Today's postings
- [Baren 26405] birch plywood ("Love Me")
- [Baren 26406] Re: birch plywood (Melissajade)
- [Baren 26407] Re: deck of cards (Bette Norcross Wappner)
- [Baren 26408] Re: woodblock intaglio (L Cass)
- [Baren 26409] Re: New Baren Digest (Text) V29 #2849 (Nov 9, 2004) ("carol wagner")
- [Baren 26410] acid-free paper ("Love Me")
Message 1
From: "Love Me"
Date: Wed, 10 Nov 2004 10:24:12 +1100
Subject: [Baren 26405] birch plywood
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Thanks Barbara, Maria and Mike for feedback on birch ply carving.
To explain more fully; I am using 7 layered 9 mm European Birch plywood. After taking much advice earlier in the year I decided to sand down to 400 grit and give the blocks a good coat of dilute linseed oil. I try to wait at least a day before pasting down my hanshita. I bought 4 sheets and cut these down to 330 x 400 (13" x 16") boards, so I have a huge stack of them, which is why I'm sticking with birch ply for the moment. The huge stack is a great asset for flattening/drying prints.
I am actually really pleased with the way the birch holds ink and the look of the print, although I seem to need to print twice for most blocks. Goma-zuri is very organic-looking, which I like. My tools are sharp, I graduated to a Tormek sharpening wheel, and I use the honing wheel most. The tools are made from amazingly good steel, except for dropping them on the floor. Mike is right about the glue representing the point of weakness where the chips occur. It wood be great to have a 3mm top ply, but such a thing is not available in Australia. My solution is to carve with a wide shoulder and design with fewer lines. All in all I am a happy hanga-maker.
Thanks again for all the feedback. I will be ready with my "roosters" in a few days, the early bird catches the worm.
Tom.
To explain more fully; I am using 7 layered 9 mm European Birch plywood. After taking much advice earlier in the year I decided to sand down to 400 grit and give the blocks a good coat of dilute linseed oil. I try to wait at least a day before pasting down my hanshita. I bought 4 sheets and cut these down to 330 x 400 (13" x 16") boards, so I have a huge stack of them, which is why I'm sticking with birch ply for the moment. The huge stack is a great asset for flattening/drying prints.
I am actually really pleased with the way the birch holds ink and the look of the print, although I seem to need to print twice for most blocks. Goma-zuri is very organic-looking, which I like. My tools are sharp, I graduated to a Tormek sharpening wheel, and I use the honing wheel most. The tools are made from amazingly good steel, except for dropping them on the floor. Mike is right about the glue representing the point of weakness where the chips occur. It wood be great to have a 3mm top ply, but such a thing is not available in Australia. My solution is to carve with a wide shoulder and design with fewer lines. All in all I am a happy hanga-maker.
Thanks again for all the feedback. I will be ready with my "roosters" in a few days, the early bird catches the worm.
Tom.
Message 2
From: Melissajade
Date: Tue, 9 Nov 2004 23:50:49 +0000 (GMT)
Subject: [Baren 26406] Re: birch plywood
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guys could you take me off the mailing list please
Message 3
From: Bette Norcross Wappner
Date: Tue, 9 Nov 2004 21:43:34 -0500
Subject: [Baren 26407] Re: deck of cards
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Thank you, Maria. Both exchanges were delightful to coordinate. I wish
Colleen and I lived closer :)
No bar raising needed....I actually went out of my boundaries for
coordinator on #21 - I was possessed by an old, crazed Surimono printer.
Bette.
---------------------------
>I will add my voice to thank Colleen and Bette for their respective
>delightful loving touches on the presentation of the Deck of Cards Exchange
>and the Surimono Exchange. Your work and dedication and skill! Wow, I am
>still admiring all the thoughtful details.
>
>Sure raises the bar for future coordinators!
>
>Maria
Colleen and I lived closer :)
No bar raising needed....I actually went out of my boundaries for
coordinator on #21 - I was possessed by an old, crazed Surimono printer.
Bette.
---------------------------
>I will add my voice to thank Colleen and Bette for their respective
>delightful loving touches on the presentation of the Deck of Cards Exchange
>and the Surimono Exchange. Your work and dedication and skill! Wow, I am
>still admiring all the thoughtful details.
>
>Sure raises the bar for future coordinators!
>
>Maria
Message 4
From: L Cass
Date: Tue, 09 Nov 2004 11:01:58 -0500
Subject: [Baren 26408] Re: woodblock intaglio
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Tom & Barbara-
I remember Maria suggested oiling the wood before cutting but I think it
was for the cherry plywood she'd sent out for the puzzle print project. I
use seasoned pine for most of my work and always followed the suggestion in
the Thames & Hudson (1978!) "Manual
of Woodcut Printmaking and related techniques" (it has splendid
illustrations) which is to coat the wood (on both sides) with white shellac
thinned in 50% alcohol [for good absorbtion] -usually 2 or three coats with
sanding between layers. They also suggest coating both sides of the wood
with boiled linseed oil which I haven't tried as the shellaced and sanded
wood cuts just fine with constantly honed (with green honing compound)
tools. Of course I'm not doing very fine line work but very seldom have
problems with splintering,etc. Obviously a lot depends on the wood - I had
a wretched time with very large plywood as I tend to cut deep. I know the
marine varnish will give a very hard surface but I think the thinned
shellac goes deeper into the wood but it's probably 6 of 1 and 1/2 doz of
the other.
Louise C.
I remember Maria suggested oiling the wood before cutting but I think it
was for the cherry plywood she'd sent out for the puzzle print project. I
use seasoned pine for most of my work and always followed the suggestion in
the Thames & Hudson (1978!) "Manual
of Woodcut Printmaking and related techniques" (it has splendid
illustrations) which is to coat the wood (on both sides) with white shellac
thinned in 50% alcohol [for good absorbtion] -usually 2 or three coats with
sanding between layers. They also suggest coating both sides of the wood
with boiled linseed oil which I haven't tried as the shellaced and sanded
wood cuts just fine with constantly honed (with green honing compound)
tools. Of course I'm not doing very fine line work but very seldom have
problems with splintering,etc. Obviously a lot depends on the wood - I had
a wretched time with very large plywood as I tend to cut deep. I know the
marine varnish will give a very hard surface but I think the thinned
shellac goes deeper into the wood but it's probably 6 of 1 and 1/2 doz of
the other.
Louise C.
Message 5
From: "carol wagner"
Date: Tue, 9 Nov 2004 22:39:52 -0800
Subject: [Baren 26409] Re: New Baren Digest (Text) V29 #2849 (Nov 9, 2004)
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Dear Fellow Bareners all
Have to add my "me too" response to a vote for a larger International
presence on Baren...It was precisely the fact that printmakers from all over
the world were involved that drew me to Baren Forum in the first place.
I haven't been posting much lately due to lack of time and I fear some
members might consider me a lurker. Therefore, I break my silence to agree
with Sharri, Myron, Marilyn and THE DAVE, and all others of like mind : I
enjoy posts from Murilo and so say bring on more printmakers from the far
flung corners of the globe! I truly wish that someone from China , India and
Central Asia would turn up some wonderful morning on a digest., talking
about printmaking.
That said, I signed up for the year of the Rooster. Seems I'm just addicted
to getting those little prints from people all over the world...
Irrevocably yours,
Carol in Sacramento
Have to add my "me too" response to a vote for a larger International
presence on Baren...It was precisely the fact that printmakers from all over
the world were involved that drew me to Baren Forum in the first place.
I haven't been posting much lately due to lack of time and I fear some
members might consider me a lurker. Therefore, I break my silence to agree
with Sharri, Myron, Marilyn and THE DAVE, and all others of like mind : I
enjoy posts from Murilo and so say bring on more printmakers from the far
flung corners of the globe! I truly wish that someone from China , India and
Central Asia would turn up some wonderful morning on a digest., talking
about printmaking.
That said, I signed up for the year of the Rooster. Seems I'm just addicted
to getting those little prints from people all over the world...
Irrevocably yours,
Carol in Sacramento
Message 6
From: "Love Me"
Date: Wed, 10 Nov 2004 19:49:42 +1100
Subject: [Baren 26410] acid-free paper
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I am about ready to send out my rooster prints and I would like to make a nice little paper jacket for them to travel in. Perhaps the prints may end up living in these jackets, so I am concerned that they not turn yellow over time from the ravages of acid in the paper. The people at my local office stationers have told me that it is not a problem. (they would say that though). Can anyone shed some light on pH in modern paper production? I must admit I dont see a lot of office stationary turning yellow.
Tom
Tom