Today's postings
- [Baren 24342] Re: monkey envelopes (Frank Trueba)
- [Baren 24343] Baren inspiration (Laughing Crow Studio)
- [Baren 24344] Reduction method question ("marilynn smih")
- [Baren 24345] RE: Reduction method question ("Maria Arango")
- [Baren 24346] Re: Reduction method question ("Daniel Dew")
- [Baren 24347] Re: Reduction method question ("Maria Arango")
- [Baren 24348] Re: question about "cheap" presses (Charles Morgan)
- [Baren 24349] Re: Reduction method & press (Jsf73 # aol.com)
- [Baren 24350] Self Portrait Exchange (b.patera # att.net)
- [Baren 24351] accidents, sharpening and a new device ("Maria Arango")
- [Baren 24352] accidents, sharpening and a new device ("Maria Arango")
- [Baren 24353] Re: Reduction method & press (Charles Morgan)
- [Baren 24354] Re: Birch Plywood (Woodblocksteve # aol.com)
- [Baren 24355] Re: New Baren Digest (HTML) V26 #2560 (Feb 23, 2004) (Sharri LaPierre)
- [Baren 24356] Woodblock Wins All (Sharri LaPierre)
Message 1
From: Frank Trueba
Date: Mon, 23 Feb 2004 07:09:15 -0800
Subject: [Baren 24342] Re: monkey envelopes
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Message 2
From: Laughing Crow Studio
Date: Mon, 23 Feb 2004 07:42:52 -0800 (PST)
Subject: [Baren 24343] Baren inspiration
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Here is some info that may be of interest to Bareners...
To my surprise and chagrin since moving to New Mexico a year and a half
ago, I have found little support, info, knowledge, or networking of
printmakers here. There are many artists here, of course, and many
printmakers (between the colleges, Tamarind, Takach, etc.), but there are
no galleries devoted to hand-pulled prints and little knowledge of even
what they are. This is the case not just here in Albuquerque, but also
Santa Fe - which is supposedly one of the art capitals of the world!
A woman that I know through the Wood Engravers Network moved here this
past summer and found the same situation. We put our heads and energy
together and are starting a printmaking co-op gallery. We have only had
two meetings, but already have 20-25 motivated members of all experiences
and print techniques. A member has already put together a website
(www.newmexicoprintmakers.com) and we already have our first show in Santa
Fe in May. We are determining now whether we want to start a gallery
space soon or whether to do several other shows and collaborations first -
for exposure, fund-raising, and to see how we work as a group.
Anyway, where Baren comes in - is in the inspiration. I told them how it
started only a few years ago and how quickly it has grown. I told them of
all our exchanges, the traveling shows, and the collaborative projects
such as the calendars, the 9/11 print show, and the puzzle print. I
passed around my postcard calendar and they were very impressed. Already
we have put a calendar as a top project. One of our members has access
the New Mexico Press' equipment and an "in" with the museum stores, so we
are going to do a limited originals edition, than an offset edition to
sell in the shops.
The group was excited to go home and access the Baren web page. Only 3 of
us are relief printmakers, but all were very interested. We are modeling
our co-op after the Washington Printmaker's Co-op which is quite well know
and we will have an affiliate relationship with them. We haven't
established membership fees yet, but it will be open to all printmakers
(not just in New Mexico) and I will let you know when we are to that
point. Now, we are looking to get the word out and to make our presence
known. If any of you with websites could take the time to put a link on
your page, we would really appreciate it. Also, those of you who are in
various professional printmaking organizations - if you could pass on the
info to them or let me know so I can contact them. If you want more info
on the co-op, please contact me. I can see in the future, when we have
our established space - bringing in the Baren exchange shows. It will be
great to have a place to exhibit them.
thanks,
Lezle
=====
Lezle Williams
Laughing Crow Studio
http://www.laughingcrowstudio.com
To my surprise and chagrin since moving to New Mexico a year and a half
ago, I have found little support, info, knowledge, or networking of
printmakers here. There are many artists here, of course, and many
printmakers (between the colleges, Tamarind, Takach, etc.), but there are
no galleries devoted to hand-pulled prints and little knowledge of even
what they are. This is the case not just here in Albuquerque, but also
Santa Fe - which is supposedly one of the art capitals of the world!
A woman that I know through the Wood Engravers Network moved here this
past summer and found the same situation. We put our heads and energy
together and are starting a printmaking co-op gallery. We have only had
two meetings, but already have 20-25 motivated members of all experiences
and print techniques. A member has already put together a website
(www.newmexicoprintmakers.com) and we already have our first show in Santa
Fe in May. We are determining now whether we want to start a gallery
space soon or whether to do several other shows and collaborations first -
for exposure, fund-raising, and to see how we work as a group.
Anyway, where Baren comes in - is in the inspiration. I told them how it
started only a few years ago and how quickly it has grown. I told them of
all our exchanges, the traveling shows, and the collaborative projects
such as the calendars, the 9/11 print show, and the puzzle print. I
passed around my postcard calendar and they were very impressed. Already
we have put a calendar as a top project. One of our members has access
the New Mexico Press' equipment and an "in" with the museum stores, so we
are going to do a limited originals edition, than an offset edition to
sell in the shops.
The group was excited to go home and access the Baren web page. Only 3 of
us are relief printmakers, but all were very interested. We are modeling
our co-op after the Washington Printmaker's Co-op which is quite well know
and we will have an affiliate relationship with them. We haven't
established membership fees yet, but it will be open to all printmakers
(not just in New Mexico) and I will let you know when we are to that
point. Now, we are looking to get the word out and to make our presence
known. If any of you with websites could take the time to put a link on
your page, we would really appreciate it. Also, those of you who are in
various professional printmaking organizations - if you could pass on the
info to them or let me know so I can contact them. If you want more info
on the co-op, please contact me. I can see in the future, when we have
our established space - bringing in the Baren exchange shows. It will be
great to have a place to exhibit them.
thanks,
Lezle
=====
Lezle Williams
Laughing Crow Studio
http://www.laughingcrowstudio.com
Message 3
From: "marilynn smih"
Date: Mon, 23 Feb 2004 07:55:08 -0800
Subject: [Baren 24344] Reduction method question
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I am ready to proof and put on the first color on this plate using a
reduction method. Was wondering if those who use this method are putting
their image on the plate using zerox transfer? I traced mine on and than
went over it with an ink pen hoping to retain the image with repeated
printing and cutting.
Also this basswood is nice but so soft. Suggestions on what to move up to
next?
Marilynn, bird watching in Baja
reduction method. Was wondering if those who use this method are putting
their image on the plate using zerox transfer? I traced mine on and than
went over it with an ink pen hoping to retain the image with repeated
printing and cutting.
Also this basswood is nice but so soft. Suggestions on what to move up to
next?
Marilynn, bird watching in Baja
Message 4
From: "Maria Arango"
Date: Mon, 23 Feb 2004 08:02:10 -0800
Subject: [Baren 24345] RE: Reduction method question
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Marilynn, depending on what kind of ink you use, the image will be there
through repeated printings. Use a permanent marker (Sharpie is the most
popular brand in US). Sumi ink or other black inks will eventually
disappear, depending on how many stages you print.
Birch plywood would be a step up from basswood in retention of detail
without losing the ease of carving. Soft maple is also easily available
and will allow you to cut and print as much detail as you want. Cherry,
of course, is my preferred wood for just about anything.
Maria
through repeated printings. Use a permanent marker (Sharpie is the most
popular brand in US). Sumi ink or other black inks will eventually
disappear, depending on how many stages you print.
Birch plywood would be a step up from basswood in retention of detail
without losing the ease of carving. Soft maple is also easily available
and will allow you to cut and print as much detail as you want. Cherry,
of course, is my preferred wood for just about anything.
Maria
Message 5
From: "Daniel Dew"
Date: Mon, 23 Feb 2004 11:14:04 -0500
Subject: [Baren 24346] Re: Reduction method question
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Being a reduction block survivor (most of my prints are reduction
blocks), I agree with Maria on the permanent marker, but because it can
deteriorate over time, I also add a very thin coat of spar varnish over
the top of my marker drawing. I wish we could post pictures, I've
actually documented the whole reduction block process via pics and
scans.
Daniel L. Dew
Ervin Leasing Company
Suncoast Division
blocks), I agree with Maria on the permanent marker, but because it can
deteriorate over time, I also add a very thin coat of spar varnish over
the top of my marker drawing. I wish we could post pictures, I've
actually documented the whole reduction block process via pics and
scans.
Daniel L. Dew
Ervin Leasing Company
Suncoast Division
Message 6
From: "Maria Arango"
Date: Mon, 23 Feb 2004 08:34:19 -0800
Subject: [Baren 24347] Re: Reduction method question
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Here is a simple reduction, step by step:
http://www.1000woodcuts.com/Studionotes/Reduction/Reduction.html
http://www.1000woodcuts.com/Studionotes/Reduction/Reduction.html
Message 7
From: Charles Morgan
Date: Mon, 23 Feb 2004 08:54:09 -0800
Subject: [Baren 24348] Re: question about "cheap" presses
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No doubt you can make a press yourself cheaper than you can buy one, if you
count your time as being worthless. It depends on the availability of
tools, your facility with using them, and the amount of time you want to
take with it. Why is it that most people do not build their own press? They
do not have the tools, do not know how to use them, or do not want to
invest their time. Most (certainly not all) artists would rather be making
art than making presses.
As for being gear driven, the one I have is not. But an artist friend with
a physical disability has a Patrick press and it is gear driven by the
simple expedient of bicycle sprockets and a chain ... very elegant and very
effective. It would be worth checking with Thomas if you want this feature.
Given the large size of the hand wheel, I have never felt the need of more
"power" myself.
Composition beds are found on most of the less expensive presses. They do
not rust, they do not warp, they are relatively light, they are cheap, and
they are easy to replace if you damage it in some way, of if you simply
want a longer bed. If you want a steel bed, any welding shop can make one
for you to replace the composition bed, if you have the money to pay for it
and the strength to move it.
Several years ago I got a copy of the plans you suggest. I am handy, I do
have the tools, including a lathe. But in the end the investment in time
and effort was just not worth it to me, given the price of the Patrick
Press I bought. For a few hundred dollars, I could buy myself MANY hours of
time making art that I otherwise would have had to spend making the press.
If the price differential were greater, I would have given it more
consideration.
By the way, there are also a complete set of plans for an etching press
published in Popular Mechanics quite a few years back. I found them in the
back issues at the local library. The design is slightly different, and for
a somewhat smaller press, but it could be scaled up.To each his own.
I am quite interested in your press project. Please keep us informed and
post some pictures when you are finished.
Cheers ....... Charles
count your time as being worthless. It depends on the availability of
tools, your facility with using them, and the amount of time you want to
take with it. Why is it that most people do not build their own press? They
do not have the tools, do not know how to use them, or do not want to
invest their time. Most (certainly not all) artists would rather be making
art than making presses.
As for being gear driven, the one I have is not. But an artist friend with
a physical disability has a Patrick press and it is gear driven by the
simple expedient of bicycle sprockets and a chain ... very elegant and very
effective. It would be worth checking with Thomas if you want this feature.
Given the large size of the hand wheel, I have never felt the need of more
"power" myself.
Composition beds are found on most of the less expensive presses. They do
not rust, they do not warp, they are relatively light, they are cheap, and
they are easy to replace if you damage it in some way, of if you simply
want a longer bed. If you want a steel bed, any welding shop can make one
for you to replace the composition bed, if you have the money to pay for it
and the strength to move it.
Several years ago I got a copy of the plans you suggest. I am handy, I do
have the tools, including a lathe. But in the end the investment in time
and effort was just not worth it to me, given the price of the Patrick
Press I bought. For a few hundred dollars, I could buy myself MANY hours of
time making art that I otherwise would have had to spend making the press.
If the price differential were greater, I would have given it more
consideration.
By the way, there are also a complete set of plans for an etching press
published in Popular Mechanics quite a few years back. I found them in the
back issues at the local library. The design is slightly different, and for
a somewhat smaller press, but it could be scaled up.To each his own.
I am quite interested in your press project. Please keep us informed and
post some pictures when you are finished.
Cheers ....... Charles
Message 8
From: Jsf73 # aol.com
Date: Mon, 23 Feb 2004 12:30:33 EST
Subject: [Baren 24349] Re: Reduction method & press
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Dan Dew writes:
> I wish we could post pictures, I've
> actually documented the whole reduction block process via pics and
> scans.
>
> Daniel L. Dew
> Ervin Leasing Company
> Suncoast Division
I agree with Dan, I had some pictures I wish I could have posted when I was
asking a few questions or just to show... maybe a part of the site that could
be for temporary posting of pics, then if people concurred some could be moved
to the permanent section of baren, such as Dan's reduction process images...
I have a pic of John Centers famous leather jacket with the woodcut on the
back... it is really nice... the pic doesnt do it justice since I had to
compress it and shrink it to fit on yahoo photos, which is a limitation of that site.
So is the method of sharing pics in my opinion...
http://ca.f2.pg.photos.yahoo.com/ph/jsf73/album?.tok=phbuNsABBhLjPeUY&
.dir=/2003-12-12&.src=ph
Anyone wanting to post lower resolution pics can sign up for yahoo photos and
post them there to share them with others.
Charles,
I will keep you informed of my press developments. The plans come with either
direct drive, chain drive as you mentioned or gear drive.
Construction is neither that difficult, expensive or time consuming as you
suggest. I am having all the pieces manufactured and only need to assemble them
which should take but a few hours. The costs are still less than half of
Thomas presses, which if you cannot afford a thomas press may just allow you to
have a press.
I am going to use a composition press... I had planned on using phenolic
composite but it is just too much money for me right now... The only hold up I
have is total lack of funds...
I have the bearing sets already. My side steel frames are being ordered from
a metal supplier and pre-cut by them using a plasma cutter, so I will have no
work to do on them. I have sourced my roller material and I have a machinist
ready to make them up for me as soon as I get the money...
I only posted the information for those who really want a press, but like me
are only rank amateurs who cannot justify the cost of a thomas press to their
family members.
The nice thing is, I can start making my press the cheapest way, with a
simple crank handles and when I can afford it or desire it I can replace the crank
with the wheel handle... I can start with direct drive, and modify it later
for chain drive if I find it too difficult to crank.
Entry level etching presses are not that easy to come by, so maybe this would
help someone else besides myself.
John F
> I wish we could post pictures, I've
> actually documented the whole reduction block process via pics and
> scans.
>
> Daniel L. Dew
> Ervin Leasing Company
> Suncoast Division
I agree with Dan, I had some pictures I wish I could have posted when I was
asking a few questions or just to show... maybe a part of the site that could
be for temporary posting of pics, then if people concurred some could be moved
to the permanent section of baren, such as Dan's reduction process images...
I have a pic of John Centers famous leather jacket with the woodcut on the
back... it is really nice... the pic doesnt do it justice since I had to
compress it and shrink it to fit on yahoo photos, which is a limitation of that site.
So is the method of sharing pics in my opinion...
http://ca.f2.pg.photos.yahoo.com/ph/jsf73/album?.tok=phbuNsABBhLjPeUY&
.dir=/2003-12-12&.src=ph
Anyone wanting to post lower resolution pics can sign up for yahoo photos and
post them there to share them with others.
Charles,
I will keep you informed of my press developments. The plans come with either
direct drive, chain drive as you mentioned or gear drive.
Construction is neither that difficult, expensive or time consuming as you
suggest. I am having all the pieces manufactured and only need to assemble them
which should take but a few hours. The costs are still less than half of
Thomas presses, which if you cannot afford a thomas press may just allow you to
have a press.
I am going to use a composition press... I had planned on using phenolic
composite but it is just too much money for me right now... The only hold up I
have is total lack of funds...
I have the bearing sets already. My side steel frames are being ordered from
a metal supplier and pre-cut by them using a plasma cutter, so I will have no
work to do on them. I have sourced my roller material and I have a machinist
ready to make them up for me as soon as I get the money...
I only posted the information for those who really want a press, but like me
are only rank amateurs who cannot justify the cost of a thomas press to their
family members.
The nice thing is, I can start making my press the cheapest way, with a
simple crank handles and when I can afford it or desire it I can replace the crank
with the wheel handle... I can start with direct drive, and modify it later
for chain drive if I find it too difficult to crank.
Entry level etching presses are not that easy to come by, so maybe this would
help someone else besides myself.
John F
Message 9
From: b.patera # att.net
Date: Mon, 23 Feb 2004 17:49:24 +0000
Subject: [Baren 24350] Self Portrait Exchange
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Hi,
The latest news on this exchange is that it has been extended to Mar. 15th.
THIS IS , MARCH 15th OF THIS YEAR!!!! .....Beware the ides and all that.
The reason for the extention is that we have some new participants. Julio is stepping in for sure and I believe Barbara M. will. I also have 2 other printers ,Julia W. and Julianne, who have expressed interest and I am waiting for confirmation from them. There are only three slots open so will be taking on a first come basis....
Regards,
Barbara P
The latest news on this exchange is that it has been extended to Mar. 15th.
THIS IS , MARCH 15th OF THIS YEAR!!!! .....Beware the ides and all that.
The reason for the extention is that we have some new participants. Julio is stepping in for sure and I believe Barbara M. will. I also have 2 other printers ,Julia W. and Julianne, who have expressed interest and I am waiting for confirmation from them. There are only three slots open so will be taking on a first come basis....
Regards,
Barbara P
Message 10
From: "Maria Arango"
Date: Mon, 23 Feb 2004 09:50:43 -0800
Subject: [Baren 24351] accidents, sharpening and a new device
Send Message: To this poster
See Message Below
Message 11
From: "Maria Arango"
Date: Mon, 23 Feb 2004 09:55:42 -0800
Subject: [Baren 24352] accidents, sharpening and a new device
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I just spent two hours this morning re-grinding and sharpening two of my
favorite tools. Being my favorites, I take them to art festivals with me
and they suffered the rigors of a couple of falls (one per tool). When a
fine Japanese U-gauge hits pavement "head on," bad things happen.
They are now so sharp I was able to trim my cat's tail with them while
they slept without waking them (just the hairs, back off animal lovers).
Always wanting to solve such problems, I have devised a gadget that will
help in the future. From now on, all my traveling knives will be
equipped with a "traveling harness". This marvel of marvels (just
picture it, sorry I can't upload to the web or somebody will snipe my
invention and I will lose out on patents), is nothing but an adjustable
harness/parachute. The knives/chisels are outfitted with adjustable
over-the-handle straps and a "belt" all of which connects to a tiny
backpack containing a parachute (I'm using a coffee filter at the moment
but working on a silk model for rainy days). The rest is the patented
stuff, suffice it to say that a small (very small) sensor detects rapid
movement of about a centimeter per second per second (terminal velocity
for small chisels). As the sensor triggers a super-double-secret device,
the parachute deploys and the chisel falls gently to the ground. In
testing sessions, I added an alarm (sounds like a horned lizard being
stepped on) so that I immediately react and catch the falling chisel.
The entire system weighs micro-ounces and fits all chisels.
I am now taking advanced orders for other traveling artists and working
on a larger model which I will wear to prevent falls in and out of the
trailer. Price is yet to be determined.
Maria
PS I really really apologize about this post, it is raining for the
third day in a row and I am going completely crazy
favorite tools. Being my favorites, I take them to art festivals with me
and they suffered the rigors of a couple of falls (one per tool). When a
fine Japanese U-gauge hits pavement "head on," bad things happen.
They are now so sharp I was able to trim my cat's tail with them while
they slept without waking them (just the hairs, back off animal lovers).
Always wanting to solve such problems, I have devised a gadget that will
help in the future. From now on, all my traveling knives will be
equipped with a "traveling harness". This marvel of marvels (just
picture it, sorry I can't upload to the web or somebody will snipe my
invention and I will lose out on patents), is nothing but an adjustable
harness/parachute. The knives/chisels are outfitted with adjustable
over-the-handle straps and a "belt" all of which connects to a tiny
backpack containing a parachute (I'm using a coffee filter at the moment
but working on a silk model for rainy days). The rest is the patented
stuff, suffice it to say that a small (very small) sensor detects rapid
movement of about a centimeter per second per second (terminal velocity
for small chisels). As the sensor triggers a super-double-secret device,
the parachute deploys and the chisel falls gently to the ground. In
testing sessions, I added an alarm (sounds like a horned lizard being
stepped on) so that I immediately react and catch the falling chisel.
The entire system weighs micro-ounces and fits all chisels.
I am now taking advanced orders for other traveling artists and working
on a larger model which I will wear to prevent falls in and out of the
trailer. Price is yet to be determined.
Maria
PS I really really apologize about this post, it is raining for the
third day in a row and I am going completely crazy
Message 12
From: Charles Morgan
Date: Mon, 23 Feb 2004 10:04:08 -0800
Subject: [Baren 24353] Re: Reduction method & press
Send Message: To this poster
you wrote:
>Construction is neither that difficult, expensive or time consuming as you
>suggest. I am having all the pieces manufactured and only need to assemble
>them which should take but a few hours. The costs are still less than half
>of Thomas presses, which if you cannot afford a thomas press may just
>allow you to have a press.
I really hope it works out as well and as cheaply as you suggest. If it
does, then I may well reconsider and make myself (that is, have someone
else make the parts and me assemble) a larger press.
I find presses are like penises ... you always want a bigger one ... but it
is the workman, not the tool, that makes the big difference.
Cheers ..... Charles
>Construction is neither that difficult, expensive or time consuming as you
>suggest. I am having all the pieces manufactured and only need to assemble
>them which should take but a few hours. The costs are still less than half
>of Thomas presses, which if you cannot afford a thomas press may just
>allow you to have a press.
I really hope it works out as well and as cheaply as you suggest. If it
does, then I may well reconsider and make myself (that is, have someone
else make the parts and me assemble) a larger press.
I find presses are like penises ... you always want a bigger one ... but it
is the workman, not the tool, that makes the big difference.
Cheers ..... Charles
Message 13
From: Woodblocksteve # aol.com
Date: Mon, 23 Feb 2004 14:53:47 EST
Subject: [Baren 24354] Re: Birch Plywood
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Hi Caye,
I found it out by accident. When I prepare the wood I sand it with fine sand
paper and then I use a household paint brush to paint it with water. This
causes the grain to rise a bit. Normally I let it dry and then sand it again. I
think this helps get an extra smooth finish. But I was in a hurry so I
rubbed it down when it was still a bit damp and started cutting it immediately. I
noticed right away that it was much easier to cut. I tried it again later on
another piece and it worked the same.
Cheers
Steve
I found it out by accident. When I prepare the wood I sand it with fine sand
paper and then I use a household paint brush to paint it with water. This
causes the grain to rise a bit. Normally I let it dry and then sand it again. I
think this helps get an extra smooth finish. But I was in a hurry so I
rubbed it down when it was still a bit damp and started cutting it immediately. I
noticed right away that it was much easier to cut. I tried it again later on
another piece and it worked the same.
Cheers
Steve
Message 14
From: Sharri LaPierre
Date: Mon, 23 Feb 2004 11:49:04 -0800
Subject: [Baren 24355] Re: New Baren Digest (HTML) V26 #2560 (Feb 23, 2004)
Send Message: To this poster
The class, Printmaking In Your Classroom Without A Press is through
the Haystack program at Cannon Beach. Barbara - where are the classes
actually being held? I am having a Senior Moment that is close to a
total freeze. ( One of those bombs has come up on my mental screen.)
It will be taught by Sher Davidson, Jani Hoberg, Barbara and myself. We
will have lotsa fun, so y'all come on down! Or up - as the case may be.
Details at www.printartsnw.org (I hope). The class is also listed in
the Portland State University catalog, I believe. I didn't do that
part, but that is what has happened in the past :-)
Steve, you might contact Conrad Press and see if they have any second
hand presses. I know they used to have them as people would trade up
to a larger size. It would be worth checking with Tom Conrad before
doing anything else. They make a very good press which won't give you
any problems like some of the cheaper brands tend to do.
Putting water on the plywood to make it easier to cut can cause a
multitude of problems as you print. Especially if you are going to do
hanga. I thought I was being smart and started cutting on a piece of
scrap plywood left over from the shelves we put in the new studio and
was a beautiful piece of wood with the top layer being mahogany. It
was to be a reduction hanga print, an edition of 55 for Colleen's
playing card exchange. Well, into about the 5th color the wood started
to separate and by the end of the run I had lost some lines all
together - they just disintegrated before my very eyes. The other big
annoyance was the discovery that while this wood had no knots in the
surface layer the nasty critters were lurking right under that layer
and were exposed immediately. They are hard as nails and miserable
fellows to deal with. I will never make that mistake again! The
plywood would have been fine for a Western oily print, especially if
only one color were printed per block, but the water and this wood did
not mix. The moral of the story is: beware of water and plywood.
One other thing I discovered on this little hanga expedition: you can
print linoleum if you sand it throughly first. I screwed up while
printing the lettering for the card, and didn't want to go to all the
trouble to cut a block of wood to insert, and had a scrap of lino, so I
used that. It worked great and I was amazed at how well it printed.
Time to go see how the hoard of monkeys are doing. They should be
rattling their cage trying to get out of here today.
Cheers!
Sharri
the Haystack program at Cannon Beach. Barbara - where are the classes
actually being held? I am having a Senior Moment that is close to a
total freeze. ( One of those bombs has come up on my mental screen.)
It will be taught by Sher Davidson, Jani Hoberg, Barbara and myself. We
will have lotsa fun, so y'all come on down! Or up - as the case may be.
Details at www.printartsnw.org (I hope). The class is also listed in
the Portland State University catalog, I believe. I didn't do that
part, but that is what has happened in the past :-)
Steve, you might contact Conrad Press and see if they have any second
hand presses. I know they used to have them as people would trade up
to a larger size. It would be worth checking with Tom Conrad before
doing anything else. They make a very good press which won't give you
any problems like some of the cheaper brands tend to do.
Putting water on the plywood to make it easier to cut can cause a
multitude of problems as you print. Especially if you are going to do
hanga. I thought I was being smart and started cutting on a piece of
scrap plywood left over from the shelves we put in the new studio and
was a beautiful piece of wood with the top layer being mahogany. It
was to be a reduction hanga print, an edition of 55 for Colleen's
playing card exchange. Well, into about the 5th color the wood started
to separate and by the end of the run I had lost some lines all
together - they just disintegrated before my very eyes. The other big
annoyance was the discovery that while this wood had no knots in the
surface layer the nasty critters were lurking right under that layer
and were exposed immediately. They are hard as nails and miserable
fellows to deal with. I will never make that mistake again! The
plywood would have been fine for a Western oily print, especially if
only one color were printed per block, but the water and this wood did
not mix. The moral of the story is: beware of water and plywood.
One other thing I discovered on this little hanga expedition: you can
print linoleum if you sand it throughly first. I screwed up while
printing the lettering for the card, and didn't want to go to all the
trouble to cut a block of wood to insert, and had a scrap of lino, so I
used that. It worked great and I was amazed at how well it printed.
Time to go see how the hoard of monkeys are doing. They should be
rattling their cage trying to get out of here today.
Cheers!
Sharri
Message 15
From: Sharri LaPierre
Date: Mon, 23 Feb 2004 12:03:37 -0800
Subject: [Baren 24356] Woodblock Wins All
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My apologies for the duel post today, but - I had to share this with
you all. At the humongous Home and Garden Show in Portland last
weekend they have an art section with garden related imagery, lots of
botanical prints, beautiful impressionist imitation oil and acrylic
paintings, warm and fuzzy watercolors, etc. But there were some koi
that caught my eye immediately and I had to go closer and check them
out. They were woodcuts arranged like tiles the image being of koi
swimming in their pool. They were magnificent and they were a color
woodblock print by Maurice Fykes III, a local printmaker, which won
Best of Show! Woodblock rocks! Congratulations Maurice - you go, man!
Cheers -
Sharri
you all. At the humongous Home and Garden Show in Portland last
weekend they have an art section with garden related imagery, lots of
botanical prints, beautiful impressionist imitation oil and acrylic
paintings, warm and fuzzy watercolors, etc. But there were some koi
that caught my eye immediately and I had to go closer and check them
out. They were woodcuts arranged like tiles the image being of koi
swimming in their pool. They were magnificent and they were a color
woodblock print by Maurice Fykes III, a local printmaker, which won
Best of Show! Woodblock rocks! Congratulations Maurice - you go, man!
Cheers -
Sharri