Today's postings
- [Baren 36677] Re: New Baren Digest (HTML) V44 #4492 (Aug 19, 2008) (Marilynn Smith)
- [Baren 36678] Re: linseed oil ("Maria Arango")
- [Baren 36679] Re: Sanding blocks (Sharri LaPierre)
- [Baren 36680] Re: linseed oil (Joseph Sheridan)
- [Baren 36681] Prints for Peace invitation Baren exchange 36. (guadalupe victorica reyes)
- [Baren 36682] exhibition in Santa Ana (cucamongie # aol.com)
Message 1
From: Marilynn Smith
Date: Wed, 20 Aug 2008 15:06:13 GMT
Subject: [Baren 36677] Re: New Baren Digest (HTML) V44 #4492 (Aug 19, 2008)
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Hello from the wet rainy cold Washington coast,
Regarding artists who either have died or developed severe illnesses
due to toxicity, I have known a few who have. My favorite oil
painting professor died from cancer, maybe he would have anyway, but
the chemicals are toxic. I know a gal here on the coast who got into
art and paper making. She severely damaged her lungs due to exposure
to toxic chemicals in her work and now walks around wearing an oxygen
tank. I personally switched away from oil paints to watercolors to
avoid the exposure to turps and other such chemicals. A toxic free
studio is easy and well worth it.
I am like Annie, I like my blocks rough. Occasionally I find one that
I do need to sand smother, but usually not. I moved from lino block
to wood block to get the effects wood provides and want to take full
advantage of that. Remember, linseed oil is OIL. OIL AND WATER DON'T
MIX.
Marilynn
Regarding artists who either have died or developed severe illnesses
due to toxicity, I have known a few who have. My favorite oil
painting professor died from cancer, maybe he would have anyway, but
the chemicals are toxic. I know a gal here on the coast who got into
art and paper making. She severely damaged her lungs due to exposure
to toxic chemicals in her work and now walks around wearing an oxygen
tank. I personally switched away from oil paints to watercolors to
avoid the exposure to turps and other such chemicals. A toxic free
studio is easy and well worth it.
I am like Annie, I like my blocks rough. Occasionally I find one that
I do need to sand smother, but usually not. I moved from lino block
to wood block to get the effects wood provides and want to take full
advantage of that. Remember, linseed oil is OIL. OIL AND WATER DON'T
MIX.
Marilynn
Message 2
From: "Maria Arango"
Date: Wed, 20 Aug 2008 15:36:51 GMT
Subject: [Baren 36678] Re: linseed oil
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> >I prepare my blocks by sanding to a 400 grit, scraping lightly, diluted walnut or sumi ink
>> to darken the block a few shades, let dry and then oil.
>
> What exactly does "scraping" mean? How do you go about it?
>
> Thanks!
> Terry
> West Seattle
Scraping is akin to lightly planing the block of wood but much easier. It
cuts rather than sands the wood fibers, but that's not why I do it. I
receive my plank cherry from Lake Shore Hardwoods (dot com) in big batches
about once a year. The cherry is beautiful and flat on both sides, but
"rough" and needs to be sanded or prepared somehow for printmaking.
The "rough" state sometimes includes mill saw marks, little ridges of wood
that are tough to sand without really roughing the entire block with 80 grit
paper. I don't go that low on my sanding, so I just sand as usual and then
scrape the ridges off with a hand-scraper. Basically this is a hand-held
blade that you draw lightly toward you at a steep angle to the wood. It
shaves off little curls of wood much like a plane does, and, much like
planing wood, the most crucial issue is to use a VERY sharp blade.
It just takes a few strokes and leaves a nice mirror like finish, very
different from sanding. When I cover my block with diluted walnut ink, I can
easily see the difference between cut fibers and sanded fibers, until the
ink dries, that is. Since I print oil based inks, none of this makes all
that much of a difference, just the way I like to prepare my wood; it's
almost like a mental process that gets me ready for the next step: drawing
the image!
Please see this for an illustration of how I do it, more or less:
http://www.woodzone.com/articles/scrapers/scraping.jpg
Does this help?
Maria
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
>> to darken the block a few shades, let dry and then oil.
>
> What exactly does "scraping" mean? How do you go about it?
>
> Thanks!
> Terry
> West Seattle
Scraping is akin to lightly planing the block of wood but much easier. It
cuts rather than sands the wood fibers, but that's not why I do it. I
receive my plank cherry from Lake Shore Hardwoods (dot com) in big batches
about once a year. The cherry is beautiful and flat on both sides, but
"rough" and needs to be sanded or prepared somehow for printmaking.
The "rough" state sometimes includes mill saw marks, little ridges of wood
that are tough to sand without really roughing the entire block with 80 grit
paper. I don't go that low on my sanding, so I just sand as usual and then
scrape the ridges off with a hand-scraper. Basically this is a hand-held
blade that you draw lightly toward you at a steep angle to the wood. It
shaves off little curls of wood much like a plane does, and, much like
planing wood, the most crucial issue is to use a VERY sharp blade.
It just takes a few strokes and leaves a nice mirror like finish, very
different from sanding. When I cover my block with diluted walnut ink, I can
easily see the difference between cut fibers and sanded fibers, until the
ink dries, that is. Since I print oil based inks, none of this makes all
that much of a difference, just the way I like to prepare my wood; it's
almost like a mental process that gets me ready for the next step: drawing
the image!
Please see this for an illustration of how I do it, more or less:
http://www.woodzone.com/articles/scrapers/scraping.jpg
Does this help?
Maria
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 3
From: Sharri LaPierre
Date: Wed, 20 Aug 2008 15:54:12 GMT
Subject: [Baren 36679] Re: Sanding blocks
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Benny asked about using Future Floor Wax as a resist. No, this isn't
woodblock, but for those of us who combine mediums I'll keep it
short. Actually, any polymer based floor wax will do. Just add a
little India Ink so you can tell where it is, coat your plate, and
proceed as usual. It does require wax stripper, or ammonia, to
remove, but all things considered, is more user friendly than
asphaltum products. There may be a newer product out there and Dean
(Graphic Chemical Guru) will know and, hopefully, give us a few hints.
Cheers ~
Sharri
woodblock, but for those of us who combine mediums I'll keep it
short. Actually, any polymer based floor wax will do. Just add a
little India Ink so you can tell where it is, coat your plate, and
proceed as usual. It does require wax stripper, or ammonia, to
remove, but all things considered, is more user friendly than
asphaltum products. There may be a newer product out there and Dean
(Graphic Chemical Guru) will know and, hopefully, give us a few hints.
Cheers ~
Sharri
Message 4
From: Joseph Sheridan
Date: Wed, 20 Aug 2008 16:49:02 GMT
Subject: [Baren 36680] Re: linseed oil
Send Message: To this poster
I agree using a sharp hand scraper is a good method to get a smooth finish. Here is another tip which can help in smoothing a surface.
In refinishing furniture, I discovered the use of Pumice stone and Rottenstone to make final touches to a surface.
Following the sanding and scraping of a cherry block I worked the Pumice and then Rottenstone onto the surface using
a little mineral oil, 0000 steel wool and elbow grease. Then a final cleaning of the surface before I applied my image.
The Pumice and Rottenstone (which are in powder form) I acquired from a local lumber supplier who had a wood finishing section.
...ever hoping to achieve those two cherry surfaces, once placed face to face one can not pull apart..
Joe Sheridan
In refinishing furniture, I discovered the use of Pumice stone and Rottenstone to make final touches to a surface.
Following the sanding and scraping of a cherry block I worked the Pumice and then Rottenstone onto the surface using
a little mineral oil, 0000 steel wool and elbow grease. Then a final cleaning of the surface before I applied my image.
The Pumice and Rottenstone (which are in powder form) I acquired from a local lumber supplier who had a wood finishing section.
...ever hoping to achieve those two cherry surfaces, once placed face to face one can not pull apart..
Joe Sheridan
Message 5
From: guadalupe victorica reyes
Date: Wed, 20 Aug 2008 18:30:44 GMT
Subject: [Baren 36681] Prints for Peace invitation Baren exchange 36.
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Hello Baren Members:
I am happy to tell you that we have received to date 65 international prints for the First International call Prints for Peace(we are still waitting for others). Thanks to all printers. Next week we will receive the local prints.
I would like to ask the artists participating in the exchange # 36 if you would like to participate in this call for Prints for Peace (I have the 36 exchange). A virtual personal certificate of participation and a printed invitation will be send. The photos will be in the WEB page. If you are interested in having your print exhibited in Monterrey Mxico for purposes of Peace please write to victoricaguadalupe@hotmail.com.
The objective of the call is to promote Peace and we will have a Discussion Panel for Peace the day of the opening (October 1, 2008) with opinion leaders.
Thank you and Best Regards, Guadalupe
Mxico
Dra. Guadalupe Victorica
Message 6
From: cucamongie # aol.com
Date: Wed, 20 Aug 2008 23:21:32 GMT
Subject: [Baren 36682] exhibition in Santa Ana
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Hi folks, for those of you who live in the area, I have work up in this exhibition, which should be fun!
Sarah
>For Immediate Release
>
>Animal Magnetism
>An all media national juried exhibition
>
>September 4 to 27, 2008
>117 N. Sycamore, Santa Ana, CA
>714.667.1517 www.occca.org
>Opening Reception September 6th, 6 PM to 10 PM
>
>
>Juror:
>Mat Gleason, editor and publisher of
>Coagula Art Magazine
>
>
>Recently praised by the British critic Julian Stallabrass in his book, Art Incorporated,
>The Story of Contemporary Art, Mat Gleason has a keen eye for quality and authenticity,
>ferocious wit and an intimate knowledge of the jungle.
>
>Animals, real and imaginary. We fear them, pamper them, tame them, trap them, eat them, lobby
>on their behalf, experiment on them, strut them as status symbols, and exterminate them. How do
>contemporary artists represent them?
>
>From the caves of Lascaux, to the halls of the Louvre, there is
>no escaping them. With their long pedigree in the history of art, they prowl the great
>museums of the world. And today, animals leap from the work of contemporary artists, symbolically
>expressing their ideas and emotions. OCCCA's terrific exhibition space will showcase a menagerie o
>superb examples of this trend, from the traditional to the avant-garde, from the realistic to the
>fantastic, in painting, drawing, sculpture, photography, video and new media
>
>A catalog of accepted works will
>accompany this exhibition.
>
>Admission Free
>
>Orange County Center For Contemporary Art
>117 N Sycamore. Santa Ana, CA 92701 www.occca.org
>714 667 1517
Th-Sun 12-5pm, Fri-Sat 12-5, & 5-9 *call for evening availability
>1st Saturday Receptions: 6-10pm First Friday Films: 8pm
>OCCCA is located
>at the corner of 2nd and Sycamore in the Santa Ana Artists Village.
>There is no entrance fee. Please see the web site for more
>information, www.occca.org , or call the gallery during regular operating hours.
>
>Orange County Center for Contemporary Art
>Is an artist run California nonprofit corporation. OCCCA affiliate artists are committed to presenting
>contemporary art exhibitions in an atmosphere conducive to discussion without censorship.
>
>Orange County Center for Contemporary Art | 117 N Sycamore | Santa Ana | CA | 92701
Sarah
>For Immediate Release
>
>Animal Magnetism
>An all media national juried exhibition
>
>September 4 to 27, 2008
>117 N. Sycamore, Santa Ana, CA
>714.667.1517 www.occca.org
>Opening Reception September 6th, 6 PM to 10 PM
>
>
>Juror:
>Mat Gleason, editor and publisher of
>Coagula Art Magazine
>
>
>Recently praised by the British critic Julian Stallabrass in his book, Art Incorporated,
>The Story of Contemporary Art, Mat Gleason has a keen eye for quality and authenticity,
>ferocious wit and an intimate knowledge of the jungle.
>
>Animals, real and imaginary. We fear them, pamper them, tame them, trap them, eat them, lobby
>on their behalf, experiment on them, strut them as status symbols, and exterminate them. How do
>contemporary artists represent them?
>
>From the caves of Lascaux, to the halls of the Louvre, there is
>no escaping them. With their long pedigree in the history of art, they prowl the great
>museums of the world. And today, animals leap from the work of contemporary artists, symbolically
>expressing their ideas and emotions. OCCCA's terrific exhibition space will showcase a menagerie o
>superb examples of this trend, from the traditional to the avant-garde, from the realistic to the
>fantastic, in painting, drawing, sculpture, photography, video and new media
>
>A catalog of accepted works will
>accompany this exhibition.
>
>Admission Free
>
>Orange County Center For Contemporary Art
>117 N Sycamore. Santa Ana, CA 92701 www.occca.org
>714 667 1517
Th-Sun 12-5pm, Fri-Sat 12-5, & 5-9 *call for evening availability
>1st Saturday Receptions: 6-10pm First Friday Films: 8pm
>OCCCA is located
>at the corner of 2nd and Sycamore in the Santa Ana Artists Village.
>There is no entrance fee. Please see the web site for more
>information, www.occca.org , or call the gallery during regular operating hours.
>
>Orange County Center for Contemporary Art
>Is an artist run California nonprofit corporation. OCCCA affiliate artists are committed to presenting
>contemporary art exhibitions in an atmosphere conducive to discussion without censorship.
>
>Orange County Center for Contemporary Art | 117 N Sycamore | Santa Ana | CA | 92701