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Message 1
From: olek wozniak
Date: Mon, 11 Apr 2011 14:34:21 GMT
Subject: [Baren 43159] printing pictures.
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Hey, I submitted some photos from mys studio. check this out if you care.
there is one print done on a rice paper, and printed with black soot, I
still dont know is it ok to print using soot in japanese techniques. :{
theres a link:
http://www.flickr.com/photos/kielon7/sets/72157626350797481/

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Message 2
From: bridget bobinger
Date: Mon, 11 Apr 2011 15:19:44 GMT
Subject: [Baren 43160] Re: Printing Problem
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Thanks so much! I am buying a press soon for my house (basement) and I am looking for the rest of the materials that I need. Thanks!

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Message 3
From: Hannah Skoonberg
Date: Mon, 11 Apr 2011 15:31:32 GMT
Subject: [Baren 43161] Introduction and cry for help...
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Hello my name is Hannah Skoonberg. I am brand new to the Baren Forums but I
have been printmaking for a number of years. I currently live in Atlanta,
Georgia but soon I will move to Knoxville, Tennessee for graduate school in
printmaking! My experience has been entirely with western processes and I
love to carve linoleum reduction prints. You can see my prints on my website
www.skoonberg.com I am actually obsessed with printmaking.

Personally I have been fascinated by moku hanga prints for years but I am
struggling with teaching myself the process. I recently bought David Bull's
ebook "your first print" and just decided to jump in. It was a difficult
experience. Not that the print is hideous it is just that I am so used to
having control of everything. And with moku hanga I am a real beginner
again. And that is probably good for me. I have been watching videos and
everyone makes it look so easy.

This is my first moku hanga print. And it needs some help. My ink
application is a lot to be desired.
http://i.imgur.com/MZR4L.jpg

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Message 4
From: Mike Lyon
Date: Mon, 11 Apr 2011 15:51:31 GMT
Subject: [Baren 43162] Re: Introduction and cry for help...
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http://i.imgur.com/MZR4L.jpg subtle and lovely! Congratulations!

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Message 5
From: Julio.Rodriguez # walgreens.com
Date: Mon, 11 Apr 2011 16:02:57 GMT
Subject: [Baren 43163] Re: Introduction and cry for help...
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Hi Hanna....

Really enjoyed looking at your prints, you have a great perspective in
your nature prints, wow, some amazing work there.....is it all lino ?

With moku-hanga it takes a bit of experimenting, but right off I would
tell you that there is no substitute for good paper, that and Dave's
e-book is a great starting point....you don't have to get the most
expensive hosho there is but don't settle for bad paper or western paper
made for oil cause your prints will suffer. The other thing is balancing
moisture in your paper and block and proper use of a good baren tool.

Welcome to Baren and thanks again for sharing your work with us.....

Julio

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Message 6
From: olek wozniak
Date: Mon, 11 Apr 2011 16:07:24 GMT
Subject: [Baren 43164] Re: Introduction and cry for help...
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heh, I like that print too. I know that first impression is often
disorienting. Its a bit different than in linocut stuff. ;}
If I could help, I would say - boost a temperature between blue plates,
rather than just gradation of darkness.
cheers
hope I didnt kill that english language too much. :}

2011/4/11 Mike Lyon

> http://i.imgur.com/MZR4L.jpg subtle and lovely! Congratulations!
>
>

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Message 7
From: Mike Lyon
Date: Mon, 11 Apr 2011 16:08:30 GMT
Subject: [Baren 43165] Re: printing pictures.
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Excellent! You should describe your registration method -- looks kinda
loose to me, but Hell -- the whole print is loose and fabulous! Great
stuff!

Oh! Where'd you gather the soot? I still intend to make my own carbon
black by cooking up charcoal and then grinding it into pigment powder -- it
looks EASY -- got the idea here: http://www.youtube.com/watch?v=xKeHfO6Cegg

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Message 8
From: "Phare-Camp"
Date: Mon, 11 Apr 2011 17:05:01 GMT
Subject: [Baren 43166] rubber blanket
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I have an antique Challenge tabletop proofing press (used for proofing
newspaper pages printed with raised letterpress and wood type) purchased
from a local print shop. It was collecting dust in his technology advanced
shop so I got it cheap; he quickly cut off a piece of rubber blanket (there
is a technical name for it that I'm struggling to remember) and threw it in
with the press. The press is awesome for printing relief. I simply place a
plank of wood under thinner shina plates but when I use basswood or birch
planks they fit perfectly...oh the bed is stationary and the roller is
pulled over the plate... see a picture here http://www.fiveroses.org/018.jpg

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Message 9
From: Hannah Skoonberg
Date: Mon, 11 Apr 2011 19:23:55 GMT
Subject: [Baren 43167] Re: Introduction and cry for help...
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The paper I used here was Hiromi's Okawara paper. I usually use the kitakata
roll but David Bull said that the roll kitakata might be too thin to really
hold the ink. I think the paper held up pretty well and the registration
stayed good. I think my printing issue was more related to moisture and
ratios of ink to paste and that sort of thing. Like how watery should the
paste be and how come I am getting the "too much water texture" when I can
barely get the whole surface inked. Or maybe my brush is too bad to actually
move the ink around properly. I touched one of the proper printing brushes
and they seem to be pretty stiff. Maybe my brush is too soft? Like trying to
ink with a water brush. (maybe it really is a water brush...) Could that be
my problem? I would like to be able to lay down the ink. Flat and not
streaky and not filling in my lines. Also is there a minimum depth that
lines need to be carved? In western printing the shallowest scratch will
print but the water based inks seemed to be filling those lines in.

This is my suspicious brush. Doesn't it look like it's up to no good?
http://i.imgur.com/8OPUd.jpg

Also if you are keeping your paste in the fridge so it will last longer. Is
it necessary to warm it back up to room temperature before using? Thank you
for all the help!

Hannah

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Message 10
From: olek wozniak
Date: Mon, 11 Apr 2011 19:34:25 GMT
Subject: [Baren 43168] Re: printing pictures.
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hey - take closer look at this pic, theres my registration method. ;}
hehe - my friend is a sweeper, he gave me the soot, he said its not easy to
find good "english" soot nowadays - it depends on the material people use to
burn in their fireplaces.
that soot is beautiful, smooth etc, but it is also so dirty - in 10 seconds
its everywhere LOL. Its out of control, I love her.
thanx for idea of making charcoal, I must try it.

2011/4/11 Mike Lyon

> Excellent! You should describe your registration method -- looks kinda
> loose to me, but Hell -- the whole print is loose and fabulous! Great
> stuff!
>
> Oh! Where'd you gather the soot? I still intend to make my own carbon
> black by cooking up charcoal and then grinding it into pigment powder -- it
> looks EASY -- got the idea here:
> http://www.youtube.com/watch?v=xKeHfO6Cegg
>
>

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Message 11
From: olek wozniak
Date: Mon, 11 Apr 2011 19:39:01 GMT
Subject: [Baren 43169] Re: printing pictures.
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I was talking about this picture:
http://www.flickr.com/photos/kielon7/5609526289/in/set-72157626350797481

heres everything about registration ;}

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Message 12
From: Mike Lyon
Date: Mon, 11 Apr 2011 20:06:42 GMT
Subject: [Baren 43170] Re: Introduction and cry for help...
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That's a sheep hair brush -- looks like a 'water' brush and would be good
for dampening watercolor paper for washes, but won't work well for printing
- way too soft... If you can't afford (or can't wait for) a 'real' printing
brush, then look for a cheap (unused) shoe brush with densest hair possible
-- horse hair works well and easy to find.

Paste / water experiment -- next time you're printing, start with clean
block and brushes. Make a few prints without paste -- just water and
pigment. You should see dotty printing -- that 'water texture' you
mentioned (it's called goma-zuri = sesame seed printing). Then begin to add
some paste and pigment and water and continue printing. As you add more
paste, printing should get smoother and smoother until you've added so much
paste that you begin to see your brush strokes in the prints -- the more
paste you add from then on, the more pronounced the brush marks. If you
want smooth printing, you have to be in the middle between too little paste
(goma-zuri shows up) and too much (brush strokes show up).

Make Sense?

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Message 13
From: Hannah Skoonberg
Date: Mon, 11 Apr 2011 20:29:04 GMT
Subject: [Baren 43171] Re: Introduction and cry for help...
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That was the most concise troubleshoot! I will have to try the shoe brush
solution to start. Although I will eventually get the real brushes.
McClain's brushes are too expensive and the Baren Mall has that $100
minimum. So I think I will wait until I can afford to get a bunch of
supplies at once. I don't have another wood block carved but I can practice
on this block with scraps of paper until I get a handle on the printing. I
have another landscape I want to carve but it requires considerably more
printing skill. But I like a challenge.

Thank so much Mike
That's a sheep hair brush -- looks like a 'water' brush and would be good
> for dampening watercolor paper for washes, but won't work well for printing
> - way too soft... If you can't afford (or can't wait for) a 'real' printing
> brush, then look for a cheap (unused) shoe brush with densest hair possible
> -- horse hair works well and easy to find.
>
> Paste / water experiment -- next time you're printing, start with clean
> block and brushes. Make a few prints without paste -- just water and
> pigment. You should see dotty printing -- that 'water texture' you
> mentioned (it's called goma-zuri = sesame seed printing). Then begin to add
> some paste and pigment and water and continue printing. As you add more
> paste, printing should get smoother and smoother until you've added so much
> paste that you begin to see your brush strokes in the prints -- the more
> paste you add from then on, the more pronounced the brush marks. If you
> want smooth printing, you have to be in the middle between too little paste
> (goma-zuri shows up) and too much (brush strokes show up).
>
> Make Sense?
>
>

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Message 14
From: John and Michelle Morrell
Date: Mon, 11 Apr 2011 22:38:38 GMT
Subject: [Baren 43172] Re: Printing Problem
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When the makers of Resingrave were still making Resintaglio, they recommended using drawing mats for blankets. These are found in graphic supply stores--I found mine at the University of Washington Bookstore. They were green on one side and white on the other. I assume they are still available. They were not particularly expensive and can be cut to size.

They seem similar to the rubber mats Maria uses. At least, they look similar to the offset mats presently available on E-bay. I still use mine in various arrangements with matboard and paper or sometimes a wool blanket. Each paper/ink/plate combination has its own permutable problems (sigh).

--Michelle

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Message 15
From: Barbara Mason
Date: Tue, 12 Apr 2011 03:29:55 GMT
Subject: [Baren 43173] Inspired by Japan - Tsunami Relief Project
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Hello everyone
I just got confirmation that we can use the huge gallery at Pacific NW College
of Art for our fundraiser in Portland during the first 19 days of August so I am
pretty excited about that. It gives us lots of time to publicize it and
coordinate with our partners to do the same.
I have a few folks whose addresses I need, just city state and country and I
will be emailing later this week to get that filled out.
I am traveling so not spending too much time on the computer for a few days.
As soon as anyone is done with their print, scan or photograph it and send the
scans to us via email so we can use them for our publicity. The first ones done
will be on the brochure! Is this punishment or a win for you? hahaha
I brought my blocks to carve while traveling...no rest for us
Dave has gotten the shopping cart done for online sales, all he needs are the
scans.
If we sell out of a print, does anyone think we can ask an artist to print more?
We need a decision on this...I hate to ask for more but hate to miss the
opportunity to raise more money! I guess this would be a really good problem to
have
Cut and print
My best to you all
Barbara

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Message 16
From: bridget bobinger
Date: Tue, 12 Apr 2011 04:13:18 GMT
Subject: [Baren 43174] Your website
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Hi,

I have a question. I was reading your website (which is very nice by the way) because I am trying to refresh my memory and start printing again. What kind of additives do you put in with your ink? What are the ratios of ink to the additive? Oh, do you dampen your paper everytime you woodcut? I don't ever remember dampening paper for woodcuts but for etching I do.

Thank you so much,
Bridget

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Message 17
From: ruthleaf
Date: Tue, 12 Apr 2011 06:03:05 GMT
Subject: [Baren 43175] Re: Your website
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The only additive I use for relief ink is linseed oil. The ink should
l come off the knife like heavy sour cream. If you are having
trouble with amount of ink transferred to the paper, Then wetting the
paper would help
Ruth

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Message 18
From: Diana Moll
Date: Tue, 12 Apr 2011 06:48:59 GMT
Subject: [Baren 43176] Re: Inspired by Japan - Tsunami Relief Project
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Wonderful news Barbara, I got my paper today and finished my taxes too, so I can be relatively free to set blade to wood.
Now if those reactors could just get under control......:(

all best
Diana

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Message 19
From: Oldfield Press
Date: Tue, 12 Apr 2011 08:39:28 GMT
Subject: [Baren 43177] Re: Printing Problem
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I just read this and thought I would add a little bit. I use an old proofing
press to pull the prints. Used to be a wooden spatula that I would burnish
h with but then got lucky and got hold of a great Farley proofing press.
Sometimes I don't use any form of 'blanket' and other times I just use two sheets
of paper on the top to stop the paper I am printing on from slipping.
I think it adds a little more pressure but works great for what I am after.
Also, I have over the years tried to make sure I recycle as much as possible.
Whether it be using paper over and again when trying out or setting up
to asking at local printers for ink and paper. A lot of printers where I live
have to pay to throw out tins of ink that I can dig into and find months
worth of good ink at the bottom of the tin. I have knocked on doors and asked
and when they find out that I am using it for woodcuts and letterpress they
often tell me that is why they started printing and how they
wish it was still like that. Setting up the type etc, setting the pressure
on the press and checking each one as they peel back and see what they have.
Now alot of them programme the machine in a morning and sit back only
having to adjust the computer slightly if they see any discrepancy.
I have found commercial printers also very usefull for getting rubber blankets,
too. Their machines often use large sheets of the rubber, and if it gets
a dent in it anywhere, it is no longer any use to them. A typical damaged sheet
can have the offending dent/scratch cut off and often there is enough
good left to make two or three smaller blankets.
The paper is something they always check I have enough of as I am leaving.
I think the traditional ways of print trigger fond memories for alot of modern
printers and I have found them all to be welcoming and very helpful as
well as some of the older ones being very interesting. Always worth a try and
it does help to stop the land fills for a bit longer. Let me know if it
works for you and don't be afraid to ask.

All the best,

Tone

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