Baren Digest                 Friday, 4 May 2001         Volume 15 : Number 1410


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From: GWohlken <blueman@pantek.com>
Date: Thu, 03 May 2001 09:24:52 -0400
Subject: [Baren 14348] Re: Baren Digest v15 #1409 

Deb, thanks for the advice of coating the board, after the ink has
dried, with thinned shellac.  I have used shellac over  black permanent
marker drawings on the board and made a real mess because it seemed to
dissolve the marker drawing or at least smeared, but maybe over the
water soluble rolled-on ink it will work okay.

Gayle

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From: FurryPressII@aol.com
Date: Thu, 3 May 2001 10:39:10 EDT
Subject: [Baren 14349] Re: Baren Digest v15 #1409 

On thinning overly tacky oil based ink?  Mostly I find black ink to be OK 
depending if you ink by press(vandercook) or hand if it is to tacky work it 
up with an ink knife on the ink slab if it is still to tacky you can add 
plate oil.  If it is a color ink you can add the plate oil or if you want to 
make it more transparent as well you can use tint base.  I rarely find 
colored inks to be too tacky mostly they are too runny for that you add 
Magannese carbonate.  The van Hussein rubber based inks are still oil based 
inks and should work with the graphic white just mix well and add some plate 
oil. 

     With enough transparent base you can print oil based inks to be as 
transparent as watercolor inks.

    On the question of lead there have been artists who engraved lead blocks 
like wood engravings in fact I have a "wood cut novel" that was in fact 
engraved on lead blocks.

john

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From: "Maria Arango" <maria@mariarango.com>
Date: Thu, 3 May 2001 08:07:14 -0700
Subject: [Baren 14350] ink additives charset="iso-8859-1" 

On ink additives:
At the bottom of this page you will find some additives listed and their
uses, although related to metallic inks, they apply to any ink:
http://www.1000woodcuts.com/Studionotes/metalink/metallicink.html

Additives are helpful and sometimes essential with oil based inks. Mixing
different brands of ink might be a problem if one of them is rubber based
and might be the underlying cause of the problem you were having.
Most of the time I use ink straight out of the can figuring the
manufacturers know more than I do. I like Graph Chem. or Dan Smith inks for
details and engravings and Rembrandt's creamier inks for everything else.
Get a hold of the manufacturer's ink-related instructional leaflets
available from Dan Smith and Graphic Chemical? to learn all about inks,
additives, and their uses. Here are some additives I use on occasion and
what they do to the inks.

- - Daniel Smith Miracle Gel or Rembrandt's/Graphic Chemical Gel keeps
delicate/unsized paper from sticking to the block and tearing by reducing
the tack. Be careful not to use too much or your ink will never dry. Also,
be sure to mix well or you will get a spotty finish.

- - Transparent base keeps inks from obliterating my beautiful papers and
saves $$$ on ink. Again, be sure to mix well. When inks are very transparent
roller marks will be a problem unless you are careful to roll at many
different angles.

- - Set-swell compound makes second and third layers of ink dry matte,
otherwise they shine (both effects are nice). This stuff also keeps the ink
open (receptive) to additional layers of ink so you can stack'em up. When
printing several layers LET THE INK DRY thoroughly between layers or again
you will be subjected to the spotting disease.

- - Cobalt drier forces the drying time of the ink. Use very little! a couple
of drops or you will ruin your rollers. It is highly toxic.

- - Burnt plate oils of diverse consistencies will magically transform
etching/litho inks into relief inks. They come in a light syrup (#1-3)
through molasses (#4-6) all the way to something resembling thick resin
(#7+). You can play with these all you want since they are essentially the
same medium that pigment is mixed with to make the ink. Again, use too much
and drying time may be a problem as will oily spots on the print.

- - Whiting powder will stiffen runny inks, and anything else for that matter.
Use stiffener when printing details, engravings, or when you have used too
much oil or transparent base.

Perhaps Graph Chem. can add or subtract from this post.

Happy happy printing!

Maria

<><><><><><><><><><><><><><>
Maria Arango
Las Vegas, Nevada, USA
http://www.1000woodcuts.com
maria@mariarango.com
<><><><><><><><><><><><><><>


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From: GraphChem@aol.com
Date: Thu, 3 May 2001 12:15:24 EDT
Subject: [Baren 14351] Re: ink additives 

For the most part, Maria, your comments on additives are accurate. I do 
believe that we should distinguish between manufacturers and distributors. 
Smith's Miracle Gel and Graphic's Gelled Medium are very similar. I am not 
aware of anyone else manufacturing this type of material. Mixing is always 
problematic when modifying inks. One cannot wave a palette knife through the 
materials and call it mixed - it takes a few minutes to insure there are no 
"hot" spots. Setswell (Hanco) and Sureset (Graphic Chem) are intended as tack 
reducers for relief and litho inks, but they also allow for color blending 
and reduce offset (which is not normally a printmaking problem).

When using driers - either cobalt or Japan - it is extremely easy to use too 
much. 2-3 drops is more than sufficient for a standard ink slab. Remember 
that is a little bit is good - a lot will cause your ink to never dry. 
Finally Burnt Plate Oils (and Litho Varnishes) come in many more viscosities 
than listed. We start at #0000 and go up to a #8. These are bodied linseed 
oils, and while they are helpful in modifying inks, they won't perform magic. 
Different types of inks have different characteristics that BPO won't change. 
For example, with most true etching inks (as differentiated from our unique 
Perfection Palette inks) are not as highly pigmented as litho and block print 
inks. The reason is simply that etching inks achieve their color on the paper 
with a thicker film, while relief and litho inks do the same thing with very 
thin films of ink. If you use highly pigmented inks for etching, your color 
will tend to dull down. Look in the Graphic catalog - the color charts 
specifically. Under the Perfection Palette inks you will notice two color 
swatches for each color instead of one. The difference is in how each ink 
will appear as an intaglio print and as a relief print.
If I haven't confused everyone.....well, call me if you have questions.

Dean Clark
Graphic Chemical & Ink Co

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From: "Bill H Ritchie Jr" <ritchie@seanet.com>
Date: Thu, 3 May 2001 09:28:41 -0700
Subject: [Baren 14352] Re: appropriation of imagery charset="iso-8859-1" 

John, at FurryPressII asked, ". . . what is or was the role of reproduction
in printmaking?"

I have a hard time separating the two words *reproduction* and
*printmaking*.

Like the words, art, craft and design--I think it has something to do with
accounting and bookkeeping that has kept certain kinds of autocracies going
for the past 500 years--sometimes at the expense of others.

Separation, like appropriation, are key to the mechanization of any human
action.

My first answer to John's question, popped into my mind, was "action at a
distance over space and time."

But then, that's also the role of painting and drawing, isn't it? Well, not
without reproductions of paintings and drawings, and all kinds of human
actions (architecture, poetry, dance, music). William Ivins' writings are
best in this, his story.

Picture this: Two women are painting and drawing in a cave, singing. On a
whim, one paints on her hand and then slaps it on  the all. "Voila!" she
says, or "Eureka!"

The other woman suspends her painting and smearing on a shape that
represents a cave bear for a moment and says, "Don't do that."

"Why not?" the other says, innocently, admiring her print.

"It will separate you from the image. You have to shape the image, feel it.
Live it."

"(Expletive deleted)," retorts the printmaker.

"Okay for you. Don't say I didn't warn you."

And the two continue.

So, I think the role of reproduction in printmaking is to separate human
action over the distance of space and time from human responsibility, and
transfer it to machines.

- - Bill -- in (do you believe it? SUNNY Seattle--thanks to El Ninio?) (I
don't know how to get the spelling right for that Spanish word--sorry).

Bill H. Ritchie, Jr
500 Aloha #105
Seattle WA 98109
(206) 285-0658
<http://www.myartpatron.com>


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From: "eli griggs" <eli.griggs@worldnet.att.net>
Date: Thu, 3 May 2001 14:04:47 -0400
Subject: [Baren 14353] Re: ink question
Hi there:

About your Swiss tools.  If they are the Pfeil, Swiss Made, I am very =
familiar with them.  I have quite a number of them and think that they =
are very good tools, especially when clearing out 'waste' areas on a =
wood block.  The edges are not as brittle as the laminate Japanese tools =
and because I an using a knife to define the areas that will be printed, =
and cleaning up the area next to the lines with an Ai-suki, there is no =
need to consider what sort of marks they leave behind because =
there-are-none.

The chip carving knives are fine tools also.  I believe several capable =
artist on this forum use them for printmaking, but I think that they are =
the wrong tool for the type of wood you are using.  The chip carving =
tool is designed and made with a relatively thin blade, with a long =
bevel,  for use in softer woods such as Bass, soft Pines, Butternut, =
etc.  This means that there simply is not enough metal there to support =
the thick bevel needed to effectually carve denser woods, including the =
plywood you mentioned. You can sharpen these blades to a sharp edge over =
and over, but the blade will not hold up to the demands of the wood you =
are using! =20

A traditional 6 mm Hanga-To would be a big improvement, but you may want =
to ask the printmakers on Baren if they have any alternative =
suggestions.

As to your sharpening methods, I really do suggest that you get hold of =
a copy of The Complete Guide to Sharpening by Leonard Lee.  This one =
book will answer just about any question you might have about sharpening =
knives, carving tools, (and anything else) and offers practical insights =
as to a number of methods of doing it.  Your local library should have a =
copy, or be able to get it through an Inter-Library Loan.  It cost about =
23$US in paperback and should be in every artists' personal library (at =
least those who use edge tools).

My personal suggestion is that you should consider a small set of =
Japanese water stones.  An 800 or 1000 grit and a 4000 grit stone should =
be all you need to get a good sharp edge on any undamaged knife.  Avoid =
the dual-sided stones and try to buy King Brand.  They are very good =
quality and are available in a Carvers Stone, flat on one side and =
grooved on the versa for gouges.  WoodCraft sells these.  Do-not-buy a =
6000 or 8000 grit stone.  These are for polishing the edges and would be =
a waste of money until you have the basic method of sharpening down.  =
You may in fact never need one of these stones.  You can get a good =
result by using a honing compound on a smooth, flat piece of wood, such =
as clear Pine or Bass.  Just apply the compound to the wood, =
non-too-thickly, and drag the blade backward (never forward) at the same =
angle that you sharpened the blade at.  The black marks left behind is =
metal that has been removed. =20

I like the Yellow Stone and Chromium Oxide compounds and recommend that =
you only use one of these.  Correctly used they will give razor like =
results.

I hope this helps.

Eli Griggs
Charlotte N.C.
USA
http://www.geocities.com/eli_griggs/mypage.html




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From: Salsbury <salsbury@forbin.com>
Date: Fri, 04 May 2001 01:11:23 -0700
Subject: [Baren 14354] Plagiarism? 

Hi all,

I had a funny experience recently at a print show and sale.  They had all
kinds of lovely prints from several centuries.  I was looking at the work
of an artist that I was unfamiliar with at the time (Helen Hyde 1868-1919).
 I found her work in Japanese woodblock techniques quite lovely.  Although
I was not familiar with the artist it was very evident the artist was most
likely not Japanese.  The faces were more rounded and the stance was not as
stiff or posed like.  

While I was looking at the prints another lady came up and began looking at
them as well.  Soon her friend arrived and almost instantly bellowed out
PLAGIARISM, PURE PLAGIARISM! and stomped off.  She never really looked at
the work, subsequently missing some very lovely prints.  The scenes were
oriental in nature, and subject but there was not one piece that I could
say was purely plagiarized or identifiable as a particular piece by a
specific artist.  I feel that if the woman had really looked at the prints,
she should have been able to recognize the tell tale traits of a western
artist at work.  As she walked a way I wasn't sure if her remark was only
meant for the Japanese woodcut prints or for all of the prints in the show
as many were quite old.  She left me with the feeling that she had no art
education at all.

On a lighter note of plagiarism, Cedar Rapids, Iowa is in the process of
having Iowa artist cover life size cut outs of Grant Wood's American Gothic
couple.  One of the artist from Waterloo will be doing solar blue printing
of prairie grasses on her cut outs.  The cut outs will be on display from
mid summer till late fall through out the city of Cedar Rapids.  Parodies
of the American Gothic couple run rampant here in Iowa and I doubt that
anyone would call it plagiarism.  Just a lot of fun. 

Sue 

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From: David Bull <davebull@woodblock.com>
Date: Fri, 04 May 2001 19:15:36 +0900
Subject: [Baren 14355] Re: Plagiarism? 

Sue Salsbury wrote (at 1:11 am):
> 
> I had a funny experience recently at a print show and sale.  They had all
> kinds of lovely prints from several centuries.  I was looking at the work
> of an artist that I was unfamiliar with at the time (Helen Hyde 1868-1919).
> ...
> PLAGIARISM, PURE PLAGIARISM! ...

You're up late this evening ... or up early?

May I hazard a guess as to why that viewer was upset with Helen Hyde's
prints?  These prints were _collaborative_ works - Hyde was the
designer, but the prints themselves were made by professional Japanese
cutters and printers. To my way of thinking, this is simply an
interesting way to make a print, but some people disagree - they see it
as cheating.

I can understand this viewpoint when the facts of the case are not
properly announced - if the artist doesn't make public that craftsmen
were used, but in Hyde's case, I don't believe she tried to pass off the
work as coming from her own hand (although I'm not sure about that).

Interestingly enough, also in my mailbox this afternoon was a notice
from the Floating World Gallery about a sale of prints by early 20th
century printmaker Elizabeth Keith that they are currently running.
Keith too, worked with hired craftsmen who did the actual cutting and
printing, and 42 of these works can be seen on the web pages at:

http://www.floatingworld.com/keith.html

(I should mention that _one_ of the prints was actually cut and printed
by Keith herself. Can you find it?)

Dave


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From: "April Vollmer" <april@aprilvollmer.com>
Date: Fri, 4 May 2001 08:55:14 -0400
Subject: [Baren 14356] More classes charset="iso-8859-1" 

If any New Yorkers are out there, who want a summer hanga woodcut class, I
will be teaching a six week class Tuesdays, starting June 19. Lower East
Side Printshop, 59-61 East 4th Street, NYC, 10003  212-673-5390,
http://www.printshop.org/

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From: "Garth Hammond" <Garthart@earthlink.net>
Date: Fri, 4 May 2001 07:05:17 -0600
Subject: [Baren 14357] Re: Plagiarism? charset="iso-8859-1" 

RE:I don't believe she tried to pass off the
work as coming from her own hand (although I'm not sure about that).

I think David hit the nail on the head for me in this discussion as I have
talked about this with other artists here in the bldg.  I seem to have an
internal definition that if someone uses someone else's work without
attribution with the intent of passing that work off as their own then that
is akin to Plagiarism in writing.  So steal ideas steal design but transform
it. Duplication is theft?
Garth


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From: "Garth Hammond" <Garthart@earthlink.net>
Date: Fri, 4 May 2001 07:08:34 -0600
Subject: [Baren 14358] Re: Plagiarism? charset="iso-8859-1" 

floating world requires cookies permission to get in.  I will wait for the
book.

thanks though,

Garth


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End of Baren Digest v15 #1410
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