Dear Sharri,
I've just re-read your mail and will attempt to send a
reply using the "Reply" button and then "Reply to
Sender" - I wonder if you'll receive this?
It's coming from an iMac...
I've been meaning to drop you a line as we seem to
have a mutual photographer friend in Oregon(!). Please
mail me off-line.
Regards,
Dave (Stones)
I've been experiementing with different registration
methods for linoleum and found wood prints (using a
baren); from simple pencil marks to plate and paper
guides made of pieces of card/matt board. Depending
on the print, some methods are more successful than
others. I'm wondering what techniques other printers
use. Anyone care to share? Thanks.
Peggy...I use plastic registration tabs that printers use in aligning
negatives and plates.I tape 2 of these on one side of the print, then I
use 1/4" diameter shelf bracket from Lowe's to align the tabs inside a
1/4" steel spacers that have been made on the side of a wooden frame on
my press. I insert the shelf bracket into the tab then insert this into
the steel spacer, and lay the paper over the block.
Hope this doesn't sound to muddled, it took some trial and error to get
here!
Cheers,
Tony
I came up with my idea by trial and error, but it works perfect for me.
I got a piece of 1/4" masonite board and glued down two pieces of
equal height wood to create an PERFECT 90 degree "L" shape.
I bought a standard three hole paper punch ($6.00 at an office supply
store).
Cut my paper to the size I roughly want with an additional 1/2" on
the left side.
Punch all the paper on the left side (or whichever side will but
against an equal height straight edge).
Find a pencil that fits the holes very close.
Cut the pencil into two (2) pieces about 1/4" to 1/2" each.
Put Lino block up against the stationary "L", lay paper on top and
mark the top and bottom holes.
Drill a small hole, glue in pencils, let dry.
Now, as long as the block sits in the "L" shape correctly, ever color
that follows should match up perfectly.
email me off list and I can send you pictures or drawing of mine.
By the way, this method works PERFECT for my reduction block prints.
Peggy...........
Check out my registration method in the Baren
encyclopedia.............Technical Notes: Other printing techniques.
This is what I use in printing with oil inks. Most water color types
seem to use the the time-honored kento method. I've never learned that.
Dan Dew seems to use a method somewhat similar to mine. Have fun
experimenting.
ElizA
E.B.Atwood
Hi,
Has anyone tried some of the many offerings of paper from Hiromi
Paper for water-based woodblock printing? I'm hoping a kind soul or
two might share some of what they learned. Unfortunately, Hiromi
paper doesn't go much into great detail about the papers on the site,
although they offer a huge variety.
http://www.hiromipaper.com/store/home.php?cat=3
Thank you,
Beth Zentzis
http://roadtomokuhanga.blogspot.com/
Hi Bareners,
The topic of open-submission juried shows came up on my blog, and I
wanted to bring the topic here to the Baren Forum to see what others
think. A few questions that I've been mulling over:
- Does having work accepted in a national juried show help one's career?
- Is a printmaker's work more likely to be understood, appreciated
and accepted in a print-only show vs. an all-media show?
- What are the politics of paying to submit? Is it a money-making
bonanza for the hosting organization, or is $25-$30 a reasonable fee
for the work involved? Does anyone in the forum have judging
experience or experience organizing a juried show that you're at
liberty to share?
I've been submitting to a few juried shows in the past 10-12 months
(and I have the stack of rejection letters to prove it!) so I've been
wondering about all of this. I'm not that keen on the whole
competition scene, but what are the alternatives? How else can one go
about building an audience?
Thanks in advance for thinking about this with me.
Annie
Beth, I ordered Hiromi paper from the New York Central catalogue. They have
6 pages full of different Hiromi papers with descriptions. I have used the
machine-made papers which are very thin and inexpensive:
Binsen-shi -W-10 and Waraban-shi, W11 .Both 30 or 35 Gr/M2
I do water- based prints and often print on both sides. The thin papers work
well for that. Also I am experimental and use up paper so quickly with the
trials, that is to say it winds up in the trash .
New York Central will send you up to 5 swatches, 3"x 5" free.
sales @nycnetralart.com 800-950-6111
As I said before, reading the catalogue is an education in itself. You'd be
surprised what some of these papers are made of. Yes!
Carol Lyons