Baren Digest               Sunday, 4 August 2002       Volume 20 : Number 1916


----------------------------------------------------------------------

From: Louise Cass <lcass@primus.ca>
Date: Sat, 03 Aug 2002 13:21:25 -0400
Subject: [Baren 18846] mould! 

Hello (bareners who were discussing mould spots on papers),

I'm afraid I had smugly deleted all the correspondance re mould, never
having encountered that problem but I was away for 10 days and forgot
to remove a batch of damp paper layered in blotting paper and left in an
(open) plastic bag - I have a most beautiful array of spots ranging from
grey to orange on some nice Japanese papers. Can someone please fill
me in again on the possible methods of removing the spots.?!

While on the subject of paper - why do so many of you  (woodcut) print-
makers use the heavy papers such as Rives and Arches, etc.? I know the
finished print looks stronger in a way and definitely dries flatter but there
is something more esthetically pleasing (to me) in the Kozos and other
Japanese papers!?

By the way, when I was enquiring re mailing prints to Kyoto, I believe Juan
said his took 2 weeks - I took a chance with air mail (from eastern Canada)
and the package arrived in an astounding 8 days! I don't think it's such a
bad idea
to have to send the prints rather than slides (which are never really
accurate)
and unless the work is very large and expensive to produce - they are after
'prints' and not paintings, e.g which one would never consider.

We are having a tropical summer here in Toronto - 2nd hottest on record!

regards,
Louise C.  
http://www.LCassArt.com

------------------------------

From: "Maria Arango" <maria@mariarango.com>
Date: Sat, 3 Aug 2002 15:11:28 -0700
Subject: [Baren 18847] paper  

Hello all,

Catching up after a slight absence.
I have the pleasure of introducing my latest Invited Artist, papermaking
artist MJ Cole. I've been working with MJ and she's making wonderful papers
for me to splat some ink on them with a woodcut. Now we are working together
on creating "custom" papers for my prints. I may never let her go back to
normal weed-gathering life.
In any case, it's a wonderful partnership.
Her web pages: http://www.1000woodcuts.com/beechgrovepaper/gallery.html

Jean, I've been using a cheapie $75 scroll saw for my puzzle prints. I'm
sure your nearest Home Depot is having a sale as we speak! I cut 3/4" cherry
with it in pretty tight curves and, although I do break some blades once in
a while, it performs just fine and dandy. It's also easy to use and pretty
safe, if you don't push, the thing don't go (it just sits there chewing up
your block). I'm getting slightly better at not being scared of turning my
block sharply, the blades seem to take very tight turns okay.
See this page:
http://www.1000woodcuts.com/Studionotes/scroll/scrollsaw.html
A puzzle print and block:
http://www.1000woodcuts.com/fullsize/entreviento.html
http://www.1000woodcuts.com/blocks/blkentreviento.html

On heavy paper uses...frankly, I love paper so much I just can't see being
married to just one paper or even one type of paper. I just hope I live long
enough to try them all.
Speaking strictly as an oily girl, heavier papers seem to absorb many more
layers of ink than thinner Japanese papers. Arches 88 and the Magnani papers
will take more layers of ink than I have the patience to print. The prints
look "meatier." Papers like Rives de Lin are beautifully textured and give
the final print a soft look, like a watercolor paper, but also soft and
spongy enough to absorb ink in many layers without losing detail. Stonehenge
creates very affordable printing papers and they are offered in many colors.
They are easier to handle in large sizes than thinner Japanese papers and
much less expensive.
A disadvantage I can think of right off the bat is that heavy papers are
tougher to print successfully by hand, but dampening solves this problem.
And the stacks of prints take more space in your drawers.

Japanese papers, on the other hand, seem on the whole more responsive to the
ink when printed dry and they are incredibly strong. The delicate appearance
gives prints an airy, softer look. As far as repeated layers of ink, the ink
seals the paper almost immediately and subsequent layers take on a shiny
look. They are definitely much easier to print on by hand, as less effort is
required to obtain a good print. They are also great for engravings, which
is a great thing since those English papers are getting so tough to get.
Dean, are you guys getting Basingwerk back?

Oh, and speaking of papers, through Dean's (Graphic Chemical) generosity I
received a sampler a while back. I bought some Domestic Etching and
Graphic's Heavyweight and both performed beautifully in my latest prints.
Very receptive papers and inexpensive as well.

Anyway, those are just my experiences with both types of paper. Working with
hand-made papers is a wee bit more challenging and requires some additives
so that you don't' end up leaving the paper on the block or (gasp!) tearing
one of the beautiful sheets. Some fibrous and/or gritty inclusions also
"alter" your block, so longer runs start showing and interesting interplay
between paper and block. I'm enjoying it immensely.

Much health to all,
Maria

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


------------------------------

End of Baren Digest V20 #1916
*****************************