Today's postings
- [Baren 24172] Tanzaku (ArtfulCarol # aol.com)
- [Baren 24173] Re: Junked Treadmill Runners (Darrell Madis)
- [Baren 24174] Re: Junked Treadmill Runners (Charles Morgan)
- [Baren 24175] side runners on a press (Barbara Mason)
- [Baren 24176] RE: Tanzaku ("marilynn smih")
- [Baren 24177] block carving/printmaking work station ("Matthew Laine")
- [Baren 24178] Printing on a press (Reneeaugrin # aol.com)
- [Baren 24179] press printing (FurryPressII # aol.com)
- [Baren 24180] Re: Printing on a press (Barbara Mason)
- [Baren 24181] Re: Baren Digest (old) V26 #2532 (Aqua4tis # aol.com)
- [Baren 24182] Re: oops sorry (Aqua4tis # aol.com)
- [Baren 24183] Re: side runners on a press (Charles Morgan)
- [Baren 24184] registration (Barbara Mason)
Message 1
From: ArtfulCarol # aol.com
Date: Sat, 7 Feb 2004 08:23:05 EST
Subject: [Baren 24172] Tanzaku
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"what is tanzaku????"
Type in Tanzaku , press GO and you will be surprised.
Tanzaku
CATEGORY: painting
Small vertical poem cards approximately 36cm long x 6cm wide that may be
decorated with colored designs, sprinkled with cut gold, silver or mica or covered
with silk. The origins of this form may be connected to small slips of paper
used for divining in ancient times. Another possible orgin of tanzaku comes
from the Heian period, when small rectangular pieces of paper, on which one poem
was written, were used for poetry anthologies. The earliest extant examples
from the 14c are of waka 和歌 poems on tanzaku white with no decoration. It was
during the Muromachi period that tanzaku became highly decorated with cloud
patterns overlaid with cut pieces of gold and silver.
Message 2
From: Darrell Madis
Date: Sat, 7 Feb 2004 05:54:43 -0800 (PST)
Subject: [Baren 24173] Re: Junked Treadmill Runners
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I get very little embossing as the rubber material is fairly stiff. It is actually two layers of heavy cloth with the top layer coated with rubber.
Darrell
Darrell
Message 3
From: Charles Morgan
Date: Sat, 07 Feb 2004 06:44:02 -0800
Subject: [Baren 24174] Re: Junked Treadmill Runners
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I go to the farbric store and buy "felt" by the yard; it is not really
animal hair felt, but some synthetic stuff.. Put a runner of wood the same
thickness as your block down each side of the bed of your press so you will
not have undue pressure, bumping, etc when the block goes through the
press. Your roller and normal press blankets will ride on top of the two
runners. Between the runners, put a layer or two of the thin felt. Put your
paper on top of the felt. Put the block on top of the paper, ink side down,
of course. Run it through the press with normal press blankets. It does a
good job without undue embossing.
Junked treadmills are not always easy to find. Synthetic felt from the
fabric store is readily available.
Cheers ..... Charles
animal hair felt, but some synthetic stuff.. Put a runner of wood the same
thickness as your block down each side of the bed of your press so you will
not have undue pressure, bumping, etc when the block goes through the
press. Your roller and normal press blankets will ride on top of the two
runners. Between the runners, put a layer or two of the thin felt. Put your
paper on top of the felt. Put the block on top of the paper, ink side down,
of course. Run it through the press with normal press blankets. It does a
good job without undue embossing.
Junked treadmills are not always easy to find. Synthetic felt from the
fabric store is readily available.
Cheers ..... Charles
Message 4
From: Barbara Mason
Date: Sat, 7 Feb 2004 07:48:52 -0800 (PST)
Subject: [Baren 24175] side runners on a press
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Charles,
It is not always easy to line paper and block up upside down, and if you have two colors forget it printing upside down. I have found it impossible to register, but maybe someone out there has the magic process. I used a piece of mat board instead of felt or blotters on the bottom and it worked probably the same as your ftwo pieces of thin felt.
If you make a simple registration board out of mat board and foam core and put kento registrations marks with more mat board, you can print right side up. Maria had pictures of such a board on her web site, www.1000woocuts.com although hers is made of wood. The runners need to be a little higher than the block and registration board. I use a piece of matboard instead of felt and it gives me excellent results. If the paper is embossing, there is too much pressure. Eventually you will crush your wood with a press if you are not careful, especially if there are a lot of lines that are by themselves and not supported by large areas.
If I want embossing, I use blankets to get this effect. I did have to print my large print upside down last year as the block was just a little big, with the paper, for my side runners. Actually I made a rectangle with ends to keep the runners even as my press bed is 48" long and it was the only way I could think of to keep it straight and from falling off the side of the bed while printing. I am making a new one this year with narrower runners. Not all presses lift enough to do deep block prints but mine is a combination press so has an unusually large amount of room between the bed and top roller.
Best to all,
Barbara
It is not always easy to line paper and block up upside down, and if you have two colors forget it printing upside down. I have found it impossible to register, but maybe someone out there has the magic process. I used a piece of mat board instead of felt or blotters on the bottom and it worked probably the same as your ftwo pieces of thin felt.
If you make a simple registration board out of mat board and foam core and put kento registrations marks with more mat board, you can print right side up. Maria had pictures of such a board on her web site, www.1000woocuts.com although hers is made of wood. The runners need to be a little higher than the block and registration board. I use a piece of matboard instead of felt and it gives me excellent results. If the paper is embossing, there is too much pressure. Eventually you will crush your wood with a press if you are not careful, especially if there are a lot of lines that are by themselves and not supported by large areas.
If I want embossing, I use blankets to get this effect. I did have to print my large print upside down last year as the block was just a little big, with the paper, for my side runners. Actually I made a rectangle with ends to keep the runners even as my press bed is 48" long and it was the only way I could think of to keep it straight and from falling off the side of the bed while printing. I am making a new one this year with narrower runners. Not all presses lift enough to do deep block prints but mine is a combination press so has an unusually large amount of room between the bed and top roller.
Best to all,
Barbara
Message 5
From: "marilynn smih"
Date: Sat, 07 Feb 2004 07:53:19 -0800
Subject: [Baren 24176] RE: Tanzaku
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Tanzaku. Interesting definition. this reminds me that we did have a
discussion about using poetry with our blocks for an exchange. Not that I
am anxious to carve out words but rather to inllustrate.
Oh and yeah for me we now have a UPS service for sending out packages, at an
affordable price, so maybe work from Baja will come to an exchange!!!!!
Marilynn
discussion about using poetry with our blocks for an exchange. Not that I
am anxious to carve out words but rather to inllustrate.
Oh and yeah for me we now have a UPS service for sending out packages, at an
affordable price, so maybe work from Baja will come to an exchange!!!!!
Marilynn
Message 6
From: "Matthew Laine"
Date: Sat, 7 Feb 2004 10:54:30 -0500
Subject: [Baren 24177] block carving/printmaking work station
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I'm pretty new to Baren and to printmaking.. I've been "lurking" (not a nice word -- bad connotations, I think) for a couple of months using the postings as a sort of school for printmaker neophytes like me. I had the temerity to sign up for Exchange #20, my lack of experience notwithstanding.
Somewhere in my lurking or surfing I came across photo(s) of a black carving/print making bench or table which seemed compact . My days are full of "senior moments" and I am unable to return to that info. I want to make a block carving/print-making work staion and would appreciate any info, drawings, photos or whatever anyone might be willing to share to help me.
Thanks a bundle.
Matt Laine
mtlaine#earthlink.net
Somewhere in my lurking or surfing I came across photo(s) of a black carving/print making bench or table which seemed compact . My days are full of "senior moments" and I am unable to return to that info. I want to make a block carving/print-making work staion and would appreciate any info, drawings, photos or whatever anyone might be willing to share to help me.
Thanks a bundle.
Matt Laine
mtlaine#earthlink.net
Message 7
From: Reneeaugrin # aol.com
Date: Sat, 7 Feb 2004 19:12:15 EST
Subject: [Baren 24178] Printing on a press
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Hello everyone,
The sugestions for printing woodblocks on a press were varied and
interesting. I haven't tried any of those methods, but probably should. I have a 'Ray
Trayle' press. It is a hand built press. I would be happy to convey the story
of how he, a retired machinist, began building presses for printmakers if you
wish.
Anyway, my method of printing on the press is 'upside down and bare'.
(paper on the press first, perfect registration with the block placed inkside
down and voila! There is some shifting possible if the pressure is not set
absolutely right.)
Cheers,
Renee U.
Damascus Oregon
The sugestions for printing woodblocks on a press were varied and
interesting. I haven't tried any of those methods, but probably should. I have a 'Ray
Trayle' press. It is a hand built press. I would be happy to convey the story
of how he, a retired machinist, began building presses for printmakers if you
wish.
Anyway, my method of printing on the press is 'upside down and bare'.
(paper on the press first, perfect registration with the block placed inkside
down and voila! There is some shifting possible if the pressure is not set
absolutely right.)
Cheers,
Renee U.
Damascus Oregon
Message 8
From: FurryPressII # aol.com
Date: Sat, 7 Feb 2004 19:57:55 EST
Subject: [Baren 24179] press printing
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Well, that depends on what kind of press. I like as firm a packing as I can
get away with.
It depends on what kind of paper you are using and if you are printing dry or
damp.
When I am printing on the small side on my vandercook I print dry. But when I
am printing a large sized block I have access to a large etching press. It
all depends on the mass of blacks if I print damp or dry. I like to use plexi
as it can be used either with dry or damp paper. A sizing catcher (felt) is
about as much felt as I use if the blocks are even I don't even use that. I
will have to try the harden masonite esp for dry printing.
john center
get away with.
It depends on what kind of paper you are using and if you are printing dry or
damp.
When I am printing on the small side on my vandercook I print dry. But when I
am printing a large sized block I have access to a large etching press. It
all depends on the mass of blacks if I print damp or dry. I like to use plexi
as it can be used either with dry or damp paper. A sizing catcher (felt) is
about as much felt as I use if the blocks are even I don't even use that. I
will have to try the harden masonite esp for dry printing.
john center
Message 9
From: Barbara Mason
Date: Sat, 7 Feb 2004 17:28:36 -0800 (PST)
Subject: [Baren 24180] Re: Printing on a press
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Rene,
Have you figured out how to register more than one block upside down? I sure have not, but would be interested in any tips. I think Ray Trayle's story is interesting and people would enjoy it. I saw him on first thursday and he is looking pretty fragile, but still getting around well.
Best to you,
Barbara
Have you figured out how to register more than one block upside down? I sure have not, but would be interested in any tips. I think Ray Trayle's story is interesting and people would enjoy it. I saw him on first thursday and he is looking pretty fragile, but still getting around well.
Best to you,
Barbara
Message 10
From: Aqua4tis # aol.com
Date: Sat, 7 Feb 2004 20:55:39 EST
Subject: [Baren 24181] Re: Baren Digest (old) V26 #2532
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ruth
id planned on attending your show but due to circumstances beyond my
control i wont be able to i wish you a lovely evening and hopefully we can get
together again sometime soon
georga
id planned on attending your show but due to circumstances beyond my
control i wont be able to i wish you a lovely evening and hopefully we can get
together again sometime soon
georga
Message 11
From: Aqua4tis # aol.com
Date: Sat, 7 Feb 2004 21:03:58 EST
Subject: [Baren 24182] Re: oops sorry
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sorry everyone
Message 12
From: Charles Morgan
Date: Sat, 07 Feb 2004 20:21:20 -0800
Subject: [Baren 24183] Re: side runners on a press
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Barbara Mason wrote:
>It is not always easy to line paper and block up upside down, and if you
>have two colors forget it printing upside down. I have found it impossible
>to register, but maybe someone out there has the magic process. I used a
>piece of mat board instead of felt or blotters on the bottom and it worked
>probably the same as your ftwo pieces of thin felt.
>
Hello Barbara,
Several of the books I have make suggestions, some of which I have tried
and some not. Here are a couple I have used.
1) If registration is not super critical, you can use "edge" registration.
Just line up the edge of the second block with the imprint of the edge line
impressed by the first block. Personally, I do not find this gives me
precise enough registration for most of what I want to do ... at least I am
not quite good enough at it ... it seems to work really well about 30% of
the time. But for some types of images, where you just want one thing
overlaid on another, it works fine.
2) Use a flip board. Line up your block and paper as usual, using whatever
method you like. Put a board on top of the paper and flip the whole thing
over. Slide paper with block in position onto the bed of the press. I have
tried this, and it works quite well. It is particularly easy with oil based
inks, as they tend to make the paper adhere to the block so it does not shift.
3) Use registration pins or lithographer's buttons ... Use a standard
3-hole punch to punch holes in one end of your paper. Tape mylar strips to
the back of your blocks and use a 3 hole punch to put holes in the mylar
strip. Use the same 3 hole punch to put holes in the key-line drawing, so
that when you transfer to the blocks to be carved, all is in registration.
Or, if you first carve a key line block and then use offset to transfer to
the other blocks, just use the 3 holes to line up the wet key line print
for the subsequent blocks. This is all standard stuff. I bought some
commercial lithographer's pins, but I also made some from 1/4 plexiglass
rod and thin plexiglass tabs ... clamp and glue with appropriate cement.
For printing, lay a piece of paper with holes punched in its end onto the
bed of the press. Insert the pins in the holes and tape the tabs to the
press bed. The pins just stay taped to the press bed throughout the
process. Then when you are ready to print a block, put the felt down, put
the paper on the pins, line up the block by putting the pins through the
holes in the mylar attached to the block. I found this method to be very
precise. And the height of the pins on the lithographer's buttons is
usually less than the thickness of the wood block, so you do not have to
worry about running over them with the press roller, as long as the two
rails are in place. When finished, you can tear off the end of the paper
with the holes if you like.
4) Assuming your blocks are all registered to their edges, you can use a
cardboard or matboard template. Cut out a precise opening the size of your
blocks in a piece of cardboard or matboard to use as a template. You could
use just an L shape for the template or cut a rectangle by tracing around a
block. Tape the paper to the template, or use lithographer's pins to align
the two. Place down on the bed the felts, the paper, and the template. Then
just print one block after another with the template in place. I found this
method to be pretty precise, though not quite as good as method 3. It
depends on how careful you are making the template. And this method assumes
all blocks are the same size, or at least all registered to the same corner.
I am sure there are lots of other ways to do it, but these work for me.
Cheers ...... Charles
>It is not always easy to line paper and block up upside down, and if you
>have two colors forget it printing upside down. I have found it impossible
>to register, but maybe someone out there has the magic process. I used a
>piece of mat board instead of felt or blotters on the bottom and it worked
>probably the same as your ftwo pieces of thin felt.
>
Hello Barbara,
Several of the books I have make suggestions, some of which I have tried
and some not. Here are a couple I have used.
1) If registration is not super critical, you can use "edge" registration.
Just line up the edge of the second block with the imprint of the edge line
impressed by the first block. Personally, I do not find this gives me
precise enough registration for most of what I want to do ... at least I am
not quite good enough at it ... it seems to work really well about 30% of
the time. But for some types of images, where you just want one thing
overlaid on another, it works fine.
2) Use a flip board. Line up your block and paper as usual, using whatever
method you like. Put a board on top of the paper and flip the whole thing
over. Slide paper with block in position onto the bed of the press. I have
tried this, and it works quite well. It is particularly easy with oil based
inks, as they tend to make the paper adhere to the block so it does not shift.
3) Use registration pins or lithographer's buttons ... Use a standard
3-hole punch to punch holes in one end of your paper. Tape mylar strips to
the back of your blocks and use a 3 hole punch to put holes in the mylar
strip. Use the same 3 hole punch to put holes in the key-line drawing, so
that when you transfer to the blocks to be carved, all is in registration.
Or, if you first carve a key line block and then use offset to transfer to
the other blocks, just use the 3 holes to line up the wet key line print
for the subsequent blocks. This is all standard stuff. I bought some
commercial lithographer's pins, but I also made some from 1/4 plexiglass
rod and thin plexiglass tabs ... clamp and glue with appropriate cement.
For printing, lay a piece of paper with holes punched in its end onto the
bed of the press. Insert the pins in the holes and tape the tabs to the
press bed. The pins just stay taped to the press bed throughout the
process. Then when you are ready to print a block, put the felt down, put
the paper on the pins, line up the block by putting the pins through the
holes in the mylar attached to the block. I found this method to be very
precise. And the height of the pins on the lithographer's buttons is
usually less than the thickness of the wood block, so you do not have to
worry about running over them with the press roller, as long as the two
rails are in place. When finished, you can tear off the end of the paper
with the holes if you like.
4) Assuming your blocks are all registered to their edges, you can use a
cardboard or matboard template. Cut out a precise opening the size of your
blocks in a piece of cardboard or matboard to use as a template. You could
use just an L shape for the template or cut a rectangle by tracing around a
block. Tape the paper to the template, or use lithographer's pins to align
the two. Place down on the bed the felts, the paper, and the template. Then
just print one block after another with the template in place. I found this
method to be pretty precise, though not quite as good as method 3. It
depends on how careful you are making the template. And this method assumes
all blocks are the same size, or at least all registered to the same corner.
I am sure there are lots of other ways to do it, but these work for me.
Cheers ...... Charles
Message 13
From: Barbara Mason
Date: Sat, 7 Feb 2004 21:41:16 -0800 (PST)
Subject: [Baren 24184] registration
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Charles,
Thanks for all three ideas. I think it would be much easier to print right side up with a registrtion board...then you just put the block in and register the paper...very fast and usually 100% accurate. I do see the need for the upside down work though, at times it seems the only way to solve a problem. My top roller is small and when I printed my large block last year, I kept getting a small bump at the end of the block...and think it was from having a small top roller.
Seems like we do like to make stuff complicated, don't we? Maybe that is why we are printmakers, we just love process!
Best to all,
Barbara
Thanks for all three ideas. I think it would be much easier to print right side up with a registrtion board...then you just put the block in and register the paper...very fast and usually 100% accurate. I do see the need for the upside down work though, at times it seems the only way to solve a problem. My top roller is small and when I printed my large block last year, I kept getting a small bump at the end of the block...and think it was from having a small top roller.
Seems like we do like to make stuff complicated, don't we? Maybe that is why we are printmakers, we just love process!
Best to all,
Barbara