Today's postings
- [Baren 41099] Re: Question on Ink, Lino, Sharpies (Barbara Mason)
- [Baren 41100] Ink, lino, Sharpies (Lee Churchill)
- [Baren 41101] References (Robert Arnold)
- [Baren 41102] Re: References (Ruth Leaf)
- [Baren 41103] White-Line Woodcut Workshop in Connecticut (Margot Rocklen)
- [Baren 41104] White-Line Woodcut (Barbara Mason)
Message 1
From: Barbara Mason
Date: Tue, 20 Apr 2010 14:22:15 GMT
Subject: [Baren 41099] Re: Question on Ink, Lino, Sharpies
Send Message: To this poster
Connie,
Try sanding the block with very fine sandpaper, 400 or more. The problem with the sharpie is a new one for me... sharpie is soluble in alcohol so you could try that as well.
Call Graphic chemical about the ink. They are very helpful over the phone.
I got a can of oil based in one time from them that was the wrong color. It said black but was really indigo. So things do happen. They might be able to tell you what you can put with the ink to make it work.
My best
Barbara
Try sanding the block with very fine sandpaper, 400 or more. The problem with the sharpie is a new one for me... sharpie is soluble in alcohol so you could try that as well.
Call Graphic chemical about the ink. They are very helpful over the phone.
I got a can of oil based in one time from them that was the wrong color. It said black but was really indigo. So things do happen. They might be able to tell you what you can put with the ink to make it work.
My best
Barbara
Message 2
From: Lee Churchill
Date: Tue, 20 Apr 2010 14:42:46 GMT
Subject: [Baren 41100] Ink, lino, Sharpies
Send Message: To this poster
Hey,
Well, first off lino will seem oily because it is made from linseed oil, that's been treated with heat and chemical dryers to harden it. The battleship grey has different chemical components than the brown lino so will definitely react differently to the sharpie, unfortunately I can't find any specific info on the composition right now.
Pen inks in general contain at least three components, the colorant, the solvent, and (for lack of a more precise term at 8 am) an 'adhesive'. The 'adhesive' component of Sharpie pens does contain water repellant materials, it's how it stays permanent, there is some sort of lacquer or varnish in it, much like India ink, which also repels printing inks. If you run a very fine sandpaper over it should increase how much the ink can cling to the surface, you likely won't need to sand away the lines completely.
I'm not sure about the conservation implications of this suggestion but - for the ink, in a pinch, have you tried a dusting of talc? I haven't tried this with water soluble inks but with oils it can increase the tack drastically... talc is a Magnesium silicate so it should be pretty inert... I think...
Cheers,
Lee.
From: Constance Brewer
>I'm trying to print my third color on my reduction print, and the ink is
>not wanting to stick very well to the lino block, let alone the prints.
>It's a dark brown (Graphic Chemical Water Soluble Brown) and even in the
>can it's the consistency of Hershey's syrup. It just drips off my knife.
>I've tried stirring it up, and it stays syrupy, after rolling it out, it
>never quite gets to what feels like the proper tack. Is there something
>I can do/add? What am I doing wrong? -- Colors one and two went on fine,
>and the inks were a much thicker consistency.
>I did notice even after I cleaned the block the ink didn't want to stick
>at all to the places I used a Sharpie to color in. Coincidence? All the
>recent talk about Sharpies made me wonder. This is the second print this
>month where using a Sharpie seemed to cause problems. I'm using Daniel
>Smith Gold Cut lino, I didn't notice a problem with the battleship gray
>I used previously. Has anyone else had this problem? I like being able
>to sketch directly on the block, but not if it causes problems later on.
>
>Connie Brewer
From: Maria Arango Diener
>I confess I only use wood. One of my beefs with lino is that the
>surface always seemed "oily" to me and much too slick. Some of my
>books recommend sanding the lino and washing it well with a detergent
>soap prior to drawing and carving.
>Sharpie is nothing but ink and a very volatile solvent; I doubt the
>marker itself is the problem but the marker may be incompatible with
>the lino.
Well, first off lino will seem oily because it is made from linseed oil, that's been treated with heat and chemical dryers to harden it. The battleship grey has different chemical components than the brown lino so will definitely react differently to the sharpie, unfortunately I can't find any specific info on the composition right now.
Pen inks in general contain at least three components, the colorant, the solvent, and (for lack of a more precise term at 8 am) an 'adhesive'. The 'adhesive' component of Sharpie pens does contain water repellant materials, it's how it stays permanent, there is some sort of lacquer or varnish in it, much like India ink, which also repels printing inks. If you run a very fine sandpaper over it should increase how much the ink can cling to the surface, you likely won't need to sand away the lines completely.
I'm not sure about the conservation implications of this suggestion but - for the ink, in a pinch, have you tried a dusting of talc? I haven't tried this with water soluble inks but with oils it can increase the tack drastically... talc is a Magnesium silicate so it should be pretty inert... I think...
Cheers,
Lee.
From: Constance Brewer
>I'm trying to print my third color on my reduction print, and the ink is
>not wanting to stick very well to the lino block, let alone the prints.
>It's a dark brown (Graphic Chemical Water Soluble Brown) and even in the
>can it's the consistency of Hershey's syrup. It just drips off my knife.
>I've tried stirring it up, and it stays syrupy, after rolling it out, it
>never quite gets to what feels like the proper tack. Is there something
>I can do/add? What am I doing wrong? -- Colors one and two went on fine,
>and the inks were a much thicker consistency.
>I did notice even after I cleaned the block the ink didn't want to stick
>at all to the places I used a Sharpie to color in. Coincidence? All the
>recent talk about Sharpies made me wonder. This is the second print this
>month where using a Sharpie seemed to cause problems. I'm using Daniel
>Smith Gold Cut lino, I didn't notice a problem with the battleship gray
>I used previously. Has anyone else had this problem? I like being able
>to sketch directly on the block, but not if it causes problems later on.
>
>Connie Brewer
From: Maria Arango Diener
>I confess I only use wood. One of my beefs with lino is that the
>surface always seemed "oily" to me and much too slick. Some of my
>books recommend sanding the lino and washing it well with a detergent
>soap prior to drawing and carving.
>Sharpie is nothing but ink and a very volatile solvent; I doubt the
>marker itself is the problem but the marker may be incompatible with
>the lino.
Message 3
From: Robert Arnold
Date: Tue, 20 Apr 2010 18:51:01 GMT
Subject: [Baren 41101] References
Send Message: To this poster
I would like recommendations on references for relief prints. This
could include books, websites or other materials. I am especially
interested in engraved images and images of animals. I have an idea of
something I would like to do but I would like to look at a lot of
other prints to help me develop my ideas a little more. I am looking
for sorces that would possibly have a lot of material for me to view.
Thanks, Robert
The Dog House Press
could include books, websites or other materials. I am especially
interested in engraved images and images of animals. I have an idea of
something I would like to do but I would like to look at a lot of
other prints to help me develop my ideas a little more. I am looking
for sorces that would possibly have a lot of material for me to view.
Thanks, Robert
The Dog House Press
Message 4
From: Ruth Leaf
Date: Wed, 21 Apr 2010 01:07:15 GMT
Subject: [Baren 41102] Re: References
Send Message: To this poster
Mr. Arnold. I have a website That includes some of the prints you
mentioned, ruthleaf.com Ruth aleaf
mentioned, ruthleaf.com Ruth aleaf
Message 5
From: Margot Rocklen
Date: Wed, 21 Apr 2010 01:40:56 GMT
Subject: [Baren 41103] White-Line Woodcut Workshop in Connecticut
Send Message: To this poster
For those interested in white-line woodcut prints, the Center for Contemporary Printmaking in Norwalk, Connecticut is having a workshop:
White-Line Woodcut Prints
Kathryn Smith
4-day Workshop
Tuesday, May 4- Friday, May 7; 10am- 4pm
$400 plus $10 studio fee; limited to 8
Register Now
Explore the single-block method of color
printing
developed in Provincetown in l9l6 known as the "Provincetown" print or
the "white-line" print.
Open to All Levels more info...
Margot Rocklen
White-Line Woodcut Prints
Kathryn Smith
4-day Workshop
Tuesday, May 4- Friday, May 7; 10am- 4pm
$400 plus $10 studio fee; limited to 8
Register Now
Explore the single-block method of color
printing
developed in Provincetown in l9l6 known as the "Provincetown" print or
the "white-line" print.
Open to All Levels more info...
Margot Rocklen
Message 6
From: Barbara Mason
Date: Wed, 21 Apr 2010 03:11:27 GMT
Subject: [Baren 41104] White-Line Woodcut
Send Message: To this poster
We are still doing tests and having very different results from day to day and paper to paper...I am determined to figure out how to get consistent good images. I love the way some of it looks when you paint the whole block and then mist it, but it is blotchy. Printing some areas a second time helped. Of course it looks the best on the more expensive paper. We are using damp paper and I think it gives a more consistent result. Not having any problems with the registration and using the kento system. I might try dry paper again now that we have used the mist method. when we get it figured out we will post all the results. I think it is sort of half traditional white line and half something else. At any rate we are having a good time.
If anyone goes to the workshop, let us know what paper they are using. I asked but got no answers...at least not to the questions I needed answering. Guess they are more painters than printmakers! ha
Viza and Linda, we will have to write this all up for the baren to add to Jeanne's earlier post. this looks easy but is not, unless you want sort of uneven coverage.
My best to all
Barbara
If anyone goes to the workshop, let us know what paper they are using. I asked but got no answers...at least not to the questions I needed answering. Guess they are more painters than printmakers! ha
Viza and Linda, we will have to write this all up for the baren to add to Jeanne's earlier post. this looks easy but is not, unless you want sort of uneven coverage.
My best to all
Barbara