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Message 1
From: "Sales"
Date: Mon, 29 Jun 2009 16:14:58 GMT
Subject: [Baren 39169] RE: New Baren Digest (Text) V47 #4867 (Jun 26, 2009)
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In response to Chris, virtually all printmaking inks will clean with
things that are less hazardous or not hazardous at all. The inks
themselves are practically food grade materials (although they'd taste
pretty bad). Go with the green cleaners like SoySolv, Universal Water
Soluble Solvent etc. You can add dry pigments and additives to Caligo
without a detrimental effect, Easy Wipe and Sureset can be added in
modest amounts (which is the only way to add them anyway), and if those
two work then Setswell should work too. Solvents are out, other inks are
out as well, but only if you want the water wash up capability



Graphic Chemical & Ink, the original distributor for Caligo in North
America, stocks a complete line of Caligo inks, etching, relief, litho
and collotype. The latter two are not washable with soap and water. We
believe that they are great inks, or we wouldn't stock them, but don't
eliminate the standard inks just because you're using the wrong things
to clean up with.



I'll get off of the soapbox now. If you have questions, or would like a
sample, please feel free to contact us.



Dean Clark

Graphic Chemical & Ink Company

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Message 2
From: josepht280 # aol.com
Date: Mon, 29 Jun 2009 17:21:03 GMT
Subject: [Baren 39170] 41
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Hi fellow Bareners,

The July 1st cut off date for no penalty dropping is approaching swiftly.  Thanks to all of you who have contacted me about dropping or adding your name from the participant list.  I still need to hear from some of you.  If you haven't confirmed yourself, please do asap.  We have had a number of drop outs and have added a few just recently but are one short I believe at this time.  Hang in there.  

And as a friendly reminder...the prints are DUE August 1st and you can of course get them to me earlier.  That way I can compile a beautiful colophon and get them back to you in a timely manner.

Let's go!

I got my dog back from the pound, my rugs have all dried, the cherries are almost ripe and the peaches look promising (to the squirrels), and my cold is through!.  It has been a beautiful albeit hot few days.  It's like jungle out there.  I'm ready.

Joe T

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Message 3
From: Julio.Rodriguez # walgreens.com
Date: Mon, 29 Jun 2009 18:29:40 GMT
Subject: [Baren 39171] Tom Killion, Chicago presentation Friday, Workshop - Feedback
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As reported by Sharen Linder last week, well known California landscape
printmaker Tom Killion was in town for a presentation and a two day
workshop at Columbia College. I was able to attend Friday's lecture and
meet Tom who talked at length about his travels, book publishing,
woodblock printmaking process and his passion for the California
landscape.

Tom is very passionate about his printmaking and throughout the lecture
(slide show) he took time to point out special printing techniques used
for some prints and the number of blocks and color separations used for
each. I was invited to attend the weekend workshop and although I could
not attend the entire workshop due to schedule conflicts, I did drop in
for most of the Sunday morning session to watch Tom as he worked with
students to mix ink, prep the presses and run trial proofs for some of the
blocks carved during the Saturday session.

He has been making Japanese-style landscape prints since the mid 1970's.
Tom's technique is a mix of moku-hanga and western style and he mentioned
the big influence that Hiroshige and Hokusai have on his images. He does
not use photographs but rather makes detailed on the spot sketches. The
black keyblock on many of his prints normally involves a lot more area of
the composition than a typical outline block as used in traditional
Japanese technique. He visualizes his images and does block color
separation and carving moku-hanga style sometimes using the block
reduction technique. Tom prints on dry Torinoko paper using oil inks and a
press. His editions normally run anywhere between 50-175 prints. Business
is good and many of his editions (old and new work) have sold out.

I took some photos which I'll upload to the Baren blog as soon as I get a
chance. You can visit Tom' s website and see a gallery of his wonderful
prints and books at:

http://tomkillion.com/app/index

thanks....Julio

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Message 4
From: Daniel Dew
Date: Mon, 29 Jun 2009 19:13:43 GMT
Subject: [Baren 39172] Updates
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I do not know why.

But if anyone is interested:
http://danieldew.blogspot.com/

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Message 5
From: Jean Womack
Date: Mon, 29 Jun 2009 20:03:39 GMT
Subject: [Baren 39173] Re: New Baren Digest (HTML) V47 #4870 (Jun 29, 2009)
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In reference to the Prints for Peace, what is a pass partout?

Jean Womack

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Message 6
From: aqua4tis # aol.com
Date: Mon, 29 Jun 2009 20:16:53 GMT
Subject: [Baren 39174] Re: Updates
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dan
?? this work is breathtaking. absolutely gorgeous. it sounds as though youre using different material for each plate. am i right?? i want to do the prayer of st francis
wonderful work
georga

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Message 7
From: Daniel Dew
Date: Mon, 29 Jun 2009 20:29:47 GMT
Subject: [Baren 39175] Re: Updates
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Thank you. I have found a way to cut lino lines so thin and so small,
wait until you see the work on Psalm 14, my ode to Durer.
But I am still using Cherry wood and other woods, basically whatever I
find that "tickles" me into using it.
I've even carved a reduction using cedar wood (highly NOT recommended).

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Message 8
From: "Oscar Bearinger"
Date: Mon, 29 Jun 2009 20:51:55 GMT
Subject: [Baren 39176] Fine line lino
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Dear Daniel,
Hey, I'm quite interested (just doing some experimenting right now with
flooring lino).
Could you share your particular fine line technique with lino? I'd
appreciate it.
Thanks.
Oscar

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Message 9
From: Daniel Dew
Date: Mon, 29 Jun 2009 21:04:18 GMT
Subject: [Baren 39177] Re: Fine line lino
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Lino if cut at a 90 degree (to the surface) will snap and break if cut
too thin.
So, i try to cut at more of a 45 degree angle, wider than what I
really need. Then I will go back and, at an even steeper angle, and
"shave"
away until the line is almost invisible (sometimes actually invisible
to the naked eye).
Now, if you follow the rules (LOL) and "prep" the plate first (usually
by printing 4 or 5 throw aways, or A/P's), you should be able to get a
nice sharp line without using too much pressure.
Biggest problem I see with most printmakers using lino is: too much
ink and too much pressure.

Does that help?

Maybe someday I'll write up something using pictures and put it up on
a "donated" website.

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Message 10
From: "Dan Dew"
Date: Mon, 29 Jun 2009 22:43:52 GMT
Subject: [Baren 39178] Just a Thought
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I was laying in bed last night,wide awake and unable to sleep.
The I had an idea!
Why not create a group for Baren on Facebook? We can communicate faster, post pictures and videos, etc... we can even individually "hide" people who we personally don't want to see posts from!
Then it dawned on me, communicating via emails is so analog.
Then I had to chuckle.
We are analog.
We carve wood and make prints from them.
How 1st century of us!

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Message 11
From: Barbara Mason
Date: Mon, 29 Jun 2009 23:09:09 GMT
Subject: [Baren 39179] Re: Fine line lino
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Dan,
You are right about the pressure, if the paper is at all embossed you are using too much pressure if using a press, if printing by hand on thin paper it is hard not to emboss the paper as you have to get enough pressure to print well.
A/P is not what you mean, you mean T/P which stands for trial proof. A/P is exactly like the edition and is theoretically 5% of the amount printed and kept by the artist for personal sales.
My best
Barbara

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Message 12
From: "Dan Dew"
Date: Mon, 29 Jun 2009 23:32:38 GMT
Subject: [Baren 39180] Re: Fine line lino
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I did not know, or in my old age quite forgot it. Thanks!

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