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Message 1
From: Linda Beeman
Date: Fri, 16 Apr 2010 13:15:01 GMT
Subject: [Baren 41076] new print
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I probably was off the scheduled schedule for blogs to show up but I posted a new print this morning called Ember Tide. I decided to re-use the blocks for Evening Sunglow after reading about and seeing some of Yoshida Hiroshi's Sailing Boats. I am fascinated by the different times of day and the changing light he captured. I'm going to give it a try with this set of blocks. I think it will make a very interesting display - both the blocks and prints - and will be helpful in "explaining" moku hanga.

www.lindabeemanprintmaker.blogspot.com

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Message 2
From: ArtfulCarol # aol.com
Date: Fri, 16 Apr 2010 13:33:20 GMT
Subject: [Baren 41077] Fwd: new print
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Lately,I've seen so many beautiful works on Baren and hardly scratch the
surface of viewing all the blogs and responding.
I'd never get to work myself if I opened them all.
This morning I saw Linda Beeman's woodblock print. Fan'tastic, along
with the stories that go along with them.
Carol Lyons
Irvington, NY

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Message 3
From: Juergen Stieler
Date: Fri, 16 Apr 2010 18:49:35 GMT
Subject: [Baren 41078] Re: Marking Linoleum
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Hi Terry and all,
well, I dont't know whether I should delete the history of the message
or not, I decided to keep it....

I never had problems in leaving (non) printing marks on linoleum or
wood. I draw the lines for the next cut only, and the center of the line
is the fine line where I cut. After printing the first colour I draw the
lines for the next cut (colour), so that there are no lines on the
printing block that I will not cut. And with the copy paper described
you do not have to press hard, that's why it is my favourite.

Best regards
Juergen

Terry Peart schrieb:
> Juergen and all,
> Don't you find if you press too hard with a sharp pencil when
> transferring the drawing that it indents the linoleum, or woodblock
> for that matter, and leaves an indentation that will print?
> I've done that, maybe I'm too enthusiastic.
>
> Terry
> West Seattle
>
>

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Message 4
From: Louise Cass
Date: Fri, 16 Apr 2010 20:43:17 GMT
Subject: [Baren 41079] Re: My Tigers are descending upon you
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Hi Mari - I love them tigers!! also Andrew Stone's carpet...Juergen's
card is a beaut too!
many thanks
Louise C
www.LCassArt.com

PS I still have to print and mail out more of my tigers - am rather busy
and have to do them in smallish batches

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Message 5
From: Shireen Holman
Date: Fri, 16 Apr 2010 20:50:10 GMT
Subject: [Baren 41080] Registration
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Marilynn Smith wrote:

> Hi Shireen,
>
> You mentioned that you have found registration a challenge and that
> you have devised a special method. You said it is too hard to
> describe, how about some pictures?
>
I don't have photos, so I'll explain. The major difficulty is that I'm
working with handmade paper, which has deckle edges. No two sheets are
the same; there are no straight edges, no right angles. So anything
like a kento system is out of the question. In addition, part of the
image (the pulp painting) is part of the paper itself, so the image,
along with the paper, expands somewhat when it's dampened, and
contracts again when it dries.

So this is what I do: First I cut a sheet of clear mylar so that it
looks like a mat. The hole in the center is the size of the paper. I
tape this to the block and draw registration marks on the borders with
a Sharpie marker. I then cut three more sheets of mylar slightly
larger than my paper on all sides. The first sheet is blank. On the
second sheet I draw the outlines of the pulp painting images, the
expanded size that they are when the sheets are dampened. I also draw
the registration marks. On the third sheet I just draw the
registration marks.

I put mylar #1 down, and lay my dampened sheet of paper on it, image
side up with the side I'm going to be printing. (Since it's a book, I
print both sides of each sheet, and there are pulp paintings on both
sides. Four different book pages get printed on one sheet of paper.) I
then lay mylar #2 on the paper, lining up the image on the mylar with
the image in the paper. I lightly attach the paper to the top mylar on
each side using post-it correction tape (this doesn't leave any marks
or tear the paper when it is removed). I then flip the whole sandwich
over. I remove mylar #1, and lay mylar #3 on the paper, matching the
registration marks with those on mylar #2, which is now the bottom
mylar. I remove the tape from the bottom mylar, and lightly tape the
paper to the top mylar. I can now lift up the top mylar with the paper
attached to it, with the image side down, ready to be placed on the
block. I put this on the block, lining up the registration marks on
mylar #3 with the marks on the mylar which is taped to the block. I
remove the tape and the top mylar, and I'm ready to print!

Hope this makes sense.
Shireen
************************************************
Shireen Holman, Printmaker and Book Artist
email: shireen@shireenholman.com
http://www.shireenholman.com

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Message 6
From: Hideki Arichi
Date: Fri, 16 Apr 2010 21:02:36 GMT
Subject: [Baren 41081] Re: UK paper supplies
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Dear Jennifer,

Thank you for your reply it is indeed an area of wide choice and varied pricing. The mid-weight pad from Intaglio is what I was using before and i went to get another one today only to find they were sold out till June!

I've been in contact with Falkiners and am awaiting some samples from John Purcell.

All costs taken into consideration one Japanese printmaker resident in the UK has also provided me with suggestions of paper to buy directly from Japan.

I will most likely try the pack from Lawrences.

One of the hardest things it seems is trying to describe the ideal weight in Western terms via email with the afore mentioned suppliers.

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Subject: Carving Away
Posted by: Ellen Shipley

This item is taken from the blog Pressing-Issues.
'Reply' to Baren about this item.

Subject: Ember Tide
Posted by: Linda Beeman

This item is taken from the blog Linda Beeman - Printmaker.
'Reply' to Baren about this item.

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