Today's postings
- [Baren 25785] Could You Explain Further, or Show 'n Tell Us (GWohlken)
- [Baren 25786] Could You Explain Further, or Show 'n Tell Us (Barbara Mason)
- [Baren 25787] Re: Could You Explain Further, or Show 'n Tell Us (Aqua4tis # aol.com)
- [Baren 25788] RE: Baren Digest (old) V28 #2759 ("marilynn smih")
Message 1
From: GWohlken
Date: Thu, 19 Aug 2004 09:31:06 -0400
Subject: [Baren 25785] Could You Explain Further, or Show 'n Tell Us
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Barbara, is there any way we can see this? For the life of me, I can't
get a mental image of what you are doing here, and it sounds too
interesting not to actually see this.
For instance, you say "sort of like a canvas with wood on top that is
2" deep". I'm trying to see this and what I get is canvaslike shape,
that if you are standing it up and looking at it, the top edge of it
has an extension that either sticks out toward us two inches, or goes
back two inches. I'm sure that's not what you mean. I'm so dense
here, ha. What do you mean by "cold wax"? You melted wax over the
paper? See what I mean? I'm getting these weird pictures of something
that probably is very logical if I could but see it. :-D
~Gayle
>
> On another note, I have chine colled my prints to a cradled wooden
> frame, sort of like a canvas with wood on the top that is 2" deep. I
> dyed the edges of the wood black. Then I used cold wax to protect the
> paper and wood, and buffed it when dry. Now I have prints permanently
> mounted that have a mat finish and no frame or glass.
get a mental image of what you are doing here, and it sounds too
interesting not to actually see this.
For instance, you say "sort of like a canvas with wood on top that is
2" deep". I'm trying to see this and what I get is canvaslike shape,
that if you are standing it up and looking at it, the top edge of it
has an extension that either sticks out toward us two inches, or goes
back two inches. I'm sure that's not what you mean. I'm so dense
here, ha. What do you mean by "cold wax"? You melted wax over the
paper? See what I mean? I'm getting these weird pictures of something
that probably is very logical if I could but see it. :-D
~Gayle
>
> On another note, I have chine colled my prints to a cradled wooden
> frame, sort of like a canvas with wood on the top that is 2" deep. I
> dyed the edges of the wood black. Then I used cold wax to protect the
> paper and wood, and buffed it when dry. Now I have prints permanently
> mounted that have a mat finish and no frame or glass.
Message 2
From: Barbara Mason
Date: Thu, 19 Aug 2004 08:35:40 -0700 (PDT)
Subject: [Baren 25786] Could You Explain Further, or Show 'n Tell Us
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Gayle,
What I thought was clear was obviously not as I got quite a bit of mail saying "huh????"
It is a wooden box, with the flat surface on the outside or away from the wall 2", so the sides go back to the wall straight. I glued the print to the flat surface so the box bottom is on the outside away from the wall surface 2" toward you and is now the front instead of the bottom.
The cold wax comes in a can and you just rub it on like paste wax for hardwood floors. It is almost clear so very pure.There are a couple of brands available but the one I used is made by Gamblin. The directions say you can mix it with oil paint or thin it with thinner and paint it over a painting. I did not want to use thinner on my paper, so just used it thick. It seems to work well....we will see. It is so darn hot here now it is taking a while to dry hard....we are having 85 - 90 degrees every day or hotter. I want 50-70 again. Like we are used to having in Oregon. This heat is killing us.....remember I said this in the winter when I am whining about no sun! I will get pictures soon.
Barbara
What I thought was clear was obviously not as I got quite a bit of mail saying "huh????"
It is a wooden box, with the flat surface on the outside or away from the wall 2", so the sides go back to the wall straight. I glued the print to the flat surface so the box bottom is on the outside away from the wall surface 2" toward you and is now the front instead of the bottom.
The cold wax comes in a can and you just rub it on like paste wax for hardwood floors. It is almost clear so very pure.There are a couple of brands available but the one I used is made by Gamblin. The directions say you can mix it with oil paint or thin it with thinner and paint it over a painting. I did not want to use thinner on my paper, so just used it thick. It seems to work well....we will see. It is so darn hot here now it is taking a while to dry hard....we are having 85 - 90 degrees every day or hotter. I want 50-70 again. Like we are used to having in Oregon. This heat is killing us.....remember I said this in the winter when I am whining about no sun! I will get pictures soon.
Barbara
Message 3
From: Aqua4tis # aol.com
Date: Thu, 19 Aug 2004 16:01:56 EDT
Subject: [Baren 25787] Re: Could You Explain Further, or Show 'n Tell Us
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barbara
i would like to see this too can you scan some pictures?
georga
i would like to see this too can you scan some pictures?
georga
Message 4
From: "marilynn smih"
Date: Thu, 19 Aug 2004 15:07:30 -0700
Subject: [Baren 25788] RE: Baren Digest (old) V28 #2759
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Here on the Washington coast the weather has been very dry, yet damp, with
high humidity. I have found it best to limit my daily printing so that I
can keep really strong control over my paper, that seems to help me. Then
if I want to work more I can move to another project, like a plate I am
carving. It helps me to keep several projects in different stages, that way
I seem to always have control.
The interleaving of newsprint helps when the sheets are damp as Mike said.
I have also found that if it is damp I can set it out in the air while i ink
my hanga plate and it dries a bit, usually just right. Of course you get a
feel for it. Also another thing I have found is to leave my layer a bit
farther apart, more than that inch if it is staying damp. Another thing, I
have let it dry out completely and rewet it and it works fine. If you are
like me and travel between houses that is a good thing because some times
my projects are not done before i move to the other place. The best thing is
to monitor often and spritz when needed and let it rest when needed.
Sunshine and happy printing to all,
Marilynn in Washington state
Oh Barbara, I will try soon to order some of that wonderful nice paper so I
can have it down south with me.
high humidity. I have found it best to limit my daily printing so that I
can keep really strong control over my paper, that seems to help me. Then
if I want to work more I can move to another project, like a plate I am
carving. It helps me to keep several projects in different stages, that way
I seem to always have control.
The interleaving of newsprint helps when the sheets are damp as Mike said.
I have also found that if it is damp I can set it out in the air while i ink
my hanga plate and it dries a bit, usually just right. Of course you get a
feel for it. Also another thing I have found is to leave my layer a bit
farther apart, more than that inch if it is staying damp. Another thing, I
have let it dry out completely and rewet it and it works fine. If you are
like me and travel between houses that is a good thing because some times
my projects are not done before i move to the other place. The best thing is
to monitor often and spritz when needed and let it rest when needed.
Sunshine and happy printing to all,
Marilynn in Washington state
Oh Barbara, I will try soon to order some of that wonderful nice paper so I
can have it down south with me.