Today's postings
- [Baren 34938] Re: Baren Digest (old) V42 #4212 ("Marilynn Smith")
- [Baren 34939] Re: Carving fruitwood (L Cass)
- [Baren 34940] periodic table project featured on Etsy, makes Boing Boing ("Bonnie Primbsch")
- [Baren 34941] Baren Member blogs: Update Notification (Blog Manager)
I think part of the beauty of working with wood is the grain. I love it
when the grain occasionally surfaces in a piece. If one used gesso the wood
would always be flat, no grain. Also I like as much texture from wood as
possible. I will often work with a rough piece to get unusual and different
effects. It all depends on what you want your print to eventually reflect.
As far as wood drying out, I had that one piece of basswood ply a year or so
back that I had carved. It sat in the warmer Baja climate and got quite
dry. I found it splintered very easily so I used linseed oil to soften it.
Oiling can make cutting easier. But, do not oil blocks that you plan to
print water based!!! I still have that little block and I am recarving it
with a lot more detail and will eventually run it in oil based inks, so all
is not lost. (some times I set projects aside in favor of finishing
something else and ooops forget them).
I think achieving good detail does have to do with the wood, but also with
the carver themselves. Lets face it those with more experience and skill
will carve a finer product. Also, good sharp tools make a huge difference
in your lines. They will be cleaner and probably you will be better able to
achieve a finer quality.
RE gesso on a block - wouldn't it make a thickish layer to cut through??
I always coat my blocks with a very thin white gouache -it shows up
my black pen drawn designs and I imagine would be good for
transferred printed ones /and or carbon tracings, etc
For hardening a softish wood several coats of white shellac diluted
with about 50% alchohol works well and for harder woods, coating both sides
with boiled linseed oil (letting it dry before cutting is also good
Louise