[Baren] Daily Digest

Today's postings

[Baren 36565] Re: Litho Pin Registration for Suicide prints ("Clive.ca")
[Baren 36566] Re: Litho Pin Registration for Suicide prints (Scholes Graham)
[Baren 36567] Re: Litho Pin Registration for Suicide prints ("steffan ziegler")
[Baren 36568] Re: Litho Pin Registration for Suicide prints (Elizabeth Atwood)
[Baren 36569] Re: Litho Pin Registration for Suicide prints (Peter Kocak)
[Baren 36570] Date: Tue, 12 Aug 2008 16:16:35 -0400 (Linda Beeman)
[Baren 36571] Re: Woodcuts/printmaking in Buenos Aires? (GraphChem # aol.com)
[Baren 36572] Baren Member blogs: Update Notification (Blog Manager)
[Baren 36573] vivid secondary colors w/ M.Hanga (Rosposfe # aol.com)
[Baren 36574] Re: New Baren Digest (Text) V44 #4478 (Aug 12, 2008) ("Patricia B. Phare-Camp")

Message 1
From: "Clive.ca"
Date: Tue, 12 Aug 2008 17:30:43 GMT
Subject: [Baren 36565] Re: Litho Pin Registration for Suicide prints
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That's an interesting process Steffan but it seems a bit labour
intensive. Why not cut your stock a bit bigger and punch it directly?
If you want to reinforce the holes you can put a bit of cello tape
over the spots where the holes will be punched; you could even use a
bit of tape long enough to fold over the paper edge and come back far
enough to be punched on both sides then you wouldn't need to re-
enforce the holes with those white adhesive rings. I've done that on
Japanese stocks for multiple colours with no loss of register.

Clive

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.

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Message 2
From: Scholes Graham
Date: Tue, 12 Aug 2008 17:52:07 GMT
Subject: [Baren 36566] Re: Litho Pin Registration for Suicide prints
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Clive wrote:
> If you want to reinforce the holes you can put a bit of cello tape
> over the spots where the holes will be punched;
>

Don't know if this has been mentioned before....
A good way to protect the registration punch hole is to use a little
clear nail polish or ever a couple coats of shellac.
Works pretty good as it prevents the paper from absorbing moisture and
becoming soft...

Graham

PS found the article re Suicide prints interesting...
I was taught this technique with lino in Art School..... era.... 1949.
Does this make me a dinosaur..... don’t go there folks.

I saw some of Picasso’s prints at the Picasso Musée in Paris.
We went there to spend and hour and was mesmerized for 3 ½ hours.
I found it very interesting to see the number of variations using same
plates.
Fabulous.... don’t miss it should you save enough pennies to go to
Paris.

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Message 3
From: "steffan ziegler"
Date: Tue, 12 Aug 2008 18:32:54 GMT
Subject: [Baren 36567] Re: Litho Pin Registration for Suicide prints
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A good question. My mentor always recommended using the larger stock, and
punching holes direct. But I don't like to throw away that much paper!
There's another print in all those little strips, if you edition wisely!
Scotch Tape and old copier paper destined for the recycle bin are far
cheaper.

Also, I've switched from the paper strips to the thick vinyl litho
registration tabs, (which marry to the pins, and are re-useable many many
times with no distortion, but I had to go to some lengths to get them,
(ordering from a litho wholesaler wasn't possible, and graphic
chemical didn't carry them, (maybe they will now that I've mentioned them on
the forum... ) so I had to go with a middleman who charged me a markup,) so
that's why I brought the paper strips up. I think there is one more paren
to close, isn't there? Yes there is. )

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Message 4
From: Elizabeth Atwood
Date: Tue, 12 Aug 2008 19:30:34 GMT
Subject: [Baren 36568] Re: Litho Pin Registration for Suicide prints
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Check out my registration method in the Baren
encyclopedia............it couldn't be simpler..........
I still use a smaller form of this now that I no longer have a
studio.............ElizA

http://www.barenforum.org/encyclopedia/entries/012_09/012_09_frame.html

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Message 5
From: Peter Kocak
Date: Tue, 12 Aug 2008 19:41:19 GMT
Subject: [Baren 36569] Re: Litho Pin Registration for Suicide prints
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OK thanks too..

Peter Kocák
www.pulib.sk/kocak
www.flickr.com/photos/pietrocelli
www.flickr.com/photos/marukiboshi
www.youtube.com/videos/pietrocelli123

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Message 6
From: Linda Beeman
Date: Tue, 12 Aug 2008 20:16:55 GMT
Subject: [Baren 36570] Date: Tue, 12 Aug 2008 16:16:35 -0400
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As a "newbee" to this forum I just want to say how much I enjoy reading all your posts. It is refreshing to see all the suggestions and help that everyone gives.

On another note, I may actually have DSL by next week so I can finally take a good look at everyone's blogs and websites and maybe, just maybe, start my own.

I don't have any other questions or comments right now except that I also could not fit every drink that got me into trouble into a print. So, if that theme is chosen and I am able to be in that exchange, I will do the only one that keeps me (and the general public!) safe these days.........water!

Linda Beeman

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Message 7
From: GraphChem # aol.com
Date: Tue, 12 Aug 2008 23:19:31 GMT
Subject: [Baren 36571] Re: Woodcuts/printmaking in Buenos Aires?
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I can e-mail you tomorrow with contact info - but two wonderful printmakers
live in Buenos Aires - Alicia Candiada and Mirta Kupferminc.
Susan

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Message 8
From: Blog Manager
Date: Wed, 13 Aug 2008 03:56:34 GMT
Subject: [Baren 36572] Baren Member blogs: Update Notification
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Message 9
From: Rosposfe # aol.com
Date: Wed, 13 Aug 2008 04:16:34 GMT
Subject: [Baren 36573] vivid secondary colors w/ M.Hanga
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Dear Bareners
Can you get vivid Secondary colors with Moku Hanga and tube watercolors?
While I usually carve a separate block for every color I often plan for some
overlap to give me some intermediate/mixed colors in less important areas.
I haven't yet seen that with transparent watercolors, even in transparent
pigments, that my secondary colors, the oranges and greens or purples are vivid or
bright enough that I would want them to be the focus.
I am still using Daniel Smith tube watercolors and rice paste and
transparent colors (Aureolin Yellow,
Rose Madder gen., Windsor and Cobalt blue, etc. and printing on damp paper.
should I invest in a few colors of pigment dispersions or resign myself to
carving a separate block and mixing a separate color for important areas.
Thanks,
Andrew.

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Message 10
From: "Patricia B. Phare-Camp"
Date: Wed, 13 Aug 2008 05:28:05 GMT
Subject: [Baren 36574] Re: New Baren Digest (Text) V44 #4478 (Aug 12, 2008)
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"Now, when are you coming to France?" ~ Léa - poetwithoutborders

Hey Leah! have you been lurking--when did you join the baren...and how in the world did I miss it? Great to see ya here lady! I told the hubby what you said about when we're going to France--he said when the Euro cost me less than a dolla again! We had planned on going out there for our 25th anniversary in June but just as we were about to book -- the oil prices skyrocketed and the airfare to Europe more than doubled. Sigh...well enough off topic convo--do you know about the baren after 5? That's the baren list where we discuss stuff that's not about art/printmaking. Oh but introductions in the baren forum are ok and it sounds like some peoples don't know who you are; if you haven't already please write up an intro.

Graham -- welcome back to the baren. I'm glad you've returned there are many here at baren who still love you, even if you do sometimes poke us in the third eye with a blunt shtick...;^} I rather enjoy your occasional controversial dialog and find that there is much to learn in some of your banter.

In fact when some of you old timers start passionately dialogging controversially with each other there is much learning happening amongst the rest of us. I love it when some of you disagree because I learn 100 times more than when everyone does the same thing and practices the same beliefs. There are many paths to the same masterpiece and the journey is what makes it all sooooo meaningful. Peacefully agreeing to disagree is how we learn from each other; we just have to remember that in email the reader can't see our facial expressions or hear the inflections in our voice and may misconstrue our meaning--see insult and take offense...

Lets try to keep up the passionate dialog without getting mad at each other--none of us means anything by it...

Cheers!
Patti P-C

PS: regarding commercial inks, I was told not use them with no instruction regarding specific brands. There may be some brands out there that are of great quality--I think the warning was because so many commercial printing materials are not the best for fine arts, simply because commercial printing isn't done for longevity. I've pretty much found that when I want to adapt a commercial tool or material for fine art that a call to a local printer gets me sound advice on what I should or shouldn't use. Most printers, commercial and fine arts, love to share their knowledge of their craft. Aren't printers great chums, isn't printing such great fun!!!

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Baren Archives

[Baren] - the International Forum for Woodblock Printmaking

Volume: 44 / Number: 4480

Wednesday, 13th of August, 2008

Today's postings

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