Today's postings

  1. [Baren 38787] Re: Printing with lousy stamps (Sharri LaPierre)
  2. [Baren 38788] Re: Printing with lousy stamps (pulpfic #
  3. [Baren 38789] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Sharri LaPierre
Date: Sat, 02 May 2009 15:44:39 GMT
Subject: [Baren 38787] Re: Printing with lousy stamps
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The only thing I glued were the Kentos. The other pieces were all
attached to the substrate with double sided carpet tape. This allowed
for easy repositioning and held things securely during printing. The
prints are quite large, and since I was working alone I had to roll
the paper and then lay the leading edge down onto the block and
carefully unroll the rest of the way. Some of the blocks I cheated
(!) and put through the press, but most of the time they were hand
burnished. The background plate was carved and printed and then
everything else was adjusted to fit that format. Some of the pieces
had to be cut, but many were printed just as they had been found.
Some were plywood, cedar siding, mdf (medium density fiberboard), osb
(oriented strand board) - basically, we were remodeling and I raided
the bin at the end of each day and then supplemented by dumpster
diving at Home Despot (so named because Home Depot reigned supreme
around here for a couple of years).

The editions were small - 3 to 5 maximum and a great lot of fun to do.

Cheers ~
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Message 2
From: pulpfic #
Date: Sat, 02 May 2009 16:31:00 GMT
Subject: [Baren 38788] Re: Printing with lousy stamps
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Hi Tibi,

I wonder if you'd get a better impression (printing stamp-style) if you
could put a layer or two of rubber (tire inner-tube) sheeting on the table
underneath your paper. You'd still need to apply quite a bit of pressure to
the block because of the thickness of your paper, but the rubber should
allow some impression.

When I print stampways, I usually use thinner paper to print on, with
several layers of the same paper beneath the one I'm printing on, but that
probably wouldn't work with the weight of paper you're using.

Instead of stepping on the block and causing it to shift, what if you
double-sided taped the block to your shoe and stepped very carefully (with
no shifting) onto your paper?

Hope that either of these suggestions will be of some help.

Take care,

Digest Appendix

Postings made on [Baren] members' blogs
over the past 24 hours ...

Subject: [River in Spring - 10] : This should do it ...
Posted by: Dave Bull

Continued from [River in Spring - 9] | Starting point of the thread is [River in Spring - 1]

So, going by the comments in the previous thread, it seems as though people think the extra 'reflection' block is a good idea, and yes, that was my feeling too of course, so this morning I did the rest of the batch. The paper is now drying under the pressing boards.

But I have to say that I smiled when reading a few of the comments ...

(Please understand that what I'm about to say is not 'shooting' at anybody, or critical of the comments ... This is just for fun ...)

Three or four of the commenters used phrases that praised me for doing this 'extra' work, or 'taking the trouble' to make the change (carving another block, re-wetting all the paper, doing the printing, then drying the paper again).

But I have to say that I think this attitude reflects a kind of misconception about my work. When I was thinking about whether or not to use that reflection block, the only factor under consideration was the result in the finished print. There was no thought at all that this would be 'extra work'. When making a print, eight blocks is not better than nine blocks. Taking 27 days (or whatever it has been), is not better than 29 days. Carving the new block was not a 'chore' ...

And the 200 or so copies of this print that I am . . .
[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Woodblock RoundTable.
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Subject: exchange 40 Passing Storm
Posted by: Viza Arlington

i re carved the lines in the hills and changed colors and paper from Masa to Rives lightweight
i used sap green for the hills and sumi ink and paynes gray
moku-hanga (Japanese woodcut method) on Rives lightweight paper watercolor and sumi ink

This item is taken from the blog VIZArt.
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Subject: Inside the Red Shed
Posted by: Andrew Stone

[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Lacrime di Rospo.
'Reply' to Baren about this item.