Today's postings
- [Baren 26046] RE: Baren Digest (old) V28 #2792 ("Megan Kay")
- [Baren 26047] Re: new print (Mike Lyon)
- [Baren 26048] Re: new print (b.patera # att.net)
- [Baren 26049] Re: new print (Shireen Holman)
- [Baren 26050] Re: new print (Barbara Mason)
- [Baren 26051] Re: new print (Barbara Mason)
Message 1
From: "Megan Kay"
Date: Sun, 19 Sep 2004 10:28:51 -0400
Subject: [Baren 26046] RE: Baren Digest (old) V28 #2792
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Hello
Hopefully this is the right way to post questions or message for the forum.
If it isn't please let me know. I would appreciate it if you could post the
following:
I am a young printmaker, currently in my seniour year. Over the summer I did
a lot of research and came across David Bulls site and this forum - which i
am subscribed to. So far I have not posted any question or messages but I
would appreciate feedback and information on the following from the members
of the forum.
I am going to start a project soon, a mixed media construction incorporating
different printing techniques (intaglio, relief etc...) I had seen on David
Bulls tech page about printing with metal powders which I would like to
attempt for my work on this idea. I have since ordered and recieved gold
powder and mica powder for the work. I would like to print a flat gold
relief print- the image being completely gold. I am sorta clear on how to do
this based on his instructions, but I would like to hear what others have to
say and any problems they may have encountered printing this way or
solutions or things to watch out for. Also, for the same project (there is
three parts) I will be using the mica powder. I haven't decided whether to
print it as a flat field for the image or to mix it in to the ink. I am
considering printing the relief image in white and would be mixing the mica
into the white ink or printing a layer of mica on top of the white. I am not
sure about the proportions of mica powder to ink in order to get the most
"shimmer" and would appreciate feedback on that. Also related along these
lines is whether or not I should use water based or oil based ink. I have
the most experience with oil based ink and almost none with waterbased (but
the image I will be using is very simple so I don't think i would encounter
any problems). With that, the plate that I will be printing from (wood) I
have used to pull editions from with oil based ink and whether I should
recarve the plate for printing with the metal powders or whether I can resue
the plate. Also any suggestions on what kind of paper works best for
printing with this technique would be helpful. I use Hosho student grade for
all of my relief printing and like it very much but I would like to consider
all of the possiblities. Also too, is whether I should hand print with these
powders or whether I should put them through a press - mostly I am concerned
about the coverage and application as I would like the printed areas to be
as stable as possible.
The next question is related to the above and also generally. I did alot of
research on rice paste and differant recipes and have the supplies for
making it and have played around with it, but I am still not very familar
with it and would appreciate different recipes, info on potential problems,
solution etc... for using rice paste. I have used Goya rice flour to make
the paste with and it worked well.
I should add to this that when working and planning projects I like to have
as much information as possiable so that I can consider differant
possibilties and solutions to problems. Becoming familar with japanese
printing techniques from this forum and David Bulls site was very cool for
me as I was taught how to do relief printing in a very "Western" way, oil
based ink, using presses for printing etc...The information has given me alot
of new ideas in terms of combining differant techniques (which is what I
will be doing for this project). But i am younger and do not have as much
expeirnce as I would like with some of these technical issues so any
information on the above issues will definately be helpful. I would also ask
for you to be as clear as possible with directions or recipes etc...I am
going to print out the resposes for reference and also I have a harder time
understanding things (written directions) as opposed to doing things hands
on.
To give you an idea of who I am...I am a senior fine art major in school in
Lancaster PA. I consider myself a printmaker and painter equally and enjoy
both mediums very much but in very differant ways. I have experience with
relief printing ( both reduction and mutiple plate), monotype techniques,
and intaglio techniques. The project that i will be working on is going to
be mixed media construction in three parts. The first part will incorparate
the gold powder to - the image being of a soldier who was also my
grandfather and marigold petals - in Mexico marigolds are used for the Day
of the Dead and remeberance of those who are now gone. The second project
will be with the same soldier image except printed in white with the mica
powder and using butterflies - which have a history as being a symbol for
those who have past. I will doing the butterflies as an intaglio plate
printed in white on black paper. the third part will be the same relief
soldier image but with an intaglio plate of tweed texture (as my grandfather
used to wear the old men hats that had that kind of fabric) and photos of
him from his childhood and later. All three parts will be constructed as
boxes and layers - the first layer being the background and then space and
then the next layer and so on, I will be using transparent materials and
attchcing the different layers to frames so that when standing in front of
the "boxes" you will be able to see through and there will be a sense of
depth. All of this will be enclosed in plexiglass to help protect it from
dirt, etc... Hopefully this is clear and helps to give you an idea of
what I will be using the techniques for. I am very excited about the idea
and I think that it will turn out very well - but of course a written
description does not do it justice.
I'm sorry this has gone on so long but would definitely apprecite a
response. Thanks, Megan
you can also email me at megank16#hotmail.com I check my email fairly
frequently.
Hopefully this is the right way to post questions or message for the forum.
If it isn't please let me know. I would appreciate it if you could post the
following:
I am a young printmaker, currently in my seniour year. Over the summer I did
a lot of research and came across David Bulls site and this forum - which i
am subscribed to. So far I have not posted any question or messages but I
would appreciate feedback and information on the following from the members
of the forum.
I am going to start a project soon, a mixed media construction incorporating
different printing techniques (intaglio, relief etc...) I had seen on David
Bulls tech page about printing with metal powders which I would like to
attempt for my work on this idea. I have since ordered and recieved gold
powder and mica powder for the work. I would like to print a flat gold
relief print- the image being completely gold. I am sorta clear on how to do
this based on his instructions, but I would like to hear what others have to
say and any problems they may have encountered printing this way or
solutions or things to watch out for. Also, for the same project (there is
three parts) I will be using the mica powder. I haven't decided whether to
print it as a flat field for the image or to mix it in to the ink. I am
considering printing the relief image in white and would be mixing the mica
into the white ink or printing a layer of mica on top of the white. I am not
sure about the proportions of mica powder to ink in order to get the most
"shimmer" and would appreciate feedback on that. Also related along these
lines is whether or not I should use water based or oil based ink. I have
the most experience with oil based ink and almost none with waterbased (but
the image I will be using is very simple so I don't think i would encounter
any problems). With that, the plate that I will be printing from (wood) I
have used to pull editions from with oil based ink and whether I should
recarve the plate for printing with the metal powders or whether I can resue
the plate. Also any suggestions on what kind of paper works best for
printing with this technique would be helpful. I use Hosho student grade for
all of my relief printing and like it very much but I would like to consider
all of the possiblities. Also too, is whether I should hand print with these
powders or whether I should put them through a press - mostly I am concerned
about the coverage and application as I would like the printed areas to be
as stable as possible.
The next question is related to the above and also generally. I did alot of
research on rice paste and differant recipes and have the supplies for
making it and have played around with it, but I am still not very familar
with it and would appreciate different recipes, info on potential problems,
solution etc... for using rice paste. I have used Goya rice flour to make
the paste with and it worked well.
I should add to this that when working and planning projects I like to have
as much information as possiable so that I can consider differant
possibilties and solutions to problems. Becoming familar with japanese
printing techniques from this forum and David Bulls site was very cool for
me as I was taught how to do relief printing in a very "Western" way, oil
based ink, using presses for printing etc...The information has given me alot
of new ideas in terms of combining differant techniques (which is what I
will be doing for this project). But i am younger and do not have as much
expeirnce as I would like with some of these technical issues so any
information on the above issues will definately be helpful. I would also ask
for you to be as clear as possible with directions or recipes etc...I am
going to print out the resposes for reference and also I have a harder time
understanding things (written directions) as opposed to doing things hands
on.
To give you an idea of who I am...I am a senior fine art major in school in
Lancaster PA. I consider myself a printmaker and painter equally and enjoy
both mediums very much but in very differant ways. I have experience with
relief printing ( both reduction and mutiple plate), monotype techniques,
and intaglio techniques. The project that i will be working on is going to
be mixed media construction in three parts. The first part will incorparate
the gold powder to - the image being of a soldier who was also my
grandfather and marigold petals - in Mexico marigolds are used for the Day
of the Dead and remeberance of those who are now gone. The second project
will be with the same soldier image except printed in white with the mica
powder and using butterflies - which have a history as being a symbol for
those who have past. I will doing the butterflies as an intaglio plate
printed in white on black paper. the third part will be the same relief
soldier image but with an intaglio plate of tweed texture (as my grandfather
used to wear the old men hats that had that kind of fabric) and photos of
him from his childhood and later. All three parts will be constructed as
boxes and layers - the first layer being the background and then space and
then the next layer and so on, I will be using transparent materials and
attchcing the different layers to frames so that when standing in front of
the "boxes" you will be able to see through and there will be a sense of
depth. All of this will be enclosed in plexiglass to help protect it from
dirt, etc... Hopefully this is clear and helps to give you an idea of
what I will be using the techniques for. I am very excited about the idea
and I think that it will turn out very well - but of course a written
description does not do it justice.
I'm sorry this has gone on so long but would definitely apprecite a
response. Thanks, Megan
you can also email me at megank16#hotmail.com I check my email fairly
frequently.
Message 2
From: Mike Lyon
Date: Sun, 19 Sep 2004 10:36:58 -0500
Subject: [Baren 26047] Re: new print
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Barbara wrote:
>for some reason the slide show is not working for me and it used to. Is
>there something I am doing different with my computer?
>Do I have the settings wrong? This is an old brain trying to do young
>things...rats.
The slide show is exactly the same as it has been for years. The enlarged
versions which pop up in a new window are being handled a bit differently
for the past year or so than before but there have been no changes in #19
and #20 galleries. Be sure that java-script is enabled in your browser and
that pop-ups are allowed for barenforum.org and everything should work OK...
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>for some reason the slide show is not working for me and it used to. Is
>there something I am doing different with my computer?
>Do I have the settings wrong? This is an old brain trying to do young
>things...rats.
The slide show is exactly the same as it has been for years. The enlarged
versions which pop up in a new window are being handled a bit differently
for the past year or so than before but there have been no changes in #19
and #20 galleries. Be sure that java-script is enabled in your browser and
that pop-ups are allowed for barenforum.org and everything should work OK...
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 3
From: b.patera # att.net
Date: Sun, 19 Sep 2004 19:59:33 +0000
Subject: [Baren 26048] Re: new print
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Shireen,
This is a wonderful print.
Barbara P.
This is a wonderful print.
Barbara P.
Message 4
From: Shireen Holman
Date: Sun, 19 Sep 2004 17:38:20 -0400
Subject: [Baren 26049] Re: new print
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Thanks everyone, for your kind comments. Mike, I'm glad your health is not
at risk! It's easier to show how I made the print than it is to describe in
words, so I've posted pictures of proofs of each of the blocks printed
separately. The main thing is that each block is carved with many textures,
so that when the blocks are printed over each other, not only are there
actual colour combinations, but also perceived combinations because of the
combination of textures. (See why the words don't explain very well?)
Anyway, you can see the proofs at:
http://www.shireenholman.com/goplayersdetails.htm
Shireen
at risk! It's easier to show how I made the print than it is to describe in
words, so I've posted pictures of proofs of each of the blocks printed
separately. The main thing is that each block is carved with many textures,
so that when the blocks are printed over each other, not only are there
actual colour combinations, but also perceived combinations because of the
combination of textures. (See why the words don't explain very well?)
Anyway, you can see the proofs at:
http://www.shireenholman.com/goplayersdetails.htm
Shireen
Message 5
From: Barbara Mason
Date: Sun, 19 Sep 2004 18:44:34 -0700 (PDT)
Subject: [Baren 26050] Re: new print
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OK Shireen, You get the gold star. This is an amazing accomplishment. I want to see a close up of the actual print.....I was so dissappointed when I could not make it larger! This is a great example of less being more or the sum being more than the parts.
Best to you,
Barbara
Best to you,
Barbara
Message 6
From: Barbara Mason
Date: Sun, 19 Sep 2004 18:53:47 -0700 (PDT)
Subject: [Baren 26051] Re: new print
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Shireen,
I have a registration question, did you off-set the red block onto the yellow block before you carved the yellow one to figure out your registration? Seems to me this would have made it a lot easier to figure out the color combinations. If not, how did you do it??? The registration is pretty exact and it is a large print...good job.
Barbara
Sorry for posting twice....my curiousity got the best of me.