Today's postings
- [Baren 45194] gluing (Carole Dwinell)
- [Baren 45195] Re: gluing (Barbara Mason)
- [Baren 45196] How To Make Sumi Ink Print With A Shine?? (Nina Royle)
- [Baren 45197] Re: How To Make Sumi Ink Print With A Shine?? (David Bull)
- [Baren 45198] gluing paper on woodblocks--expansion of paper on glued hanshitas (Andrew Stone)
- [Baren 45199] Re: gluing paper on woodblocks--expansion of paper on glued hanshitas (David Bull)
- [Baren 45200] Re: How To Make Sumi Ink Print With A Shine?? (Viza Arlington)
- [Baren 45201] Re: How To Make Sumi Ink Print With A Shine?? (Barbara Mason)
- [Baren 45202] Re: gluing paper on woodblocks--expansion of paper on glued hanshitas (Barbara Mason)
- [Baren 45203] Let me introduce myself... (Maciej Napieraj)
- [Baren 45204] Re: gluing paper on woodblocks--expansion of paper on glued hanshitas (Viza Arlington)
- [Baren 45205] Exchange 52 (Kristine Alder)
- [Baren 45206] Re: How To Make Sumi Ink Print With A Shine?? (Nina Royle)
- [Baren 45207] Baren Member blogs: Update Notification (Blog Manager)
Message 1
From: Carole Dwinell
Date: Sat, 03 Mar 2012 18:16:08 GMT
Subject: [Baren 45194] gluing
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Carole
dwinell.carole@gmail.com
http://caroledwinell.blogspot.com
www.caroledwinell.com
"Today is the day to DO it!"
>
Message 2
From: Barbara Mason
Date: Sat, 03 Mar 2012 21:00:54 GMT
Subject: [Baren 45195] Re: gluing
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Barbara
Message 3
From: Nina Royle
Date: Sat, 03 Mar 2012 21:03:56 GMT
Subject: [Baren 45196] How To Make Sumi Ink Print With A Shine??
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With all your combined expertise, I was hoping that you could help me resolve a small print problem....I'm currently on a quest to work out how (if possible) I can make Sumi ink appear to have a shine or lustre when woodblock printed. Whilst reading on the subject of Ukiyo-e prints a little while ago, I came across a passage that stated the possibility of doing this. The writing stated that Ukiyo-e printers sometimes employed this technique to make aspects of their print more lustrous - such as on the hair of woman. The book unfortunately gave no description about how this effect was achieved. Furthermore as I have only ever read about this technique, not seen it in print, I am not even sure if it is possible to achieve! If you have any suggestions to help resolve my problem, or examples of where the technique has been used, I would be very grateful to here them!
Thank you!!
Nina
Message 4
From: David Bull
Date: Sat, 03 Mar 2012 23:07:24 GMT
Subject: [Baren 45197] Re: How To Make Sumi Ink Print With A Shine??
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> how (if possible) I can make Sumi ink appear to have a shine or
> lustre when woodblock printed.
The technique is known as 'sho men zuri' ('printing on the front') and
is very simple.
- cut a block for the area desired, but cut it in _reverse_ from the
normal reverse orientation of the rest of the blocks.
- (don't cut this block at the same time as the rest are being made,
but wait until a first sample of the print is finished. Use _that_
finished print - dried ( and thus 'shrunk' ) - as the pattern for
cutting this block).
- print your batch of prints in the normal fashion.
- dry them
- put them one by one - _face up_ - on this separate block, hold them
in place very carefully (this is difficult), and rub the area
carefully with the baren. The combination of rubbing on the front, and
the _slight_ residue of camellia oil, will produce the shiny gloss
effect.
Dave
Message 5
From: Andrew Stone
Date: Sat, 03 Mar 2012 23:08:48 GMT
Subject: [Baren 45198] gluing paper on woodblocks--expansion of paper on glued hanshitas
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I checked my glued hanshitas before and after gluing and there is definitely a change in dimension even once dried.
I'm using shina and 1/2 my plates used a traditional hanshita, printed off my keyblock onto japanese paper and glued down for the color blocks.
BUT for the first time I used the clear acetate method for 3 of the plates;
(I traced one of my hanshita prints before pasting it down (it was printed on dry paper so should be pretty much the same size as the keyblock) And then used carbon paper to transfer this tracing from the mylar to the other 3 plates ( I was considering reducing these blocks and wanted the full drawing on the block.)).
Proof prints are off enough that I've had to stop and try to figure out how to fix it.
Today I printed another hanshita off my keyblock.
Checked against the acetate tracing it is exactly right.
But when I glued it down (home made rice paste) it did expand a bit and once dried and with the backing peeled off I again checked it against the acetate tracing and indeed It's bigger now than it was before. There is about 1-2mm of difference from before it was glued;a sheet of paper placed in the kento will be off by almost 2mm at the far edge.
I think the water in the paste is causing the paper to expand enough to change it's dimensions.
Not sure how to deal with this as the problem would probably not have surfaced if I did all of them the same way.
I've had to dilute my white glue with water (the local glue wouldn't wash off) so switched to rice paste as I knew this would be reversible.
Both had more water that the Elmer's white glue I used to use. So all of my plates for this print have had wetter glue than I would usually use.
Not sure how to get around the water-based glue issue.
I'm printing my hanshitas onto shin torinoko--a pretty thick, smooth, machine-made paper that usually glues on easily and delaminates readily leaving just a thin layer with my image intact and I haven't had this much expansion ever before.
I'll recheck again tomorrow but if it is stiill off there is nothing else to do but wash off the hanshitas and try to transfer the drawing again with the carbon paper.
Cheers,
Andrew Stone
rospobio.blogspot.com
Message 6
From: David Bull
Date: Sat, 03 Mar 2012 23:21:09 GMT
Subject: [Baren 45199] Re: gluing paper on woodblocks--expansion of paper on glued hanshitas
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> Today I printed another hanshita off my keyblock.
> Checked against the acetate tracing it is exactly right.
> But when I glued it down (home made rice paste) it did expand a bit
> and once dried and with the backing peeled off I again checked it
> against the acetate tracing and indeed It's bigger now than it was
> before. There is about 1-2mm of difference from before it was glued;a
> sheet of paper placed in the kento will be off by almost 2mm at the
> far edge.
Andrew, this really doesn't match my experience here. A couple of
things may be involved:
- when pasting these things down (both the original 'hanshita' - the
block copy - and the 'kyogo-zuri' transfers for making colour blocks)
it's not so good to use overly wet adhesive. For the hanshita itself I
use a thin layer of white glue rubbed onto the block mixing with
little bits of water dabbed on with my fingertips. For the kyogo I use
a (again, thin) layer of mucilage glue.
- In both cases I use the traditional 'dab it up into peaks' method,
which certainly helps delay moisture absorption
- I work fast.
- For the hanshita the thin gampi paper is fine, because at this stage
there are no 'errors'. Whatever is pasted on the block simply becomes
the master copy.
- For the kyogo, I use a stiffer paper known as 'hodomura'. It's a bit
thicker, and is thus a bit more troublesome to rub away at the back,
but the extra dimensional stability is important, because now the
lines are of course 'set', and you have to match exactly ...
- Did I mention ... fast!
Dave
Message 7
From: Viza Arlington
Date: Sun, 04 Mar 2012 00:51:06 GMT
Subject: [Baren 45200] Re: How To Make Sumi Ink Print With A Shine??
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this site shows this printing technique and many others
http://learningobjects_devel.wesleyan.edu/blockprinting/
lots of great info
Cheers,
Viza
Message 8
From: Barbara Mason
Date: Sun, 04 Mar 2012 00:51:25 GMT
Subject: [Baren 45201] Re: How To Make Sumi Ink Print With A Shine??
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This is amazing...what if you cut a stencil from the print slightly bigger than the area out of mylar to allow for the higher area of the mylar and laid the sandwich on a piece of wood to print, I think this might also work if the edges were not really intricate. I am always so surprised at how strong paper is and what you can do with it.
My latest project is printing on fabric...I am doing a collaboration with a glass artist and somehow we are going to marry the printed fabric with the glass...
We decided paper will just not be fluid enough to bend the way we are thinking... being a printmaker is certainly not for the timid, is it? We have a year to make this work so I will report back on losing my mind or having success...both could happen.
Nina, I hope you will let us see the finished print...can you post an image and send us the link? I don't remember seeing this before.
My best to all
Barbara
Message 9
From: Barbara Mason
Date: Sun, 04 Mar 2012 01:00:23 GMT
Subject: [Baren 45202] Re: gluing paper on woodblocks--expansion of paper on glued hanshitas
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I wonder if there is not a spray glue that will wash off once dry...it seems to me that if you could get the glue on in a thin enough spray it would not change the shape of the paper. I have never had this problem...I am using sumi paper printed off the original key block and paste it down as soon as the ink is dry using dry paper....no problems...I put the rice paste on with my hand, I use the same thickness of paste I would use for printing and by the time I get it all over the block, it is not very wet, but it does work...so maybe the heavier sumi paper is the answer. I oil it before I carve to see the lines and it seems to work well for me. It might be not as good for really fine work..but I am not a good enough carver for that anyway.
My best
Barbara
Message 10
From: Maciej Napieraj
Date: Sun, 04 Mar 2012 01:21:16 GMT
Subject: [Baren 45203] Let me introduce myself...
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For some reason my original introduction did not come up on the forum so
I will try again.
Hi my name is Maciej (pronounced ma-chey) and I live in Melbourne,
Australia. I go by the name mmmaciej as an artist because it's like
maciej but tastier.
I live and breathe printmaking. It's all I think about. I've always had
an interest in learning about everything and trying everything but have
found that when you focus all your energy into one thing you improve
really quickly and it takes over your life. It's a good feeling.
I've been following the forum for a few months now and enjoy reading the
posts, lots of knowledge here. Internet is great, like an overmind we
can all connect to.
I've entered the current exchange 'endangered' and have just finished
carving my first plate. I'm very excited about this exchange and look
forward to seeing the work of everybody that enters.
Some of the work I have seen here is amazing.
Well I'm not sure what else to say but if you would like to see some of
my work it can be found at mmmaciej.com.au
Kind regards,
mmmaciej
Message 11
From: Viza Arlington
Date: Sun, 04 Mar 2012 01:28:04 GMT
Subject: [Baren 45204] Re: gluing paper on woodblocks--expansion of paper on glued hanshitas
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I recommend this website on another thread but it also applies here.
once in the site under techniques it goes over traditional and
contemporary design and transfer methods. the contemporary transfer
method uses 3mm acetate applied to the woodblock using a spray mount
such as 3M 77 the acetate is carved through just as the paper in the
traditional method.
http://learningobjects_devel.wesleyan.edu/blockprinting/
lots of great info
Cheers,
Viza
Message 12
From: Kristine Alder
Date: Sun, 04 Mar 2012 01:48:19 GMT
Subject: [Baren 45205] Exchange 52
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Hi All,I'm currently away for a few days in NYC for the National Art Education Association Conference. It's been a great week so far. Definitely food for the artist's soul. Unfortunately I haven't had access to a computer until this minute, so to those who have recently entered their names to be added to the list of participants for Ex.52. Please be patient for a couple more days and the online list will be updated.Thank you Diane Cutter for your work as coordinator. Go forth! Make art!Kristine
Kristine Alder
Baren Exchange Manager
St. George, UT
Art Educator/Printmaker/Book ArtistCo-President UAEA
email: alder@pineview.org
imakeprints@hotmail.com
"The greatest danger for most of us is not that our aim is too high and we miss it,
but that it is too low and we reach it." --Michelangelo
Message 13
From: Nina Royle
Date: Sun, 04 Mar 2012 11:53:27 GMT
Subject: [Baren 45206] Re: How To Make Sumi Ink Print With A Shine??
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Thank you again,
Nina!!
Digest Appendix
Postings made on [Baren] members' blogs
over the past 24 hours ...
Subject: Preparing for tomorrow's interviews
Posted by: Dave Bull
|
While working on the image tracing these past couple of days, my mind has of course been busy with thoughts of the upcoming interviews the next few days. At present, four people are scheduled, two young men on Monday around noon, a young college girl on Monday evening, and another young lady (introduced by a Baren group printmaker from the Eastern US) on Tuesday noon. I have no idea whether or not any of these people will seem suitable for these jobs or not, but we'll play that as it comes. I have already learned - from the experience hiring the printer trainees last summer - that the most difficult part of these interviews is trying to get across to these newcomers just what it is that they will be doing. For most jobs that they may have done in the past, it was probably pretty straightforward. But given that this place is so 'off-beat', it's not so simple. And compounding the problem is the fact that what they will see when they are here - a messy, 'under construction', kind of strange place - is not what I want them to see. I want them to see the Mokuhankan that can come into being, if we get a good crew together, form a good game plan, and then execute it properly. I myself can see it clearly - the sort of thing I wrote about more than a year ago in this set of posts - but communicating this to . . . |
This item is taken from the blog Mokuhankan Conversations.
'Reply' to Baren about this item.
Subject: Mallard linocut - next steps
Posted by: Sherrie Y
I realized after I posted the last series of photos that I kept talking about "the stencil" but I never showed it to you. Of course now I'm past the point where it's being used, but just to set the record straight, here 'tis. Just as in the last piece, No Time Like the Present, I cut the silhouette of the ducks from a sheet of "medium" weight (.005 m) mylar. It's sturdy enough to be run over multiple times with a brayer, but not so thick that it causes a halo of ink. It can also be cleaned and reused, which was important for this piece. Following on from the previous post, the stencil (of which acquaintance you now enjoy) was employed to apply a second, darker brown to the lino block for both the male and female ducks. (Colors 11 and 12.)
And then printmaker documentation error occurred. The breast of the male and the upper back of the female received another layer of reddish-brown... but apparently I missed taking a photo. Sorry 'bout that. (Color 13, absent without leave.) At that point the female was finished, but there was one more pass for the male, a dark blue-black. (Last use of the stencil for inking, Color 14.) At this point I also printed the male's foot, which I accidentally missed earlier when I printed the female's foot. It's a slightly different orange, so technically I guess it's Color 15. Oh, my!
This item is taken from the blog Brush and Baren. |
