2004 18:59:17 -0600
Subject: [Baren 25514] RE: SGC
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The end of last year I brought up getting a group of Bareners to participate
in SGC and got no reaction. I am so glad there are some like-minded
Bareners out there! I think it would be great! There are also ways to
become more involved other than showing up. Unfortunately we've missed the
proposal deadline for 2005. I am very interested in organizing something
for SGC. I'm "in" if we have some interest. When the powerinprint.gmu.edu
website is updated we can find out what opportunities are availiable. I'm
sure we can set up some sort of booth. It could be a great way for those who
teach workshops to get the word out about their classes.
I missed SGC this year and wished I could have gone. For those who are
interested- SGC 2006 will be held in Madison, WI! I will definently be a
part of that one.

I would love to get something together for SGC 2004!
-Amanda Yopp
Tucson,AZ

Barbara wrote

>I think we should get as many people from Baren as possible to go to SGC...

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Message 13
From: "Amanda Yopp"
Date: Fri, 09 Jul 2004 19:13:21 -0600
Subject: [Baren 25515] Re: toot toot!
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Congratulations Maria!!

-Amanda

>Oh gasp! I almost forgot...the name of the project is, of course--wait
>for it...--VAN-GO!
>
>The County will send me an official press release and such when the vans
>are ready and I will run over there and take pics before the vans get
>dirty. Rumour has it that they are going to colorize the print's
>background, to which I agreed.
>How fun, huh?

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Message 14
From: "Mary Ann Brooks-Mueller"
Date: Fri, 9 Jul 2004 21:35:32 -0500
Subject: [Baren 25516] wood question
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I am working on a print commission that involves some creosote railroad ties
(long explanation!).
I would like to be able to paint or coat the ties to lighten them. I know
creosote dissolves paint or seeps through. Anybody know a solution to a
barrier, like a primer or something that I can use to contain the creosote
and then paint the ties?
Thanks to anyone who knows!
Mary Ann
Mexico

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Message 15
From: "Love Me"
Date: Sat, 10 Jul 2004 12:46:43 +1000
Subject: [Baren 25517] Exchange 22
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Thanks to Mike Lyon for gracefully declining to mention that some of us might have submitted a multitude of applications following the "moment" of opening the exchange sign up. (1 am Sydney time). Given the vagaries of my clock and the error message received, I think I signed up at least a dozen times. Anyway, thanks to all those who do the behind-the-scenes work, and thanks generally for the whole Baren Forum concept.

Tom (carving my very first block)

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Message 16
From: FurryPressII # aol.com
Date: Fri, 9 Jul 2004 23:20:19 EDT
Subject: [Baren 25518] Re: wood question
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Polymer resin might work. One source of that might be a ship building or
repair shop.

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Message 17
From: Aqua4tis # aol.com
Date: Sat, 10 Jul 2004 02:05:44 EDT
Subject: [Baren 25519] Re: wood question
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isnt creasote a carcinogen??

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Message 18
From: "Robert Canaga"
Date: Fri, 9 Jul 2004 23:16:07 -0700
Subject: [Baren 25520] Re: wood question
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yes

>isnt creasote a carcinogen??

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End of [Baren] Digest