Baren Digest             Thursday, 28 December 2000     Volume 13 : Number 1262


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From: GWohlken <blueman@pantek.com>
Date: Wed, 27 Dec 2000 09:24:16 -0500
Subject: [Baren 12674] Re: Baren Digest V13 #1261 

  

Dan, I have the same problem with going back to cut more lines after
printing.  I think it must be the wood.  I use poplar and that
definitely is a fuzzy wood.  Sometimes I like that look for straight
black and white work.  When I was at Boot Camp at Graham Scholes'
workshop in June, Dave handed me a piece of magnolia to try a few cuts
on and that cut very nicely.  I don't know if I can get that wood around
here, but the next time I buy wood, I want to try it.  It's not as hard
as cherry, but is much firmer and easier to work with for lines than
poplar.  I imagine a person's work might look tighter with a harder
wood, too.  Does anyone know about that?  I've always used poplar.

Gayle

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From: "Angela Oates" <inkypress@earthlink.net>
Date: Wed, 27 Dec 2000 10:31:10 -0500
Subject: [Baren 12675] Reduction Prints charset="iso-8859-1" 

Hi Dan Dew,

At present, my method of woodblock printing is reduction/suicide printing.
You may try to mix denatured alcohol and orange shellac in a 50/50 mix. I
usually apply a thin coat, let it dry several hours. After sanding with
something like 220 grit, I give another thin coat and resand it when dry.
Then I draw with a Sharpie pen and never coat it again throughout the
carving and printing runs.

I don't know if this will help, but it's my .02 worth!

Good luck.....and speaking of luck, I am just beginning to read Dave's
Encyclopedia and others' comments on Hanga. I really like the look of these
prints..and hope one day to start giving them a try. Guess I will start
saving for the equipment...perhaps a decent baren is first!


Happy New Year to all,
Angela Oates,
Arlington, VA


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From: "Jean Eger" <jeaneger@LanMinds.Com>
Date: Wed, 27 Dec 2000 13:04:38 -0800
Subject: [Baren 12676] Ink, Kala charset="iso-8859-1" 

Dean, it is great to have you on-line contributing to the discussion.  It is
very helpful.  I really enjoyed meeting you at the Amsterdam Art show in San
Francisco recently.

If I try to make relief ink out of unused etching ink (a can of Charbonel),
I would add #3 burnt plate oil, right?  Do I add anything else as filler?
It's OK if the ink is somewhat transparent.

What about making relief ink out of litho ink?  Not as a substitute for your
excellent relief ink, just as a way to use up stuff I have on hand.

April, Hooray!  I am so glad you will be at Kala at the end of March.  I
hope I can attend the workshop--it's a wonderful worship with lots of
personal attention and your extraordinary printing ability as inspiration.
I would not have believed one could produce such a good flat on such a large
area using a baren and home-made ink, until I saw you do it.

Jean



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From: brad <brads@iea.com>
Date: Wed, 27 Dec 2000 14:17:59 -0800
Subject: [Baren 12677] Re: Ink, Kala 

Hi,

> If I try to make relief ink out of unused etching ink (a can of Charbonel),
> I would add #3 burnt plate oil, right?  Do I add anything else as filler?
> It's OK if the ink is somewhat transparent.

Usually adding 2-3 drops of #3 plate oil when you're mixing on a slab will
do the trick... it won't be too transparent at all. You don't want to add
too much oil though...

> What about making relief ink out of litho ink?  Not as a substitute for your
> excellent relief ink, just as a way to use up stuff I have on hand.

For my print in Baren #7 I used straight black litho ink, albeit on lino, it
worked great at retaining very fine details of the low relief carving I did.
Haven't tried it on wood yet, but I would say you'll have to soften it up a
little tiny bit in order for the litho ink to stick to the wood.

Good luck,


Brad


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End of Baren Digest V13 #1262
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