Today's postings
- [Baren 36557] opportunity (Barbara Mason)
- [Baren 36558] chinese cutting (Cucamongie # aol.com)
- [Baren 36559] Woodcuts/printmaking in Buenos Aires? (Dan Allegrucci)
- [Baren 36560] Re: drying without weights (Shireen Holman)
- [Baren 36561] Re: drying without weights ("Maria Arango")
- [Baren 36562] RE: Suicide prints (legreenart # stonemetalpress.com)
- [Baren 36563] Re: drying without weights (Charles Morgan)
- [Baren 36564] Litho Pin Registration for Suicide prints ("steffan ziegler")
Message 1
From: Barbara Mason
Date: Tue, 12 Aug 2008 13:03:48 GMT
Subject: [Baren 36557] opportunity
Send Message: To this poster
I checked out this site and think this is a legitimate call to artists for work using non-toxic materials, right up the alley of Baren artists.
my best to all
Barbara
By this means we would like to send you a warm greeting, and extend an invitation to you to participate in the contest for the Grand Exposition
that will take place during No Toxico International Engraving Encounter 09, hosted in Monterrey, Nuevo Leon, Mexico in March 2009.
Also, we would like to inform you that the web page for the Encounter is now available on the following address:
www.artesvisualesnuevoleon.org/notoxico/
We send our best regards
Organizing Committee of No-Toxico
my best to all
Barbara
By this means we would like to send you a warm greeting, and extend an invitation to you to participate in the contest for the Grand Exposition
that will take place during No Toxico International Engraving Encounter 09, hosted in Monterrey, Nuevo Leon, Mexico in March 2009.
Also, we would like to inform you that the web page for the Encounter is now available on the following address:
www.artesvisualesnuevoleon.org/notoxico/
We send our best regards
Organizing Committee of No-Toxico
Message 2
From: Cucamongie # aol.com
Date: Tue, 12 Aug 2008 13:43:09 GMT
Subject: [Baren 36558] chinese cutting
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OK folks, some of you are missing the point that I was trying to make.
I was NOT saying you need to cut away from yourself all the time, only that
it would be helpful to include more explanation about the cutting technique,
as it is more complex than a still photo can communicate.
happy printmaking
Sarah
I was NOT saying you need to cut away from yourself all the time, only that
it would be helpful to include more explanation about the cutting technique,
as it is more complex than a still photo can communicate.
happy printmaking
Sarah
Message 3
From: Dan Allegrucci
Date: Tue, 12 Aug 2008 13:44:59 GMT
Subject: [Baren 36559] Woodcuts/printmaking in Buenos Aires?
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Hi all,
Great topics lately - great to see the list so active!
I was wondering if anyone knows of any woodcut or print related people, places or things to see in Buenos Aires, Argentina? Ill be traveling there next week. I'm sure there has to be some good woodcut action in a city of that size.
Happy cutting,
Dan Allegrucci
Great topics lately - great to see the list so active!
I was wondering if anyone knows of any woodcut or print related people, places or things to see in Buenos Aires, Argentina? Ill be traveling there next week. I'm sure there has to be some good woodcut action in a city of that size.
Happy cutting,
Dan Allegrucci
Message 4
From: Shireen Holman
Date: Tue, 12 Aug 2008 15:21:46 GMT
Subject: [Baren 36560] Re: drying without weights
Send Message: To this poster
Drying without weight doesn't work for me. Even if I change blotters
frequently, the paper warps. But I live in Maryland, and 35% humidity
would be considered abnormally dry weather! :)
Shireen
frequently, the paper warps. But I live in Maryland, and 35% humidity
would be considered abnormally dry weather! :)
Shireen
Message 5
From: "Maria Arango"
Date: Tue, 12 Aug 2008 15:40:53 GMT
Subject: [Baren 36561] Re: drying without weights
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In 2-4% humidity, for anyone that cares, I just place damp paper on a stack
between blotters under weight.
If the prints are small, I use a book press, if they are big, I use 10 lb.
dumbbells (no offense).
What I do is just release the pressure little by little; every hour or so I
take off some weight or pressure. In about four hours, prints and blotters
are dry and beautifully flat.
Maria
PS 35% humidity here would warp ME!
O=O=O=O=O=O=O=O=O=O=O=O=O
Maria Arango
http://1000woodcuts.com
http://artfestivalguide.info
O=O=O=O=O=O=O=O=O=O=O=O=O
between blotters under weight.
If the prints are small, I use a book press, if they are big, I use 10 lb.
dumbbells (no offense).
What I do is just release the pressure little by little; every hour or so I
take off some weight or pressure. In about four hours, prints and blotters
are dry and beautifully flat.
Maria
PS 35% humidity here would warp ME!
O=O=O=O=O=O=O=O=O=O=O=O=O
Maria Arango
http://1000woodcuts.com
http://artfestivalguide.info
O=O=O=O=O=O=O=O=O=O=O=O=O
Message 6
From: legreenart # stonemetalpress.com
Date: Tue, 12 Aug 2008 15:42:38 GMT
Subject: [Baren 36562] RE: Suicide prints
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Detail fading with time, I was at a Picasso exhihibition, and according to a curator of the Picasso exhibition, it was Picasso or his printing buddies. Picassos' traditional multicolor linocut was stiff and awkward. The reduction method fits into the the way he made variations of scupltures, drawings and other prints... elimitating, reducing, distorting images through various stages.Yours,
Le Green-Schubert
StoneMetal Press Printmaking Center
227-0312
www.stonemetal-press.com
Le Green-Schubert
StoneMetal Press Printmaking Center
227-0312
www.stonemetal-press.com
Message 7
From: Charles Morgan
Date: Tue, 12 Aug 2008 16:36:15 GMT
Subject: [Baren 36563] Re: drying without weights
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Perhaps it is the paper I use ... BFK Rives, for the most part ... some Rising Stonehenge and Arches Cover in black. Anyway, I have a couple of those collapsing racks for hanging wet clothes. I just use clothes pins and hang my prints by one end on the racks ... full sheets down to 1/16 sheets. I never seem to have a problem with buckling. I do full face prints on thin mulberry paper, undampened paper but water based ink, and I hang them in the same way. A day later the face prints are flat and dry.
Cheers ...... Charles
Cheers ...... Charles
Message 8
From: "steffan ziegler"
Date: Tue, 12 Aug 2008 16:36:37 GMT
Subject: [Baren 36564] Litho Pin Registration for Suicide prints
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I see... WAY below in the thread, a description of registration for
reductive printing. I use this method a whole lot, and I struggled with
registration for a long while. Eventually I found a method that allows me
near perfect registration all the time, as long as I'm not too lazy to set
it up. I found that registration is very personal, and I recommend that
people search for the method that suits them. This one works very well for
me.
I have a large hunk of plywood, and each time i need to print a woodblock, I
make a snug frame for the block, and screw it down to the plywood. It
doesn't have to be a complete frame, just strategically placed hunks of wood
to ensure that the block only fits one way, and is very snug and doesn't
move a millimeter no matter how vigorously it is pushed. This way the block
sits in the frame and doesn't move, and if you take it out to re-ink, it
fits back in again in the same place.
I use a standard size (1/4 inch) hole punch to punch holes in evenly cut
strips of paper. I usually cut the top 3 inches horizontally off of 8 1/2 x
11 cop[y paper, so I have a 8 1/2 by 3 inch strip, with two holes about 6
inches apart along the top horizontal edge. I ensure that each strip has
the holes in the exact same place, pretty much the same way that one would
punch holes for paper to put into a 3 ring binder. I re-enforce the holes
with those little white adhesive rings that people used to use to re-enforce
holes punched in ring binder paper. There is a vulgar name for them which
is unfortunately the only name I know for them. "Paper @$$holes." These
guys are pretty necessary, because the punch will distort over time, but the
paper re-enforcers have pretty much an exact 1/4 inch hole in them, all the
time.
Once these strips are prepped, I tape them onto the edge of the paper for
the edition.
I measure and place the paper over the block in the exact place where I
want the paper to fall as I print.
I purchased some 1/4 inch lithographic registration pins, and I tape these
to the board so that the holes in the paper strips line up with the pins.
For 20 bucks or so, you can usually get about 25 of these, and they last
forever. You can also purchase plastic tabs that fit on them, and if you
have those, you can skip the whole process of cutting strips of paper.
I can now be ensured that each piece of paper will fall at precisely the
same place on the block. Just snap it onto the litho pins, and let it
fall. When you are done, carefully take it off the pins.
This way the print can be carved, printed, reduced, printed, etc, over the
course of weeks if need be, and the whole shebang picked up and moved 100
miles, and you'll have less than a millimeter of mis-registration.
I use the holes in the strips for drying as well. I have a clothesline
strung in the spare bedroom with paper clips on it. I twist them so that
the smaller "U" that's normally inside the paper clip, is up top, so that it
makes an "S" shape. The larger end of the S goes over the clothesline. The
smaller end hooks the hole in the strip, and the prints can all then dry on
the line. You can easily fit an edition of 50 in a small room this way,
without a rack.
Le Green wrote:
> Detail fading with time, I was at a Picasso exhihibition, and according to
> a curator of the Picasso exhibition, it was Picasso or his printing
> buddies. Picassos' traditional multicolor linocut was stiff and awkward.
>
> The reduction method fits into the the way he made variations of
> scupltures, drawings and other prints... elimitating, reducing, distorting
> images through various stages.
>
> Yours,
>
> Le Green-Schubert
> StoneMetal Press Printmaking Center
> 227-0312
> www.stonemetal-press.com
reductive printing. I use this method a whole lot, and I struggled with
registration for a long while. Eventually I found a method that allows me
near perfect registration all the time, as long as I'm not too lazy to set
it up. I found that registration is very personal, and I recommend that
people search for the method that suits them. This one works very well for
me.
I have a large hunk of plywood, and each time i need to print a woodblock, I
make a snug frame for the block, and screw it down to the plywood. It
doesn't have to be a complete frame, just strategically placed hunks of wood
to ensure that the block only fits one way, and is very snug and doesn't
move a millimeter no matter how vigorously it is pushed. This way the block
sits in the frame and doesn't move, and if you take it out to re-ink, it
fits back in again in the same place.
I use a standard size (1/4 inch) hole punch to punch holes in evenly cut
strips of paper. I usually cut the top 3 inches horizontally off of 8 1/2 x
11 cop[y paper, so I have a 8 1/2 by 3 inch strip, with two holes about 6
inches apart along the top horizontal edge. I ensure that each strip has
the holes in the exact same place, pretty much the same way that one would
punch holes for paper to put into a 3 ring binder. I re-enforce the holes
with those little white adhesive rings that people used to use to re-enforce
holes punched in ring binder paper. There is a vulgar name for them which
is unfortunately the only name I know for them. "Paper @$$holes." These
guys are pretty necessary, because the punch will distort over time, but the
paper re-enforcers have pretty much an exact 1/4 inch hole in them, all the
time.
Once these strips are prepped, I tape them onto the edge of the paper for
the edition.
I measure and place the paper over the block in the exact place where I
want the paper to fall as I print.
I purchased some 1/4 inch lithographic registration pins, and I tape these
to the board so that the holes in the paper strips line up with the pins.
For 20 bucks or so, you can usually get about 25 of these, and they last
forever. You can also purchase plastic tabs that fit on them, and if you
have those, you can skip the whole process of cutting strips of paper.
I can now be ensured that each piece of paper will fall at precisely the
same place on the block. Just snap it onto the litho pins, and let it
fall. When you are done, carefully take it off the pins.
This way the print can be carved, printed, reduced, printed, etc, over the
course of weeks if need be, and the whole shebang picked up and moved 100
miles, and you'll have less than a millimeter of mis-registration.
I use the holes in the strips for drying as well. I have a clothesline
strung in the spare bedroom with paper clips on it. I twist them so that
the smaller "U" that's normally inside the paper clip, is up top, so that it
makes an "S" shape. The larger end of the S goes over the clothesline. The
smaller end hooks the hole in the strip, and the prints can all then dry on
the line. You can easily fit an edition of 50 in a small room this way,
without a rack.
Le Green wrote:
> Detail fading with time, I was at a Picasso exhihibition, and according to
> a curator of the Picasso exhibition, it was Picasso or his printing
> buddies. Picassos' traditional multicolor linocut was stiff and awkward.
>
> The reduction method fits into the the way he made variations of
> scupltures, drawings and other prints... elimitating, reducing, distorting
> images through various stages.
>
> Yours,
>
> Le Green-Schubert
> StoneMetal Press Printmaking Center
> 227-0312
> www.stonemetal-press.com