Today's postings
- [Baren 39712] moku hanga (Jennifer Martindale)
- [Baren 39713] Re: moku hanga (Diane Cutter)
- [Baren 39714] Re: moku hanga (Barbara Mason)
- [Baren 39715] I have returned! (Bobbi Chukran)
- [Baren 39716] STRENGTH OF COLORS (Margot Rocklen)
- [Baren 39717] RE: New Baren Digest (Text) V48 #4962 (Sep 16, 2009) (Le Green)
- [Baren 39718] Re: kitakata (Robin Zebley)
- [Baren 39719] Re: New Baren Digest (HTML) V48#4961 (Sep 15, 2009) ("Mark Mason")
- [Baren 39720] RE: STRENGTH OF COLORS (andrea # starkeyart.com)
- [Baren 39721] Re: Moku Hanga (Bobbi Chukran)
- [Baren 39722] Re: STRENGTH OF COLORS (Michelle Turbide)
- [Baren 39723] Re: Moku Hanga (a stark)
- [Baren 39724] Re: Moku Hanga (Bobbi Chukran)
- [Baren 39725] Re: STRENGTH OF COLORS (Barbara Mason)
Message 1
From: Jennifer Martindale
Date: Wed, 16 Sep 2009 13:52:40 GMT
Subject: [Baren 39712] moku hanga
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In suggesting an annual moku hanga exchange, I had no intention to be disrespectful to other print methods, most of which I have had a go at over the years. However, for the last few years I have worked on improving my own skills in moku hanga, and I would just love to have a collection of works by those artists among you who choose this method, to show to interested observers just what a range of results can be obtained.
I am finding that many of the people who come to my small exhibitions and who go to the local art clubs are wholly unfamiliar with this method, and become very fascinated. It is helpful to show them work other than my own and the very small collection I have of 19th century Japanese prints and of Dave Bull's works.
I have yet to locate a source of cherry blocks (in the UK), so work from various ply and from lino. I mostly use powdered pigments made up with water and alcohol, and sometimes add gum arabic. I use japanese rice paste from a tube. I do also use tube watercolours, but less as the years go by and my range of powdered pigments increase. All pressure in printing is by hand with inexpensive barens. (I would love to justify a better quality one!). I also use mica and other metallic powders, and so far have found most success with these using gum arabic and a stencil for the powder, but I am still trying to improve all the time. I also work with blind embossing and find that fingers work best for pressure. With some softer papers I have found that a thin coat of gum arabic on the back of the damp paper immediately before embossing, helps to keep the shape set. I still am using a wide range of papers depending on trial and just what results I am aiming for, but a machine Hosho is a always a useful fallback.
I learn so much from the forum and particularly I am looking forward to a printout of the notes and comments on all the papers and their different qualities and requirements, that I believe some good soul in the forum is collecting the data for.
Happy printing to all
Message 2
From: Diane Cutter
Date: Wed, 16 Sep 2009 14:05:44 GMT
Subject: [Baren 39713] Re: moku hanga
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Jennifer...
I did not feel that you were disrespectful of other relief methods. For myself, a total moku hanga is a true challenge since I have only seen it done a few times and then have had to 'reinvent the wheel' in my own studio. Fortunately there is enough good information in the Baren library and members' blogs that it is less intimidating than it could be.
I have to admit that Baren has been very instrumental in getting me into wood. I've almost exclusively abandoned lino (only because I keep replenishing my wood supply) but find it difficult to abandon my oil inks.
I'm not sure a hard and fast yearly moku hanga would work because we draw from so many types of relief printmakers but there is enough discussion before each sign-up that if the majority wishes one, it will happen.
I guess, in many words, I'm trying to say that the squeaky wheels get the moku hanga... so if it is a majority wish, it will happen.
Diane
www.DianeCutter.com
www.theitinerantartist.blogspot.com
www.DCutter.etsy.com
I did not feel that you were disrespectful of other relief methods. For myself, a total moku hanga is a true challenge since I have only seen it done a few times and then have had to 'reinvent the wheel' in my own studio. Fortunately there is enough good information in the Baren library and members' blogs that it is less intimidating than it could be.
I have to admit that Baren has been very instrumental in getting me into wood. I've almost exclusively abandoned lino (only because I keep replenishing my wood supply) but find it difficult to abandon my oil inks.
I'm not sure a hard and fast yearly moku hanga would work because we draw from so many types of relief printmakers but there is enough discussion before each sign-up that if the majority wishes one, it will happen.
I guess, in many words, I'm trying to say that the squeaky wheels get the moku hanga... so if it is a majority wish, it will happen.
Diane
www.DianeCutter.com
www.theitinerantartist.blogspot.com
www.DCutter.etsy.com
Message 3
From: Barbara Mason
Date: Wed, 16 Sep 2009 14:19:34 GMT
Subject: [Baren 39714] Re: moku hanga
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I learn so much from the forum and particularly I am looking forward to a printout of the notes
and comments on all the papers and their different qualities and requirements, that I believe
some good soul in the forum is collecting the data for.
Jennifer,
the good soul is me and I have collected Êquite a bit of info...but not as much as I woould like
and it is for some reason heavily weighted with western papers. I would like to get more info
about the eastern ones. I hope to have time this winter to get it all into some type of data base.
My best to all
Barbara
and comments on all the papers and their different qualities and requirements, that I believe
some good soul in the forum is collecting the data for.
Jennifer,
the good soul is me and I have collected Êquite a bit of info...but not as much as I woould like
and it is for some reason heavily weighted with western papers. I would like to get more info
about the eastern ones. I hope to have time this winter to get it all into some type of data base.
My best to all
Barbara
Message 4
From: Bobbi Chukran
Date: Wed, 16 Sep 2009 14:32:55 GMT
Subject: [Baren 39715] I have returned!
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Hi folks,
I'm a returning ex-member, and am so glad to find the group again! I
had a few rough years there where we sold our "dream" custom home in
the country on acreage, bought a much smaller house in town on a
postage-stamp lot and Husband's about to quit his good job that he's
had over 36 years and launch a second career. Whew! Before we
moved, I packed away or gave away almost all my art supplies,
deciding to write full time, THEN, just as I'd packed up everything,
I got a call from an art consultant who wanted three paintings for a
new local hospital. Wellll, let's just say that I didn't give up my
art after all! LOL
I've recently picked up my gouges again and since have done a string
of small prints using water-based inks on lino and am working on a
new woodblock, too. I was struggling with the issue of inks, and
wanting to do hand-coloring, and never really figured out what to do
about that. It's an ongoing issue, but I assume people know they
can't take prints into the bathtub with them! LOL
I'm really glad to be back!
bobbi c.
http://www.bobbichukran.com
I'm a returning ex-member, and am so glad to find the group again! I
had a few rough years there where we sold our "dream" custom home in
the country on acreage, bought a much smaller house in town on a
postage-stamp lot and Husband's about to quit his good job that he's
had over 36 years and launch a second career. Whew! Before we
moved, I packed away or gave away almost all my art supplies,
deciding to write full time, THEN, just as I'd packed up everything,
I got a call from an art consultant who wanted three paintings for a
new local hospital. Wellll, let's just say that I didn't give up my
art after all! LOL
I've recently picked up my gouges again and since have done a string
of small prints using water-based inks on lino and am working on a
new woodblock, too. I was struggling with the issue of inks, and
wanting to do hand-coloring, and never really figured out what to do
about that. It's an ongoing issue, but I assume people know they
can't take prints into the bathtub with them! LOL
I'm really glad to be back!
bobbi c.
http://www.bobbichukran.com
Message 5
From: Margot Rocklen
Date: Wed, 16 Sep 2009 14:52:32 GMT
Subject: [Baren 39716] STRENGTH OF COLORS
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Maybe someone has an answer:
Previous to my last 2 editions, I'd been using gouache pigments for moku hanga. These colors tended to dry lighter and less vibrant than I expected, and I switched to AkuaColor. I like the colors available / don't need to mix water into them. Still, I need to reprint some colors or areas to get the richness & opacity I want. In my last entry I mentioned I am experimenting w/different papers that are durable and aesthetically pleasing. The other requirement is that they allow for strong, opaque colors where needed and not a stained effect. Even if I keep the paper on the block, lifting a corner to add more pigment, reregistration gets tricky if the areas are detailed and the paper is drying rapidly (especially if making a time-consuming gradation). I am trying to avoid replacing the paper in its moistening packet for several hours and making extra runs to reprint same areas same color.Akua puts out a product I believe you can roll (or perhaps print) over
the surface of your work to increase the vibrancy of the colors, but I think it may also give them a shine, which I don't want, and I'm not sure what effect it has on uninked areas. This product may also be meant for monotypes, not editions. I put a call into the company, but haven't heard yet.
Margot R.
Previous to my last 2 editions, I'd been using gouache pigments for moku hanga. These colors tended to dry lighter and less vibrant than I expected, and I switched to AkuaColor. I like the colors available / don't need to mix water into them. Still, I need to reprint some colors or areas to get the richness & opacity I want. In my last entry I mentioned I am experimenting w/different papers that are durable and aesthetically pleasing. The other requirement is that they allow for strong, opaque colors where needed and not a stained effect. Even if I keep the paper on the block, lifting a corner to add more pigment, reregistration gets tricky if the areas are detailed and the paper is drying rapidly (especially if making a time-consuming gradation). I am trying to avoid replacing the paper in its moistening packet for several hours and making extra runs to reprint same areas same color.Akua puts out a product I believe you can roll (or perhaps print) over
the surface of your work to increase the vibrancy of the colors, but I think it may also give them a shine, which I don't want, and I'm not sure what effect it has on uninked areas. This product may also be meant for monotypes, not editions. I put a call into the company, but haven't heard yet.
Margot R.
Message 6
From: Le Green
Date: Wed, 16 Sep 2009 19:31:11 GMT
Subject: [Baren 39717] RE: New Baren Digest (Text) V48 #4962 (Sep 16, 2009)
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I think Marks idea of an all Moku Hanga exchange is a good one.
I feel that the Hanga artists are sometimes short-changed by exchanges. Not all of the "oily" or western brayer reliefs are of lesser effort, but it is possible to a brayer applied ink print that is so much easier than any hanga print!
If specifying the size or the theme can be done, why not method?
Le
Message 7
From: Robin Zebley
Date: Wed, 16 Sep 2009 19:56:48 GMT
Subject: [Baren 39718] Re: kitakata
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I just used it for the first time and it is nice and strong. I really liked
it.
it.
Message 8
From: "Mark Mason"
Date: Wed, 16 Sep 2009 20:19:36 GMT
Subject: [Baren 39719] Re: New Baren Digest (HTML) V48#4961 (Sep 15, 2009)
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I don't know about everyone else, but as long as the printing method and
colour is water based, then that's fine within the broad definition of Moku
Hanga. So, tubes of watercolour paint and even gouache, pigment liquid
watercolour such as the Hydrus range, as well as pure powdered pigments are
all fine. The colour is water bourne, rather than oil.
As far as paper, again, whatever you like, but you'll quickly find that the
Japanese papers are far better for water based printing. Western papers are
more suited to oil based printing.
colour is water based, then that's fine within the broad definition of Moku
Hanga. So, tubes of watercolour paint and even gouache, pigment liquid
watercolour such as the Hydrus range, as well as pure powdered pigments are
all fine. The colour is water bourne, rather than oil.
As far as paper, again, whatever you like, but you'll quickly find that the
Japanese papers are far better for water based printing. Western papers are
more suited to oil based printing.
Message 9
From: andrea # starkeyart.com
Date: Wed, 16 Sep 2009 20:52:25 GMT
Subject: [Baren 39720] RE: STRENGTH OF COLORS
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Hello Margo. I have been experimenting with the Akua Kolor monotype
inks for the past two months. I have used the blending medium, extender
and release agent, and they all seem to have there good and bad
points. First off, I'm printing on dry paper, and usually print
several impressions to get the grainy, transparent coverage I am after,
so I don't know if I can be that much help to you.
I was recently going for a more opaque coverage and it seemed as
if the best solution was to add a small amount of their white ink. I had to play around with the
color quite a bit to get what I was after, but the white has some real
body to it. Also, have you tried letting your color air thicken for a
day or so? That really seems to do it.
Of the three modifiers that I've been using, I prefer the blending
medium. For what you want, though, it might thin the ink too much.
The extender is hard to put into words. It changes the consistency, almost giving it a more oily feeling. It did thicken
coverage compared to the blending medium, but wow do the prints take a
while to dry. Finally, I like the release agent but you have to be
extremely careful when using it. Just a little too much and it will
leech from your printing area into the unprinted areas like linseed
oil, and it doesn't seem to go away. I've had it happen a couple of
times with the blending medium as well when my ink has been a little
thin in detailed areas, but it has dried transparently.
I haven't seen the shine you mentioned with any of these three
modifiers. Overall, I have been extremely pleased with the results
from the Akua Kolor.
Good luck.Andrea Starkeywww.starkeyart.blogspot.com
inks for the past two months. I have used the blending medium, extender
and release agent, and they all seem to have there good and bad
points. First off, I'm printing on dry paper, and usually print
several impressions to get the grainy, transparent coverage I am after,
so I don't know if I can be that much help to you.
I was recently going for a more opaque coverage and it seemed as
if the best solution was to add a small amount of their white ink. I had to play around with the
color quite a bit to get what I was after, but the white has some real
body to it. Also, have you tried letting your color air thicken for a
day or so? That really seems to do it.
Of the three modifiers that I've been using, I prefer the blending
medium. For what you want, though, it might thin the ink too much.
The extender is hard to put into words. It changes the consistency, almost giving it a more oily feeling. It did thicken
coverage compared to the blending medium, but wow do the prints take a
while to dry. Finally, I like the release agent but you have to be
extremely careful when using it. Just a little too much and it will
leech from your printing area into the unprinted areas like linseed
oil, and it doesn't seem to go away. I've had it happen a couple of
times with the blending medium as well when my ink has been a little
thin in detailed areas, but it has dried transparently.
I haven't seen the shine you mentioned with any of these three
modifiers. Overall, I have been extremely pleased with the results
from the Akua Kolor.
Good luck.Andrea Starkeywww.starkeyart.blogspot.com
Message 10
From: Bobbi Chukran
Date: Wed, 16 Sep 2009 23:52:51 GMT
Subject: [Baren 39721] Re: Moku Hanga
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>I don't know about everyone else, but as long as the printing method
>and colour is water based, then that's fine within the broad
>definition of Moku Hanga.
>
Is there anything in the definition of Moku Hanga that says how many
blocks are used? Most of the demos I've seen online lately have used
one block.
bobbi c.
>and colour is water based, then that's fine within the broad
>definition of Moku Hanga.
>
Is there anything in the definition of Moku Hanga that says how many
blocks are used? Most of the demos I've seen online lately have used
one block.
bobbi c.
Message 11
From: Michelle Turbide
Date: Thu, 17 Sep 2009 00:11:56 GMT
Subject: [Baren 39722] Re: STRENGTH OF COLORS
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Magot,
I think you are talking about the oil converter. Which goes by another name now.
You can either mix it with the inks or roll it out over a plate and print onto the finished piece. It does give the piece a bit of a shiny look to it as it is supposed to mimic the look of oil based ink. I have only used it mixed in with the ink and it does give a bit of a shine, but it is not overtly shiny if that makes a difference. I have not tried printing it over the piece yet.
Hope that helps.
Michelle Turbide
wwww.michelleturbide.com
www.vermontprintmaker.blogspot.com
I think you are talking about the oil converter. Which goes by another name now.
You can either mix it with the inks or roll it out over a plate and print onto the finished piece. It does give the piece a bit of a shiny look to it as it is supposed to mimic the look of oil based ink. I have only used it mixed in with the ink and it does give a bit of a shine, but it is not overtly shiny if that makes a difference. I have not tried printing it over the piece yet.
Hope that helps.
Michelle Turbide
wwww.michelleturbide.com
www.vermontprintmaker.blogspot.com
Message 12
From: a stark
Date: Thu, 17 Sep 2009 01:48:29 GMT
Subject: [Baren 39723] Re: Moku Hanga
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Attachment could not be processed.
Message 13
From: Bobbi Chukran
Date: Thu, 17 Sep 2009 01:58:38 GMT
Subject: [Baren 39724] Re: Moku Hanga
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>moku hanga=creative print.
>
Well, that just about says it all, doesn't it? :--)
Thanks!
bobbi c.
>
Well, that just about says it all, doesn't it? :--)
Thanks!
bobbi c.
Message 14
From: Barbara Mason
Date: Thu, 17 Sep 2009 08:42:36 GMT
Subject: [Baren 39725] Re: STRENGTH OF COLORS
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Margo,
To get really good strong color you have to use pigment. It is so strong either in powder or dispersion... nothing else will give you that strong color. Akua Kolor dries by absorption into the paper and after several layers it can take forever to dry.
I have rolled it on with great success, but I like transparent inks and actually thinned it down half and half with the transparent base. I printed 7 layers on Kitakata dry and it worked fine and did dry, but as I said, the colors were transparent so showed through the over-layers. If you want strong opaque colors you have to work from light to dark and plan to print the darker ones more than once to really cover.
it just takes doing a lot of printing to finally get it figured out, after a few years you have it down so don't give up. I have not rolled anything over the print to increase the vibrancy that is water based, but I do know there are some oil based products that will do this. As far as registration goes, if you use damp paper you have to keep it uniformly damp to keep it in register. Lay a piece of plexiglas over the prints to keep the moisture in, it seems to work well and adds a little weight to the stack of paper. Take your time, don't lift a corner to print again but print the entire print again after the paper rests in the stack.
My best
Barbara
To get really good strong color you have to use pigment. It is so strong either in powder or dispersion... nothing else will give you that strong color. Akua Kolor dries by absorption into the paper and after several layers it can take forever to dry.
I have rolled it on with great success, but I like transparent inks and actually thinned it down half and half with the transparent base. I printed 7 layers on Kitakata dry and it worked fine and did dry, but as I said, the colors were transparent so showed through the over-layers. If you want strong opaque colors you have to work from light to dark and plan to print the darker ones more than once to really cover.
it just takes doing a lot of printing to finally get it figured out, after a few years you have it down so don't give up. I have not rolled anything over the print to increase the vibrancy that is water based, but I do know there are some oil based products that will do this. As far as registration goes, if you use damp paper you have to keep it uniformly damp to keep it in register. Lay a piece of plexiglas over the prints to keep the moisture in, it seems to work well and adds a little weight to the stack of paper. Take your time, don't lift a corner to print again but print the entire print again after the paper rests in the stack.
My best
Barbara