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Message 1
From: Marilynn Smith
Date: Thu, 04 Nov 2010 14:04:14 GMT
Subject: [Baren 42283] primed canvas
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Hi,

I do think the oil in our printmaking inks is different from oil
painters pigments. Would it be linseed oil that destroys canvas? I
can also agree that printing on canvas board would impede drying, it
is backed and will not "breathe". It is easy to stretch and prime
canvas and the cost is less than the pre-made stretched canvas. Also
the surface can be more absorbent when you prime your self, as was
already mentioned. All you need are stretcher bars, a stapler, gesso
and of course canvas. Staple down one side, stretch it across and
staple down the opposite side and than go for the other two sides.
After that is completed you apply gesso. The gesso will also help
stretch the canvas tighter and you should have a good surface if you
sand between coats. Good luck!

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Message 2
From: Lee Churchill
Date: Thu, 04 Nov 2010 14:10:34 GMT
Subject: [Baren 42284] Oil halos (was Primed canvas...)
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I actually know the answer to this one! Yeah!
The oil halos 'show up' later because initially the oil is light/clear and over time as it crosslinks it 'creates' chromophores (coloured molecules) that are yellow and more visible to the naked eye. The amount of halo is totally proportional to the amount of oil in the paint/ink, which is related to its 'grade' - student grade has less pigment/ more oil and professional grades have more pigment/less oil. Also if you add oily additives. It can also vary depending on the amount of oil needed to make a particular pigment 'slippery' some earth pigments need far more oil than say a petroleum derived pigment to make a paint with a nice feel to it.
Canvas will 'rot' exposed to oil - as the oil hardens it makes the canvas fibres brittle and prone to breaking, but this can take a pretty long time depending on environment and handling...

Oh, also for printing other blocks - my museum has basically the full collection of W.J Phillips original woodblocks and I'd LOVE to see them reprinted, especially "April in the Cotswolds"... not ever going to happen, but I can dream!!

Lee


I've noticed that some of my papers have a yellowish halo (earlier prints) and others don't (more recent).

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I really like Andrew's idea of an exchange passing on a set of blocks for another member to print.

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Message 3
From: David Bull
Date: Thu, 04 Nov 2010 14:15:12 GMT
Subject: [Baren 42285] Re: Old Phillips blocks ..
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> Oh, also for printing other blocks – my museum has basically the
> full collection of W.J Phillips original woodblocks and I’d LOVE to
> see them reprinted, especially “April in the Cotswolds”… not ever
> going to happen, but I can dream!!

When you say 'not ever', what's the reason for this? Is the family
against the idea?

It would not be difficult _at all_ to pull new editions from those
blocks, and Phillips' originals could be duplicated pretty much
perfectly. I don't mean that this should be done in a 'tricky' manner,
but openly as new editions, perhaps carrying some kind of seal from
the museum.

The family could get a royalty of course, the museum could make a good
amount from sales, and some printers here would have more work ...
What's not to like about the idea?

Dave

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Message 4
From: RAKESH BANI
Date: Thu, 04 Nov 2010 14:21:50 GMT
Subject: [Baren 42286] Happy Deepawali.
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*Dear Friends,*
*Wish you and your family a very very happy & prosperous Diwali.*
*
*
*Regards,*

Rakesh Bani,
Printmaker,
INDIA.

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Message 5
From: osadchuk nancy
Date: Thu, 04 Nov 2010 15:09:29 GMT
Subject: [Baren 42287] Re: New Baren Digest (HTML) V53 #5421 (Nov 4, 2010)
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Colour, Travels Through the Paintbox, by Victoria Finlay is also a good read as well. Covers travels through European, Australia, Afghan and Mexican Paintboxes. I haven't found the Natural History one in my local library, will have to go to a bookstore or Amazon.

Nancy O

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Message 6
From: "Robert R. Pickens"
Date: Thu, 04 Nov 2010 16:03:59 GMT
Subject: [Baren 42288] Re: Happy Deepawali.
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How Kind. To you and yours as well.
On Nov 4, 2010, at 7:21 AM, RAKESH BANI wrote:

> Dear Friends,
> Wish you and your family a very very happy & prosperous Diwali.
>
> Regards,
>
> Rakesh Bani,
> Printmaker,
> INDIA.

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Message 7
From: ArtfulCarol # aol.com
Date: Thu, 04 Nov 2010 16:29:28 GMT
Subject: [Baren 42289] Re: master printers
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I cherish every part of the woodblock print process (except cleanup!).
Some are "keepers" and some will never see the light of day, but good, bad,
or indifferent, all work is mine, hand done, and the best I can do at that
time.... It works for me.
Anyone else feel the same way?

Carol Lyons
_http://rst-art.com/artfulcarol.htm_ (http://rst-art.com/artfulcarol.htm)

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Message 8
From: George O'Hanlon
Date: Thu, 04 Nov 2010 16:43:24 GMT
Subject: [Baren 42290] Natural Pigments
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I am not sure why Dave said we are being ÔcoyÕ as IÕve never been accused of
being that. :) I've joined your discussion after being invited by Linda
Beeman. I am the technical director of Natural Pigments, a company that
processes and distributes natural mineral, organic and historical pigments.
I will be available to answer questions about pigments in your applications

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Message 9
From: slinders # comcast.net
Date: Thu, 04 Nov 2010 16:52:13 GMT
Subject: [Baren 42291] "Color"/"Colour" Findlay
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osadchuk nancy wrote:

> Colour, Travels Through the Paintbox, by Victoria Finlay is also a good read as well. I haven't found the Natural History one in my local library, will have to go to a bookstore or Amazon.
>
> Nancy O
>
>

In looking for this book on Amazon, I think it's probably the
same book under two titles, --perhaps with one published for one
side of the Atlantic, and the other, published for the other.

The clue might be the two spellings of "Color, A Natural History
of the Palette"/"Colour, Travels Through the Paintbox". The
covers are identical, --paintbox pads of color!

The book is such a good adventure I'd hoped to find more!!!

Sharen

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Message 10
From: "Maria Regina Pinto Pereira"
Date: Thu, 04 Nov 2010 16:59:57 GMT
Subject: [Baren 42292] RES: Happy Deepawali.
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For you and all people you love a very happy & prosperous Diwali too!

Kisses



MaRegina

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Message 11
From: Diane Cutter
Date: Thu, 04 Nov 2010 17:08:37 GMT
Subject: [Baren 42293] Re: Natural Pigments
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Welcome, George... There are quite a few of us that are lurkers rather than
posting members but you have an avid audience.

I have a non-dispersing question that you can probably answer for me. In
another forum (Wet Canvas) there was a poster wanting to know the differences
between paints (as in fine art oils) and ink (printmaking, not drawing). I am
of the opinion that it has to do with the amount of oil in the mix, more in fine
oil paints, less in printer's ink. Is this true?

Thank you...


Diane

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

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Message 12
From: Sharri LaPierre
Date: Thu, 04 Nov 2010 17:22:29 GMT
Subject: [Baren 42294] Re: primed canvas and pigment dispersions
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I just have to jump in and say that I have printed on unprimed canvas
and nothing weird has happened, yet - and one of the prints is over 20
years old. My thought at the time was this: these inks were made for
printing onto rag content paper. This canvas is the "rag" before it
was macerated into paper pulp therefore the paper and the canvas are
basically the same thing. If the ink is safe on the paper it should
be safe on the canvas. Using oil paint on unprimed canvas is another
story - but, those inks were not formulated to be used that way.
Having said all that, I have used oil paints on paper and they have
survived up to 50 years, so far. Experiment! It is the elixir of
life! Nothing we print is that sacred, so if it doesn't work? So
what? But, I would urge you (Tibi) to try printing on just plain
unprimed (or lightly primed canvas) - just put it down like you would
paper and run it through the press. You can stretch it later.

Working with a Master Printer is the same as going to heaven. I just
can't imagine that heaven could be better! The artist and the MP are
a team and work everything out together until it actually comes to the
heavy lifting and printing and by that time you are home with your
feet up and that mint julep by your side. Everyone should enjoy this
experience at least once!

I use methylcellulose as the binder when I do moku hanga, I much
prefer it to the rice paste, and it lasts forever in the fridge. I've
also used it to size handmade paper. It is a wonder ingredient.

Also, love Victoria Findlay's book and have given many as gifts.
Highly recommend it.

Cheers ~
Sharri

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Message 13
From: "Maria Arango Diener"
Date: Thu, 04 Nov 2010 17:32:21 GMT
Subject: [Baren 42295] Re: master printers
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Here here! I rather enjoy "the heavy lifting" as was said by someone else
and would rather have an inferior print than a . To me, printmaking without
getting ink under the fingernails is like having someone else exercise for
me.just ain't gonna give me the desired results! For me, that is.

I sure see why someone else, especially not a printmaker, would want to
engage in and cherish the collaboration process. There just isn't enough
room in my walking shoes to share "my exercise" with another.



Maria



[=o=][=o=][=o=][=o=]

www.1000woodcuts.com

www.artfestivalguide.info

[=o=][=o=][=o=][=o=]

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Message 14
From: Claudia Coonen
Date: Thu, 04 Nov 2010 17:57:23 GMT
Subject: [Baren 42296] master printers
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We had the situation of a press doing the prints of artists who were not
print-makers. I too was a bit offended that these non printers were being
brought in when we had great print makers and artists but as they progressed
we saw the fine work and learned a lot of printing and got the giant press
(5 ft.bed) .And each artist were enterprising. Paul the head had lived in
Japan for almost 10 yrs and when I learned that in Japan they had each task
done by experts . Makers of the design, Woodblock carvers, then printers,
then it made more sense .

look up http://www.huipress.com/home.php

and check the artists, some taught a class and we learned photogravure from
Lothar Ostenburg;; , and Don Ed Darde a tattoo expert, and Robert Kusner a
well know artists also influenced us .
Unfortunately the press( as a business) closed down due to insufficient
funds. Some of the prints are still obtainable. We all still work in the
studio. (we put out a calendar of orignal prints every year).

Claudia Coonen

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Message 15
From: Julio.Rodriguez # walgreens.com
Date: Thu, 04 Nov 2010 20:49:05 GMT
Subject: [Baren 42297] Re: "Survivors" - 2011 Print Exchange
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The "Survivors" Exchange is open for signup, we already have about ten
participants, I will be updating the participants list shortly. If you are
interested in the project go to the link below and signup so we can get an
idea of people count and project scope. This project will not follow the
formal guidelines but rather will be a long running exchange to be
completed sometime next Spring/Summer. For more info and signup form go
to:

http://barenforum.org/special_exchange/index.html

FYI.........I've been getting a few blank forms......if somebody has gone to
the signup page and hitting the 'Submit' button w/o entering any data
please
let me know......I've been getting a few of these !

thanks.....Julio





Julio.Rodriguez@walgreens.com

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Message 16
From: aqua4tis # aol.com
Date: Thu, 04 Nov 2010 22:54:50 GMT
Subject: [Baren 42298] Re: "Survivors" - 2011 Print Exchange
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am i signed up julio? i believe i signed up
georga

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Message 17
From: David Bull
Date: Thu, 04 Nov 2010 23:15:13 GMT
Subject: [Baren 42299] Re: Natural Pigments
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George O'Hanlon wrote:
> I am not sure why Dave said we are being ‘coy’ as I’ve never been
> accused of
> being that. :)

Sorry George, I wasn't trying to be a smart-ass ... Apologies if I
chose the wrong word to use!

But yes, what else is in there? For my own stuff, I use ground
pigment mixed with water and pure alcohol, to form a kind of paste,
which I keep in jars, renewing the liquids as they evaporate (even
with the lid tightly screwed down). Seems that the alcohol stops it
from 'going off'.

In your case, I guess you need a longer shelf life than such a simple
mix would provide?

Without giving away any of your 'secrets', _can_ you let us know more
about the ingredients?

Thanks!

Dave

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Message 18
From: Julio.Rodriguez # walgreens.com
Date: Thu, 04 Nov 2010 23:15:58 GMT
Subject: [Baren 42300] Re: "Survivors" - 2011 Print Exchange
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Yes Georga, you are all signed up .for "Survivors"......

Here are the participants list so far:

Diane Cutter
Clare Caulfield
Mary Grassell
Barbara Mason
Julio Rodriguez
Georga Garside
Sarah Hauser
Marilynn Smith
Jeanne Norman Smith
Sharri LaPierre
Maria Arango

hey....where are all the male members ?

Maria had a great idea....what about getting all the original participants
from ten years ago to take part ?????


thanks.......Julio



aqua4tis@aol.com

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Message 19
From: "Maria Arango Diener"
Date: Thu, 04 Nov 2010 23:21:16 GMT
Subject: [Baren 42301] Re: Natural Pigments
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Hi George, welcome!

My primary concern is always permanence and lightfastness. I know some
pigments are more fugitive than others but I tend to "brag" that hand-pulled
prints are life-time purchases as opposed to some cheaper reproductions.

So my question is how well tested are these in terms of longevity.

Maria

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

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Message 20
From: ArtfulCarol # aol.com
Date: Thu, 04 Nov 2010 23:49:09 GMT
Subject: [Baren 42302] Re: "Survivors" - 2011 Print Exchange
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Julio and others -- I prefer not to participate as 10 years ago. The
Baren response is out there in the NYC Public Library Collection and in the
virtual Sept 911 presentation..
I am actively fighting terrorism below the radar.
Carol Lyons

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