Today's postings
- [Baren 36338] cutting paper and deckling (Tom Kristensen)
- [Baren 36339] Re: cutting paper and deckling (Scholes Graham)
- [Baren 36340] Re: Am I too prejudiced? (L Cass)
- [Baren 36341] Re: next silly question -- paper ("Roy")
- [Baren 36342] Re: next silly question -- paper ("Maria Arango")
- [Baren 36343] Re: next silly question -- paper (eli griggs)
- [Baren 36344] Fw: Alps press for sale, at Lakeside School ("Terry Peart")
- [Baren 36345] paper and deckles (Barbara Mason)
- [Baren 36346] Re: next silly question -- paper (Scholes Graham)
- [Baren 36347] Reverse kinto position, Moving Paper, More on Margins. (Scholes Graham)
- [Baren 36348] Speedball.... (Scholes Graham)
- [Baren 36349] Baren Member blogs: Update Notification (Blog Manager)
Message 1
From: Tom Kristensen
Date: Tue, 5 Aug 2008 00:26:16 +1000
Subject: [Baren 36338] cutting paper and deckling
Send Message: To this poster
I would back Graham's advice of using handmade Japanese washi, not
only because collectors are impressed but because better paper will
produce a better print. By using better paper you will impress
yourself. We all know Japanese woodblock prints are superior so why
not take note of the Japanese materials and methods.
This business of tearing paper seems a bit unnecessary to me.
Japanese prints usually have edges that are cut with a blade.
Different publishers had different standards in how much margin is
presented with a print and how the kento was cut. As a rule the
margin was kept to a minimum and the position of the kento is not
obvious. In later prints sometimes the deckled edge is retained but I
have never noticed any torn edges or faux deckling. Historically the
print margins were not seen to be very important and many Japanese
collectors trimmed their prints to suit their albums. The Japanese
did not generally frame their prints so it was perhaps the American
Shin hanga market that called for larger margins to make framing
easier. Perhaps it was the Americans who also called for the deckled
edge. Post-war artists like Kiyoshi Saito started making prints on
entire sheets with deckling all round. Larger margins only add to the
difficulty of printing; more paper causes more registration and
handling problems. But, in art "bigger is better" and since most
prints are priced by size, blank paper surrounding the image adds to
the price tag.
It is simple enough to get a large cutting mat and a long stainless
steel ruler and cut your paper to size with a blade. The square grid
is marked up on the mat and it is very easy to cut the large sheets
down to the right sizes nice and square. There is no need to cut any
additional kento bibs and bobs if you start with a neatly cut square
piece of paper. If you have a deckled edge or two then you might need
to cut away one side of one corner to get a right-angle. Of course if
the aim is to draw attention to the kento then there is nothing to
stop one cutting something fancy, but it is not strictly necessary.
Tom in Australia
only because collectors are impressed but because better paper will
produce a better print. By using better paper you will impress
yourself. We all know Japanese woodblock prints are superior so why
not take note of the Japanese materials and methods.
This business of tearing paper seems a bit unnecessary to me.
Japanese prints usually have edges that are cut with a blade.
Different publishers had different standards in how much margin is
presented with a print and how the kento was cut. As a rule the
margin was kept to a minimum and the position of the kento is not
obvious. In later prints sometimes the deckled edge is retained but I
have never noticed any torn edges or faux deckling. Historically the
print margins were not seen to be very important and many Japanese
collectors trimmed their prints to suit their albums. The Japanese
did not generally frame their prints so it was perhaps the American
Shin hanga market that called for larger margins to make framing
easier. Perhaps it was the Americans who also called for the deckled
edge. Post-war artists like Kiyoshi Saito started making prints on
entire sheets with deckling all round. Larger margins only add to the
difficulty of printing; more paper causes more registration and
handling problems. But, in art "bigger is better" and since most
prints are priced by size, blank paper surrounding the image adds to
the price tag.
It is simple enough to get a large cutting mat and a long stainless
steel ruler and cut your paper to size with a blade. The square grid
is marked up on the mat and it is very easy to cut the large sheets
down to the right sizes nice and square. There is no need to cut any
additional kento bibs and bobs if you start with a neatly cut square
piece of paper. If you have a deckled edge or two then you might need
to cut away one side of one corner to get a right-angle. Of course if
the aim is to draw attention to the kento then there is nothing to
stop one cutting something fancy, but it is not strictly necessary.
Tom in Australia
Message 2
From: Scholes Graham
Date: Mon, 4 Aug 2008 08:32:28 -0700
Subject: [Baren 36339] Re: cutting paper and deckling
Send Message: To this poster
Right on Tom.... There is not a better substrate on which to do moku
hanga....
I guess the tearing thing becomes a personal preference. I like it as
it give one the option of float mounting a print. There is something
that is soft and hands-on about the deckle of the paper. I also note
that most of the collectors of my work want the deckle edge with
generous white borders.
I wonder if the advent of the larger white borders was as a result of
the Japanese print becoming more of an art form as opposed to an
advertising and poster form for Japanese events and story telling.
Maybe. Back in those days the paper was cut and with barely a ½”
border... and sure a lot less work to cut a bunch of sheets all at onec.
Certainly Kiyoshi Saito is very important contributor to the fine art
print market. He broke all the rules of the traditional Japanese
imagery. I am fortunate to live in Victoria BC with an Art Gallery
with a major collection of his work..... Fabulous stuff. I have had to
opportunity to look at some piece out of the frames/mats and not all
his work has the large borders... nor is all his work large
format.... Another printmaker during Saito’s time is
Junichiro Sekino who did a little more tradition (western style)
imagery but equally as good as Saito. I was honoured to be asked to
give a talk at the Art Gallery last year when Saito’s works were
hanging. I sure makes one humble to talk about the work of such a
great imager and printmaker. It was interesting to see the number of
prints in which he used mica. Not very much and one had to get the
right angle of light to see the glitter. I think he must have gone
through a phase.... and isn’t that what we are all about....
“I wonder what if”
Graham
www.woodblockart.ca
hanga....
I guess the tearing thing becomes a personal preference. I like it as
it give one the option of float mounting a print. There is something
that is soft and hands-on about the deckle of the paper. I also note
that most of the collectors of my work want the deckle edge with
generous white borders.
I wonder if the advent of the larger white borders was as a result of
the Japanese print becoming more of an art form as opposed to an
advertising and poster form for Japanese events and story telling.
Maybe. Back in those days the paper was cut and with barely a ½”
border... and sure a lot less work to cut a bunch of sheets all at onec.
Certainly Kiyoshi Saito is very important contributor to the fine art
print market. He broke all the rules of the traditional Japanese
imagery. I am fortunate to live in Victoria BC with an Art Gallery
with a major collection of his work..... Fabulous stuff. I have had to
opportunity to look at some piece out of the frames/mats and not all
his work has the large borders... nor is all his work large
format.... Another printmaker during Saito’s time is
Junichiro Sekino who did a little more tradition (western style)
imagery but equally as good as Saito. I was honoured to be asked to
give a talk at the Art Gallery last year when Saito’s works were
hanging. I sure makes one humble to talk about the work of such a
great imager and printmaker. It was interesting to see the number of
prints in which he used mica. Not very much and one had to get the
right angle of light to see the glitter. I think he must have gone
through a phase.... and isn’t that what we are all about....
“I wonder what if”
Graham
www.woodblockart.ca
Message 3
From: L Cass
Date: Mon, 04 Aug 2008 13:12:05 -0400
Subject: [Baren 36340] Re: Am I too prejudiced?
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I absolutely agree! there is usually something too clean about the
edges of a lino print - one feels also it's almost to easy to cut -
I'm always chagrined when people who don't know printmaking ask if
it's lino!! however since I'm guilty of often using Speedball inks
(for speed, as I say) - the same goes for lino - it's speedy and of
course good artists make anything work for them!
Louise C.
edges of a lino print - one feels also it's almost to easy to cut -
I'm always chagrined when people who don't know printmaking ask if
it's lino!! however since I'm guilty of often using Speedball inks
(for speed, as I say) - the same goes for lino - it's speedy and of
course good artists make anything work for them!
Louise C.
Message 4
From: "Roy"
Date: Mon, 4 Aug 2008 11:12:15 -0700
Subject: [Baren 36341] Re: next silly question -- paper
Send Message: To this poster
About tearing paper:
Tearing gives a nice looking deckle looking edge
but it doesn't fit very precisely into kento registration slots.
If just the parts that fit the kento are cut out it doesn't look right.
I ended up cutting my paper with my wife's quilting mat and circular cutter
and leaving the deckle edge on those edges where it wasn't cut.
Or is this too tacky?
Roy
Tearing gives a nice looking deckle looking edge
but it doesn't fit very precisely into kento registration slots.
If just the parts that fit the kento are cut out it doesn't look right.
I ended up cutting my paper with my wife's quilting mat and circular cutter
and leaving the deckle edge on those edges where it wasn't cut.
Or is this too tacky?
Roy
Message 5
From: "Maria Arango"
Date: Mon, 4 Aug 2008 11:28:09 -0700
Subject: [Baren 36342] Re: next silly question -- paper
Send Message: To this poster
An additional alternative is to tear the paper with nice faux-deckles as
explained and then glue strips of paper as kento guides...to every sheet!
With removable glue of course.
Just a bit too much for me. I think the cut kento guides on deckle edge
paper look interesting as they speak to the process.
Maria
Maria Arango
http://1000woodcuts.com
http://artfestivalguide.info
explained and then glue strips of paper as kento guides...to every sheet!
With removable glue of course.
Just a bit too much for me. I think the cut kento guides on deckle edge
paper look interesting as they speak to the process.
Maria
Maria Arango
http://1000woodcuts.com
http://artfestivalguide.info
Message 6
From: eli griggs
Date: Mon, 4 Aug 2008 11:57:15 -0700 (PDT)
Subject: [Baren 36343] Re: next silly question -- paper
Send Message: To this poster
You could try tearing three sides to size and leave
the kento side a bit long so you can make a sharp fold
to size to fit your kento. After the printing is done
you can run a wet WC brush along the fold and make the
tear to match the other other edges.
Cheers, Eli
the kento side a bit long so you can make a sharp fold
to size to fit your kento. After the printing is done
you can run a wet WC brush along the fold and make the
tear to match the other other edges.
Cheers, Eli
Message 7
From: "Terry Peart"
Date: Mon, 4 Aug 2008 11:58:48 -0700
Subject: [Baren 36344] Fw: Alps press for sale, at Lakeside School
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I don't know anything about this....just thought I'd pass it on.
Could be a great opportunity for someone in the Great Pacific Northwest. (Seattle area)
Terry
FOR SALE - ALPS PRINTMAKING PRESS
CUSTOM BUILT BY GLEN ALPS
The press was one of many created by Alps for printmakers, many of whom were taught the art by Alps at the University of Washington school of art.
Our press was built for Lakeside School in the late 1980's. It has been used very little which is now why we are needing to find a new home for the press.
The Bed size is 33" x 66" The bed and rollers and other working elements of the press are all in excellent condition.
Price: $800 or best offer.
The press has been carefully disassembled for removal from our arts studio building. It is currently in parts on moving dollies in a storage area easily accessible by any vehicle.
If interested, contact Lakeside arts head AL SNAPP at 425-778-1408 (home) or 206-719-5860 (cell).
Could be a great opportunity for someone in the Great Pacific Northwest. (Seattle area)
Terry
FOR SALE - ALPS PRINTMAKING PRESS
CUSTOM BUILT BY GLEN ALPS
The press was one of many created by Alps for printmakers, many of whom were taught the art by Alps at the University of Washington school of art.
Our press was built for Lakeside School in the late 1980's. It has been used very little which is now why we are needing to find a new home for the press.
The Bed size is 33" x 66" The bed and rollers and other working elements of the press are all in excellent condition.
Price: $800 or best offer.
The press has been carefully disassembled for removal from our arts studio building. It is currently in parts on moving dollies in a storage area easily accessible by any vehicle.
If interested, contact Lakeside arts head AL SNAPP at 425-778-1408 (home) or 206-719-5860 (cell).
Message 8
From: Barbara Mason
Date: Mon, 4 Aug 2008 12:10:45 -0700 (PDT)
Subject: [Baren 36345] paper and deckles
Send Message: To this poster
If you always print upside down, the sharp edge for the kento will be at the top and you can have the deckle at the bottom so easily....it took me a long time to figure this out. Also I have a registration board made of wood that will allow me a lot of room for margins. I don't think bigger paper is any harder to drop than paper with a small margin...I just cannot see the difference at all, if you had a larger print you would have larger paper... so what is the difference? I do think your first push with the baren should be toward the kento...that might make a huge difference in the paper not moving. I find damp paper on a damp block just does not move, but I live in Oregon, not Nevada and we are humid here all year, even in the summer.
Best to all
Barbara
Best to all
Barbara
Message 9
From: Scholes Graham
Date: Mon, 4 Aug 2008 16:19:38 -0700
Subject: [Baren 36346] Re: next silly question -- paper
Send Message: To this poster
Hi Roy,
It is all in the eyes of the beholder.....
The small clean edge on one corner and ¾ way along bottom edge
in my eyes tell me volumes..... and my customers.... ( About tearing paper:
>
> Tearing gives a nice looking deckle looking edge
> but it doesn't fit very precisely into kento registration slots.
> If the just the parts that fit the kento are cut out it doesn't look
> right.
>
> I ended up cutting my paper with my wife's quilting mat and circular
> cutter
> and leaving the deckle edge on those edges where it wasn't cut.
> Or is this too tacky?
>
> Roy
>
>
>
>
>
It is all in the eyes of the beholder.....
The small clean edge on one corner and ¾ way along bottom edge
in my eyes tell me volumes..... and my customers.... ( About tearing paper:
>
> Tearing gives a nice looking deckle looking edge
> but it doesn't fit very precisely into kento registration slots.
> If the just the parts that fit the kento are cut out it doesn't look
> right.
>
> I ended up cutting my paper with my wife's quilting mat and circular
> cutter
> and leaving the deckle edge on those edges where it wasn't cut.
> Or is this too tacky?
>
> Roy
>
>
>
>
>
Message 10
From: Scholes Graham
Date: Mon, 4 Aug 2008 17:14:50 -0700
Subject: [Baren 36347] Reverse kinto position, Moving Paper, More on Margins.
Send Message: To this poster
Barbara... you‘re a genius or is that geniuess.... (>” ....
printing the piece upside wrong.
I think this has wonderful possibilities, if some find the kento
offensive.
I suppose one can get use to seeing the image in this way... but
wonder about when it comes
to many colours - 15 to 30.... I suppose once you get your mind
around it, it would be OK.
Talking about being in an upside down world..... whoa......
You are right about the paper size.... the only time a larger piece of
paper is difficult is bigger than 22 x 30.
You need a devise to assist in the support or a little helper.
If the paper moves as a result of burnishing.... there are two
possibilities....
1. There is a very small print area and not enough damp paper/plate
contact and therefore surface tension to hold the paper in place.... I
have had this troublllllle, which often is the last small touches of
colours near the final stages of printing and after spending two weeks
printing 20 + colours .... I hate losing any paper like this and the
earth moves as I go ballistic.
2. Your paper is not damp enough.... or there is not a good (thin)
coverage of ink on the plate... or you are lolly-gagging and not
getting that paper down fast before either/or starts to loose moisture.
We don’t live too far apart Barbara .... couple hundred miles. I have
resigned not to print in the summer months.... July Aug.... It ain’t
worth the hassle. ... Gawd I would not want to print in the southern
hot stuff climates. Whewwwww.
Tom.... there is another factor about the borders on prints.... It is
much easier to position the wider
margined prints into the kentos without having to worry about ink that
is easily brushed onto the kento areas.
With narrow margins inking is a real bite in the derriere .... ( If you always print upside down, the sharp edge for the kento will
> be at the top and you can have the deckle at the bottom so
> easily....it took me a long time to figure this out. Also I have a
> registration board made of wood that will allow me a lot of room for
> margins. I don't think bigger paper is any harder to drop than paper
> with a small margin...I just cannot see the difference at all, if
> you had a larger print you would have larger paper... so what is the
> difference? I do think your first push with the baren should be
> toward the kento...that might make a huge difference in the paper
> not moving. I find damp paper on a damp block just does not move,
> but I live in Oregon, not Nevada and we are humid here all year,
> even in the summer.
> Best to all
> Barbara
printing the piece upside wrong.
I think this has wonderful possibilities, if some find the kento
offensive.
I suppose one can get use to seeing the image in this way... but
wonder about when it comes
to many colours - 15 to 30.... I suppose once you get your mind
around it, it would be OK.
Talking about being in an upside down world..... whoa......
You are right about the paper size.... the only time a larger piece of
paper is difficult is bigger than 22 x 30.
You need a devise to assist in the support or a little helper.
If the paper moves as a result of burnishing.... there are two
possibilities....
1. There is a very small print area and not enough damp paper/plate
contact and therefore surface tension to hold the paper in place.... I
have had this troublllllle, which often is the last small touches of
colours near the final stages of printing and after spending two weeks
printing 20 + colours .... I hate losing any paper like this and the
earth moves as I go ballistic.
2. Your paper is not damp enough.... or there is not a good (thin)
coverage of ink on the plate... or you are lolly-gagging and not
getting that paper down fast before either/or starts to loose moisture.
We don’t live too far apart Barbara .... couple hundred miles. I have
resigned not to print in the summer months.... July Aug.... It ain’t
worth the hassle. ... Gawd I would not want to print in the southern
hot stuff climates. Whewwwww.
Tom.... there is another factor about the borders on prints.... It is
much easier to position the wider
margined prints into the kentos without having to worry about ink that
is easily brushed onto the kento areas.
With narrow margins inking is a real bite in the derriere .... ( If you always print upside down, the sharp edge for the kento will
> be at the top and you can have the deckle at the bottom so
> easily....it took me a long time to figure this out. Also I have a
> registration board made of wood that will allow me a lot of room for
> margins. I don't think bigger paper is any harder to drop than paper
> with a small margin...I just cannot see the difference at all, if
> you had a larger print you would have larger paper... so what is the
> difference? I do think your first push with the baren should be
> toward the kento...that might make a huge difference in the paper
> not moving. I find damp paper on a damp block just does not move,
> but I live in Oregon, not Nevada and we are humid here all year,
> even in the summer.
> Best to all
> Barbara
Message 11
From: Scholes Graham
Date: Mon, 4 Aug 2008 17:17:03 -0700
Subject: [Baren 36348] Speedball....
Send Message: To this poster
Maybe I am out of touch with possible improvement with this product in
terms of light fastness.
It use to be considered for use by startup art students....
I went to their site .... http://www.speedballart.com/
.... what a terrible site. It did not build correctly with several
overlays of pictures and font.
A pure case of look at how smart and artsy we are. Awful... and
would not start up in Explorer...
I digress....
Is this product worthy of all the time and effort required for
handmade printmaking !!!!!
As I value my time, (when you hit the 75 mark, you ain’t got as much
time left as I use to), I will not use inferior products....
paper ... inks .... or whatever....
So the question stands.... has this product been improved?
Graham
www.woodblockart.ca
terms of light fastness.
It use to be considered for use by startup art students....
I went to their site .... http://www.speedballart.com/
.... what a terrible site. It did not build correctly with several
overlays of pictures and font.
A pure case of look at how smart and artsy we are. Awful... and
would not start up in Explorer...
I digress....
Is this product worthy of all the time and effort required for
handmade printmaking !!!!!
As I value my time, (when you hit the 75 mark, you ain’t got as much
time left as I use to), I will not use inferior products....
paper ... inks .... or whatever....
So the question stands.... has this product been improved?
Graham
www.woodblockart.ca
Message 12
From: Blog Manager
Date: 5 Aug 2008 03:55:43 -0000
Subject: [Baren 36349] 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. (51 sites checked, five minutes before midnight Eastern time)
*****************
Site Name: Woodblock Dreams
Author: Annie B
Item: Show In Seattle
http://woodblockdreams.blogspot.com/2008/08/show-in-seattle.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
For reference, sites/blogs currently being checked are:
http://barenforum.org/blog
http://woodblock.com
http://woodblock.com/roundtable
http://woodblockdreams.blogspot.com
http://studiodiary.blogspot.com
http://larimerart.blogspot.com
http://artflights.blogspot.com
http://printmakersmaterials.blogspot.com
http://mlyon.com/blog
http://room535.blogspot.com
http://mleeprints.blogspot.com
http://snowgum.blogspot.com
http://pressing-issues.blogspot.com
http://www.1000woodcuts.com
http://theitinerantartist.blogspot.com
http://PLawing-Printmaker.blogspot.com
http://readdevine.blogspot.com
http://mokuhankan.com/conversations
http://mokuhankan.com
http://vizart.blogspot.com
http://phare-camp.blogspot.com
http://amymstoner.blogspot.com
http://williamleeholtfineart.blogspot.com
http://web.mac.com/g_wohlken/iWeb/Site/Blog/Blog.html
http://curiousmatthew.blogspot.com
http://laine.lainegreenway.com/index.html
http://azuregrackle.com/blogs/index.php?blog=2
http://blog.olansa.co.uk/
http://bea-gold-retrospective.blogspot.com
http://www.jauntyrakes.blogspot.com
http://sheiko.blogspot.com
http://studio-window.blogspot.com
http://alynn-guerra.blogspot.com
http://curiouslydrawn.blogspot.com
http://veloprint.blogspot.com
http://kathewelch.blogspot.com
http://serendipityartist.wordpress.com
http://ainescannell.blogspot.com
http://www.pistolespress.blogspot.com
http://1000woodcuts.com/latest.html
http://myhermitude.blogspot.com
http://jenniferscabin.blogspot.com
http://www.woodymoody.blogspot.com
http://www.barebonesart.blogspot.com
http://amandagordonmiller.blogspot.com
http://www.danielallegrucci.com/wordpress/
http://burnishings.blogspot.com
http://kriswiltse.blogspot.com
http://LynnAllisonStarun.blogspot.com
http://grabadoprintmaking.blogspot.com
http://maregina-arte.blogspot.com
http://www.danieldew.blogspot.com
http://aprintmakersblog.blogspot.com
The following new entries were found on the listed printmaker's websites during the past 24 hours. (51 sites checked, five minutes before midnight Eastern time)
*****************
Site Name: Woodblock Dreams
Author: Annie B
Item: Show In Seattle
http://woodblockdreams.blogspot.com/2008/08/show-in-seattle.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
For reference, sites/blogs currently being checked are:
http://barenforum.org/blog
http://woodblock.com
http://woodblock.com/roundtable
http://woodblockdreams.blogspot.com
http://studiodiary.blogspot.com
http://larimerart.blogspot.com
http://artflights.blogspot.com
http://printmakersmaterials.blogspot.com
http://mlyon.com/blog
http://room535.blogspot.com
http://mleeprints.blogspot.com
http://snowgum.blogspot.com
http://pressing-issues.blogspot.com
http://www.1000woodcuts.com
http://theitinerantartist.blogspot.com
http://PLawing-Printmaker.blogspot.com
http://readdevine.blogspot.com
http://mokuhankan.com/conversations
http://mokuhankan.com
http://vizart.blogspot.com
http://phare-camp.blogspot.com
http://amymstoner.blogspot.com
http://williamleeholtfineart.blogspot.com
http://web.mac.com/g_wohlken/iWeb/Site/Blog/Blog.html
http://curiousmatthew.blogspot.com
http://laine.lainegreenway.com/index.html
http://azuregrackle.com/blogs/index.php?blog=2
http://blog.olansa.co.uk/
http://bea-gold-retrospective.blogspot.com
http://www.jauntyrakes.blogspot.com
http://sheiko.blogspot.com
http://studio-window.blogspot.com
http://alynn-guerra.blogspot.com
http://curiouslydrawn.blogspot.com
http://veloprint.blogspot.com
http://kathewelch.blogspot.com
http://serendipityartist.wordpress.com
http://ainescannell.blogspot.com
http://www.pistolespress.blogspot.com
http://1000woodcuts.com/latest.html
http://myhermitude.blogspot.com
http://jenniferscabin.blogspot.com
http://www.woodymoody.blogspot.com
http://www.barebonesart.blogspot.com
http://amandagordonmiller.blogspot.com
http://www.danielallegrucci.com/wordpress/
http://burnishings.blogspot.com
http://kriswiltse.blogspot.com
http://LynnAllisonStarun.blogspot.com
http://grabadoprintmaking.blogspot.com
http://maregina-arte.blogspot.com
http://www.danieldew.blogspot.com
http://aprintmakersblog.blogspot.com