Today's postings
- [Baren 30147] Re: [Mike Lyon's Moku Hanga] Re: [Mike Lyon's Moku Hanga] 2/21/2006 07:25:24 PM (Mike Lyon)
- [Baren 30148] Yupo and printmaking? (Leigh Beatty)
- [Baren 30149] Re: 2/21/2006 07:25:24 PM (richard stockham)
- [Baren 30150] Baren Member blogs: Update Notification (Blog Manager)
- [Baren 30151] Re: Yupo and printmaking? ("Robert Canaga")
- [Baren 30152] Re: Yupo and printmaking? (Leigh Beatty)
Message 1
From: Mike Lyon
Date: Thu, 23 Feb 2006 08:26:00 -0600
Subject: [Baren 30147] Re: [Mike Lyon's Moku Hanga] 2/21/2006 07:25:24 PM
Send Message: To this poster
Richard Stockham wrote:
>Mike, I am wondering why you seem to have settled on 8 impressions
>for these large prints, since you are now automated, and you did
>twice that many or more reduction 'plates' when you were doing the
>nudes. It's an issue I'm wrestling with right now. The 2 prints so
>fare are beautiful to look at. I hope you can post them so we can
>see them straight on. Oh, and thanks for the demo. No rice paste? No goma-zuri?
I don't seem to be able to reply directly to blogger comments -- but
I think you're still on Baren, Richard? The prints pulled on the new
press are quite large and expensive and I don't see any reason to
publish large editions -- the papers cost well over $65 per sheet and
they require a lot of space to store, of course, and I don't sense
any huge market for my work, so these large prints will ALL be very
small editions -- which seems very reasonable to me!
The "Leaves" image was reduction printed on five sheets from eight
block states (actually used two blocks, as I managed to 'cancel' one
of the blocks in mid printing (huge gouge right through the middle of
the block) and had to carve a new one... It wound up in an edition
of three plus two somewhat blotched proofs (my own carelessness
caused the blotches, of course). Example 1/3 of "Leaves" was sold
yesterday to one of the directors of the Kemper Museum of
Contemporary Art which is very happy news -- it's at the client's
framer now being floated in a simple black frame.
The "Aspen Grove" was reduction printed on six sheets from 12 block
states -- I haven't yet editioned them, but at least two of the
sheets have flaws which will keep them out of the edition, so maybe
it'll wind up an edition of only three or maybe four?
Lately I use a lot of rice paste when printing very pale colors
because it makes it much easier to get a smooth application. I used
pigment dispersions from Guerra http://www.guerrapaint.com/ for both
these prints -- the dispersions themselves have some body (I don't
know what they put in there besides pigment, but certainly SOMEthing,
as they have a latexy ammonia odor) and brush out very smoothly and
well when concentrated, so they don't seem to produce much if any
goma-zuri -- but by the time I stopped using paste in those prints
there were already a number of color layers printed (all
over-printed), so any goma is less noticeable, and these are very
LARGE prints, so even very pronounced goma wouldn't stand out much.
The next large print will be a horizontal format aizuri-e (blue
printed picture), depicting a somewhat larger-than-life reclining
female nude. I'll try to produce a marked goma-zuri in the lightest
shades if I can with the thought that the block contours will become
obscured by the goma... We'll see whether that works, but it is a
bit of an anti-woodblock approach... That is how I approached
http://mlyon.com/images/2004_06_25_Elizabeth_Rod.jpg and
http://mlyon.com/images/2004_05_26_Sarah_reclining.jpg although I'll
be looking for a much larger goma in the big prints, of course.
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>Mike, I am wondering why you seem to have settled on 8 impressions
>for these large prints, since you are now automated, and you did
>twice that many or more reduction 'plates' when you were doing the
>nudes. It's an issue I'm wrestling with right now. The 2 prints so
>fare are beautiful to look at. I hope you can post them so we can
>see them straight on. Oh, and thanks for the demo. No rice paste? No goma-zuri?
I don't seem to be able to reply directly to blogger comments -- but
I think you're still on Baren, Richard? The prints pulled on the new
press are quite large and expensive and I don't see any reason to
publish large editions -- the papers cost well over $65 per sheet and
they require a lot of space to store, of course, and I don't sense
any huge market for my work, so these large prints will ALL be very
small editions -- which seems very reasonable to me!
The "Leaves" image was reduction printed on five sheets from eight
block states (actually used two blocks, as I managed to 'cancel' one
of the blocks in mid printing (huge gouge right through the middle of
the block) and had to carve a new one... It wound up in an edition
of three plus two somewhat blotched proofs (my own carelessness
caused the blotches, of course). Example 1/3 of "Leaves" was sold
yesterday to one of the directors of the Kemper Museum of
Contemporary Art which is very happy news -- it's at the client's
framer now being floated in a simple black frame.
The "Aspen Grove" was reduction printed on six sheets from 12 block
states -- I haven't yet editioned them, but at least two of the
sheets have flaws which will keep them out of the edition, so maybe
it'll wind up an edition of only three or maybe four?
Lately I use a lot of rice paste when printing very pale colors
because it makes it much easier to get a smooth application. I used
pigment dispersions from Guerra http://www.guerrapaint.com/ for both
these prints -- the dispersions themselves have some body (I don't
know what they put in there besides pigment, but certainly SOMEthing,
as they have a latexy ammonia odor) and brush out very smoothly and
well when concentrated, so they don't seem to produce much if any
goma-zuri -- but by the time I stopped using paste in those prints
there were already a number of color layers printed (all
over-printed), so any goma is less noticeable, and these are very
LARGE prints, so even very pronounced goma wouldn't stand out much.
The next large print will be a horizontal format aizuri-e (blue
printed picture), depicting a somewhat larger-than-life reclining
female nude. I'll try to produce a marked goma-zuri in the lightest
shades if I can with the thought that the block contours will become
obscured by the goma... We'll see whether that works, but it is a
bit of an anti-woodblock approach... That is how I approached
http://mlyon.com/images/2004_06_25_Elizabeth_Rod.jpg and
http://mlyon.com/images/2004_05_26_Sarah_reclining.jpg although I'll
be looking for a much larger goma in the big prints, of course.
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 2
From: Leigh Beatty
Date: Thu, 23 Feb 2006 10:48:21 -0800 (PST)
Subject: [Baren 30148] Yupo and printmaking?
Send Message: To this poster
A while back, I got a Printmaking paper sample pack from Daniel Smith. One of the papers in the sample pack is Yupo. The sample is about 26x30. Any thoughts on what to do with it? I know that watercolorists use it but what should I try in regards to printmaking? I figured that it must have a good and obvious (?) printmaking use if they include it in the printing-paper lot. Any thoughts?
I generally use Akua Color monotype ink and Daniel Smith Water based ink. I don't have a press. I'm guessing that monoprints would work but what else?
Thanks,
Leigh
I generally use Akua Color monotype ink and Daniel Smith Water based ink. I don't have a press. I'm guessing that monoprints would work but what else?
Thanks,
Leigh
Message 3
From: richard stockham
Date: Thu, 23 Feb 2006 19:47:02 -0800 (PST)
Subject: [Baren 30149] Re: 2/21/2006 07:25:24 PM
Send Message: To this poster
Thanks for responding, Mike. I now really hope you
will post to your site the full 12 blocks impression
of the aspen grove print! I was really taken with the
eight blocks impression. I'm still wrestling with the
issue of how many blocks to make a certain reduction
image, and seeing what you ultimately ended up with
may help.
As for your proposed use of goma, do I understand it
rightly, that you plan to use a goma to create a
pointalist effect to "smooth out" the gradient
transition from one plate to the next. That's a neat
idea. I can't wait to see if it works.
will post to your site the full 12 blocks impression
of the aspen grove print! I was really taken with the
eight blocks impression. I'm still wrestling with the
issue of how many blocks to make a certain reduction
image, and seeing what you ultimately ended up with
may help.
As for your proposed use of goma, do I understand it
rightly, that you plan to use a goma to create a
pointalist effect to "smooth out" the gradient
transition from one plate to the next. That's a neat
idea. I can't wait to see if it works.
Message 4
From: Blog Manager
Date: 24 Feb 2006 04:55:08 -0000
Subject: [Baren 30150] Baren Member blogs: Update Notification
Send Message: To this poster
This is an automatic update message being sent to [Baren] by the forum blog software.
The following new entries were found on the listed printmaker's websites during the past 24 hours. (13 sites checked, just before midnight Eastern time)
*****************
Site Name: m.Lee Prints
Author: m.Lee
Item: Hot Summer Day
http://mleeprints.blogspot.com/2006/02/hot-summer-day_23.html
*****************
[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:
http://barenforum.org/contact_baren.php
The following new entries were found on the listed printmaker's websites during the past 24 hours. (13 sites checked, just before midnight Eastern time)
*****************
Site Name: m.Lee Prints
Author: m.Lee
Item: Hot Summer Day
http://mleeprints.blogspot.com/2006/02/hot-summer-day_23.html
*****************
[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:
http://barenforum.org/contact_baren.php
Message 5
From: "Robert Canaga"
Date: Fri, 24 Feb 2006 01:59:44 -0800
Subject: [Baren 30151] Re: Yupo and printmaking?
Send Message: To this poster
Makes great monotype bass, great stencils, and you can use it as a roll-up palette!
I have cut out shapes, inked them up and the places them on paper and printed over them for some cool effects. I use it for stencils in etching also.
Warrington Collscot taught us how to use it as a fold back stencil on all four sides of a plate. Very durable and you can';t hurt it.
It used to be called KimDura (Kimberly Clark/ Durable) and it came in two thickness. I used to give it to the watercolorists and let them play. This was like 1992 so it has been around for a bit.
Good luck.
Remember, if you get oil on it or even too many fingerprints it will act as a resist. ( also a cool effect)
RC
I have cut out shapes, inked them up and the places them on paper and printed over them for some cool effects. I use it for stencils in etching also.
Warrington Collscot taught us how to use it as a fold back stencil on all four sides of a plate. Very durable and you can';t hurt it.
It used to be called KimDura (Kimberly Clark/ Durable) and it came in two thickness. I used to give it to the watercolorists and let them play. This was like 1992 so it has been around for a bit.
Good luck.
Remember, if you get oil on it or even too many fingerprints it will act as a resist. ( also a cool effect)
RC
Message 6
From: Leigh Beatty
Date: Fri, 24 Feb 2006 04:44:14 -0800 (PST)
Subject: [Baren 30152] Re: Yupo and printmaking?
Send Message: To this poster
Thanks for the reply. I am assuming that Akua color monotype inks will act like watercolor but what about the water soluble Daniel Smith? Will it stick? Will it peel off after drying? Will it stick today and peel off 5 years from now? If I don't want the fingerprints to resist, what should I clean it with?
Thanks for the other suggestions, Leigh
Thanks for the other suggestions, Leigh