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Message 1
From: Barbara Mason
Date: Tue, 25 May 2010 14:39:57 GMT
Subject: [Baren 41333] Re: Press plates such as phenolic reson and other laminateed plates
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Darrell,
I think you mean UHMW, this is ultra hi density polyethylene, they use if for the rail road track crossings
as the asphalt breaks down so quickly next to the track and this stuff is great. It is also strong and white
so that is nice. What did you have to pay for it? It is certainly crush proof as it is made by pressing the
material together with enormous pressure instead of melted and formed like most polyethylene would be. I think
this would be a good solution and you can machine a stop into it, so you can screw into it easily if you need to do so.
It is a little slick if the surface is not textured. Good job of researching this...when my bed goes I may get a piece of
this stuff, I never thought of it and I am the plastic queen!
My best
Barbara

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Message 2
From: tsmith
Date: Tue, 25 May 2010 14:49:10 GMT
Subject: [Baren 41334] Re: Mineral Spirits vs Mineral Oil
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I'm relatively new to woodcutting and am a little confused about the
appropriate way to clean wood blocks, brayers, etc. after printing. I
am assuming the oil substances should be used with oil-based inks.
What do you recommend for use with water-based inks? Regarding the use
of soap and water -- won't it swell and damage the wood?

This forum is a wonderful resource for beginners like me. I've learned
so much from everyone. Thanks.

Trudi


Trudi Smith
200 Woodlawn Avenue
Saratoga Springs, NY 12866

tsmith # nycap.rr.com
www.beekmanartistscoop.com
www.fineartamerica.com/profiles/trudi-smith.html

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Message 3
From: "DePry Clan"
Date: Tue, 25 May 2010 15:01:30 GMT
Subject: [Baren 41335] Re: Press plates such as phenolic reson and other laminateed plates
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First I had to buy an entire sheet (4'x8') and I didn't know what to do with the rest. However,
they worked with me and did a custom cut. So for a 1"x 28"x48" piece set me back ~ $130 out the door.
Not bad considering what a new steel bed would have cost plus the nightmare of getting it to my studio
and into the press. Well worth it I think.
Double D

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Message 4
From: "Terry Peart"
Date: Tue, 25 May 2010 15:38:04 GMT
Subject: [Baren 41336] Re: news article
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Linda,
Congratulations! What a nice article, and I commend you on your conservationism. I had to laugh about your quote, "I just thought, 'How hard is it to throw it away? ----- " I was recently walking in a 'natural area' with my dog and she did her business and I picked it up with a bag. I ended up having to carry it with us the rest of the walk because I didn't find a garbage can until we got back to the car. Along the way I saw all kinds of garbage, water bottles and I had to think, I'm carrying this poop all over the place, how hard can it be to carry an empty water bottle? Jeez.
Terry
West Seattle
Forgive me for tooting my own horn. I was recently interviewed by our local newspaper about my art and the 12 Views of the Shiawassee River series I am working on. It was published today, front page and in color.
http://www.argus-press.com/news_local/article_79e2d546-660e-11df-a14c-001cc4c03286.html
I was pretty happy with the article. I proudly promote moku hanga AND conservation.
Linda

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Message 5
From: Viza Arlington
Date: Tue, 25 May 2010 15:45:45 GMT
Subject: [Baren 41337] signing and numbering
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Hi,
I need advice on how to number my white line prints, especially the
prints that i have used the same block for an oil-based edition.
Thanks,
Viza

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Message 6
From: ArtfulCarol # aol.com
Date: Tue, 25 May 2010 17:36:59 GMT
Subject: [Baren 41338] Re: signing and numbering
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I think that you would use the word Variant in the title someplace.
As far as numbering, I am looking forward to learning much about white
line prints this summer when I am planning to take a course at the Truro
Center for the Arts in Cape Cod
Carol Lyons

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Message 7
From: "Maria Arango Diener"
Date: Tue, 25 May 2010 18:49:03 GMT
Subject: [Baren 41339] RE: signing and numbering
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I believe the usual practice is to either name each edition as a "State" or
just give them a roman numeral, I've seen it done both ways.
So your oil edition would be "Gorgeous Print I" and your white line edition
would be "Gorgeous Print II". You would number the oil based edition as
usual.
Then within the white line edition just number them as usual but add the
letters "e.v." for edition variee in French, or edition varies in Merrican.

And incidentally, your waterfall black/gold/silver print on your blog is
stunningly amazingly gorgeous.

Maria

[=o=][=o=][=o=][=o=]
www.1000woodcuts.com
ww.artfestivalguide.info
[=o=][=o=][=o=][=o=]

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Message 8
From: audley sue wing
Date: Tue, 25 May 2010 19:40:19 GMT
Subject: [Baren 41340] Re: Argus-press news article
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Linda congratulations on your achievement
recorded in the wonderful Argus-press article!

Promote moku hanga printmaking is one thing, to do so while raising environmental
awareness at your own alma mater is
quite another. You have many reasons to be very proud, including that lovely photo of
you with your print of the river.

Audley Sue Wing -
Lurking in the Caribbean

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Message 9
From: "Sales"
Date: Tue, 25 May 2010 22:09:05 GMT
Subject: [Baren 41341] RE: New Baren Digest (Text) V51 #5258 (May 25, 2010)
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In reply to the people who were commenting on phenolic bedplates (or
composites). These have been around in one form or another for well over
40 years. We use them as standard on presses like the Sturges 12 and
Sturges CP-4 as well as the Printmakers Combination presses.

The advantages are many - lightweight and durable are near the top of
the list. They will warp over time, but so will a steel bedplate. The
difference is that the Benelux/Fiberesin etc bedplates will self correct
almost immediately when the bed is flipped over and run through. Steel
and Aluminum will generally take as long to re-flatten as they did to
warp in the first place. Obviously this is more of an issue with
intaglio usage than it is with relief.

I've only been involved with printmaking for 42 years (unless you count
summers from age 8-16) and the one thing I can relate without too much
fear of correction is that unless someone watches you while you are
printing, they'd never be able to tell if it was printed on a steel or
composite bedplate.

To the comment about size, I have seen composite beds up to 72 x 120". A
reputable supplier can get you almost any size bed you require. Finally,
if you compare same size beds, steel will cost you a lot more!

I'll get off my soapbox now, but you can't often go wrong with one of
these bedplates.


Dean Clark

Graphic Chemical & Ink Company

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Message 10
From: Georgina Leahy
Date: Tue, 25 May 2010 22:33:22 GMT
Subject: [Baren 41342] Re: New Baren Digest (Text) V51 #5258 (May 25, 2010)
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thank you everyone for your comments, very reassuring. I am going to inspect the press on thursday,
I shall run a print through it, look it over. The plate is 33x66 inches in size.

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Message 11
From: l k
Date: Tue, 25 May 2010 22:55:36 GMT
Subject: [Baren 41343] Re: signing and numbering
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Yes, Carol..
I'm also interested in finding out how to deal with these.
I know that some woods will give more prints than others,
so deciding to do 10 may not work.
Can you number them 1/1 if you do only one..
2/2 when you do the second one...
3/3, etc??
Although, you are right about the Varient thing...I've been told that before,
but that was when I was hand coloring...."edition variation 1/20" (E.V.1/20)
An Open Edition, means you print and don't count?
What if you just count what you print, and keep track on the print..
so I get back to my 4/4,5/5...
Yes..ask as many questions as you can collect from us.
Look forward to what you return with!
Linda

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Message 12
From: Barbara Mason
Date: Wed, 26 May 2010 00:14:01 GMT
Subject: [Baren 41344] Re: Mineral Spirits vs Mineral Oil
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Trudi,
I just wipe them off if printing moku hanga, I don't really clean them much because after printing they are fairly clean.

If you are printing western style with water-based inks that have binders in them, like Dan Smith or Graphic Chemical, and you are using a press, just spray the block and run it through on some paper towels or newsprint. There is not enough water to make the block swell.
my best
Barbara

I'm relatively new to woodcutting and am a little confused about the appropriate way to clean wood blocks, brayers, etc. after printing. I am assuming the oil substances should be used with oil-based inks. What do you recommend for use with water-based inks? Regarding the use of soap and water -- won't it swell and damage the wood?

This forum is a wonderful resource for beginners like me. I've learned so much from everyone. Thanks.

Trudi

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Message 13
From: l k
Date: Wed, 26 May 2010 01:50:47 GMT
Subject: [Baren 41345] Re: Mineral Spirits vs Mineral Oil
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I use vegetable oil and wash up with Dr. Bronners soap and water.
I never thought wood swelling as an issue,
as Moku Hanga is water based,
and when it dries out it's back to normal, right?
I use cherry for oil based printing.

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Message 14
From: alexg # riseup.net
Date: Wed, 26 May 2010 03:12:03 GMT
Subject: [Baren 41346] Re: end grain for engraving - Australian
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In Brisbane where I am, there are lots of different woods that are quite
accessable. I find Qld Maple to be the best for engraving with end grain
blocks as cheap as $10 AU for something around 20cm in diamiter.

Other great woods for engraving that I buy are planks of Qld Maple,
Coachwood and some Rose Mahogany.

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Message 15
From: "Ellen Shipley"
Date: Wed, 26 May 2010 06:08:37 GMT
Subject: [Baren 41347] White Line Prints
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I was looking at Linda's blog with white line prints.
http://lindakelen-artings.blogspot.com/2010/05/white-line-woodblock-prints-ii.html

Really nice work. Love the variation.

Ellen Shipley

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Message 16
From: Diane Cutter
Date: Wed, 26 May 2010 11:43:22 GMT
Subject: [Baren 41348] Re: Press plates such as phenolic reson and other laminateed plates
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I have two phenolic press beds, one for each of my presses. I love them for all the reasons mentioned but,
most especially since I live in a very humid climate, because they can't rust!!! I have rust on my drums
but the beds rust free. I realize this isn't an issue for most printmakers but it was my primary reason
for replacing the original beds with phenolics...


Diane

www.DianeCutter.com
www.theitinerantartist.blogspot.com
www.DCutter.etsy.com

> Has anyone used a phenolic resin plate or plate other than steel?
> if so could you make a comment about it, did you like it being lighter and
> probably safer? or did you prefer the heavy steel plate?

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Subject: Recent News Article About Shiawassee River Series
Posted by: Linda Beeman

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

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