Today's postings
- [Baren 45269] Re: Pasting a large sheet of paper on the woodblock/Lino question (jennifer kelly)
- [Baren 45270] Re: Pasting a large sheet of paper on the woodblock/Lino question (Barbara Mason)
- [Baren 45271] Re: Pasting a large sheet of paper on the woodblock/Lino question (Barbara Mason)
- [Baren 45272] Baren Member blogs: Update Notification (Blog Manager)
Thanks so much for sharing this experience. I have seen a demonstration of transfering a printed image onto gessoed lino
using eucalyptus oil. I have tried unsuccessfully to repete this. I went as far as contacting the lino manufacturer for more info.
The reply noted the variations of additives/ driers etc used in different toners, and that I should keep trying different ones until
I find one that works. As there are only so many printers one can have access to, I was wondering if anyone had more specific info/experinces
to share. I think I read something about older toners being different/better for this about a decade ago. Recently my computer died, and I lost my
precious, precious bookmarks, or I would look for it myself.
jenny
>Here's the latest in this mini-project. I've tried to use Yes paste, and it worked quite well, but it had two major drawbacks:
>I could not really wet&peel the paper, the paper would just peel off entirely instead of revealing the drawing.
> If I'd add just a little bit of oil, the original design would show pretty clearly. Normally, that would be the end of the story.
>However, due to the nature of the design, I'd have to carve it (a) using only 1mm and 1.5mm U-gouge chisels and
>(b) extremely close to the original design when cutting (less than 1/3 mm off); with these restrictions, it was hard to cut cleanly through
>that paper and still see the original lines.
>So, instead, after cleaning the block, when applying layers of acrylic gesso on the block (I normally gesso the blocks before cutting),
>decided to paste directly on the gesso. The entire block was covered, but not yet dry; it worked very well to paste the paper. The most important
>thing was to use a roller to straighten the paper as it is pasted -- with this, I did not have any air bubbles, paper shifts or unexpected rips.
>After letting it dry for a day, I could easily wet and peel the paper; since the gesso is acrylic, it means that the tonner in the original
>design transfers from the paper to the block, which allows for peeling paper very close to nothing. After carving the design, I simply washed
>the block with a dish sponge and soap to eliminate all the remains of the paper.
>I'll have to see whether this could scale easily to larger sheets of paper, or whether this was a lucky break. But, it seems promising.
>Tibi
Jennifer,
The ink jet paper that McClains has works like magic, you just print it on any inkjet paper
and then lay it on the wood or lino and rub the back...I think you can even use it again. So I guess
you are only limited by the size of your printer.
http://www.imcclains.com/catalog/blocks/transferpaper.html
My best
Barbara
that was supposed to say print it on any "printer"
Sorry
Barbara
Digest Appendix
Postings made on [Baren] members' blogs
over the past 24 hours ...
Subject: Arts of Japan series : print #1 - colour block carving
Posted by: Dave Bull
Seems like the block count for this print will probably be ten 'faces' (not including the 'series' blocks for outline and embossing).
We saw the key block the other day, but it looks a lot more 'real' now:
And here are the colour blocks - some done, some ready to carve, and one not yet pasted down:
(entry continues here ...)
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