Today's postings
- [Baren 35136] Re: Lynita's Prints (ArtfulCarol # aol.com)
- [Baren 35137] Re: Lynita's Prints (Lynita Shimizu)
- [Baren 35138] Ink (Eileen Corder)
- [Baren 35139] Re: Ink (Barbara Mason)
- [Baren 35140] Re: paper and exchanges ("Barbara Carr")
- [Baren 35141] Rat Postage (peart # comcast.net)
- [Baren 35142] Re: Rat Postage (Formschnider # aol.com)
- [Baren 35143] Re: Ink ("steffan ziegler")
Message 1
From: ArtfulCarol # aol.com
Date: Wed, 20 Feb 2008 09:48:47 EST
Subject: [Baren 35136] Re: Lynita's Prints
Send Message: To this poster
Supercalifragilistic expialidocious .....(sp?)
That's response to Lynita's prints. It's a good thing!!
I am running out of superlatives for you people.
Carol Lyons
Irvington, NY
That's response to Lynita's prints. It's a good thing!!
I am running out of superlatives for you people.
Carol Lyons
Irvington, NY
Message 2
From: Lynita Shimizu
Date: Wed, 20 Feb 2008 10:11:39 -0500
Subject: [Baren 35137] Re: Lynita's Prints
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You guys are just so nice! Thanks, all! More than looking at my
prints, I hope you saw the section about Yamaguchi's. http://
shimizuwoodcuts.com/paper.php I was a bit nervous writing about the
papermaking process. I know I left out a lot of the process that I
just couldn't catch with my ailing Japanese (and my husband just
didn't remember), but I wanted to emphasize how lucky we are to have
such beautiful, handmade paper available to us. It's just a click
away at the Baren Mall. : )
Best wishes,
Lynita
prints, I hope you saw the section about Yamaguchi's. http://
shimizuwoodcuts.com/paper.php I was a bit nervous writing about the
papermaking process. I know I left out a lot of the process that I
just couldn't catch with my ailing Japanese (and my husband just
didn't remember), but I wanted to emphasize how lucky we are to have
such beautiful, handmade paper available to us. It's just a click
away at the Baren Mall. : )
Best wishes,
Lynita
Message 3
From: Eileen Corder
Date: Wed, 20 Feb 2008 09:51:16 -0800
Subject: [Baren 35138] Ink
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Hi Everyone,
I have been reading with interest all your recent postings, as well as past
forums, re: paper. Also, Iıve had lots of fun studying the past exchanges
for style and materials. Iıve done limited experimentation with materials at
hand, but Iım still in want of information about inks. If I had the money
Iıd just buy up everything and try it all out, but unfortunately, Iım stuck
to carefully and slowly picking and choosing. Perhaps a few of you could
comment about inks, in particular, in using lithographic and etching inks
for wood block. The folks at GC&I say that only Perfection Palette is
appropriate for woodblock, but I see that some of you use both regular
etching and litho inks from GC&I. Any comments or special considerations
before using these inks? (Sorry to bother you all with such an amateur
question!)
Peace,
Eileen
I have been reading with interest all your recent postings, as well as past
forums, re: paper. Also, Iıve had lots of fun studying the past exchanges
for style and materials. Iıve done limited experimentation with materials at
hand, but Iım still in want of information about inks. If I had the money
Iıd just buy up everything and try it all out, but unfortunately, Iım stuck
to carefully and slowly picking and choosing. Perhaps a few of you could
comment about inks, in particular, in using lithographic and etching inks
for wood block. The folks at GC&I say that only Perfection Palette is
appropriate for woodblock, but I see that some of you use both regular
etching and litho inks from GC&I. Any comments or special considerations
before using these inks? (Sorry to bother you all with such an amateur
question!)
Peace,
Eileen
Message 4
From: Barbara Mason
Date: Wed, 20 Feb 2008 10:14:32 -0800 (PST)
Subject: [Baren 35139] Re: Ink
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Eileen,
Never a bother, ask all the questions you need to ask.
I like litho ink mixed with setswell and transparent
base, be sure to get the same amount of the mixtures
in each color or you will have a viscosity problem. I
actually mix the two up together and then add it to
the ink. I like transparent inks so this works well
for me. I do not think the brand matters one bit, but
each ink has a small learning curve with it and once
you figure it out you are home free. Litho ink is the
most highly pigmented and also therefore the most
expensive. If you get three or 4 colors you can mix
most everything else. My choices would be, Rubin Red,
Milori Blue, lemon Yellow (I forget the name of the
yellow but I will go to the studio and find it) and
carbon black as opposed to lamp black. If you really
want true purple you will have to buy it as it is hard
to mix. Lamp black is sort of blue when you really
thin it down.
Sets well allows you to layer ink with less chance of
a shinny buildup in an area with more than one or two
layers. Transparent base is ink with no color in it,
it is just the vehicle or binder and mixed with litho
ink will make it more transparent. I like the Handschy
inks myself. I don't use Dan Smith litho inks as find
they have less pigment in them than I like.
Etching ink will work as well for block printing, you
can add setswell to it also. I rarely use the inks
designed for relief printing but they work well also.
Everyone I know here in the Northwest that uses oil
based inks for woodblock uses litho inks. It might be
also because the black is stiff and you can modify it.
At any rate they have worked very well for me.
My best to you
Barbara
Never a bother, ask all the questions you need to ask.
I like litho ink mixed with setswell and transparent
base, be sure to get the same amount of the mixtures
in each color or you will have a viscosity problem. I
actually mix the two up together and then add it to
the ink. I like transparent inks so this works well
for me. I do not think the brand matters one bit, but
each ink has a small learning curve with it and once
you figure it out you are home free. Litho ink is the
most highly pigmented and also therefore the most
expensive. If you get three or 4 colors you can mix
most everything else. My choices would be, Rubin Red,
Milori Blue, lemon Yellow (I forget the name of the
yellow but I will go to the studio and find it) and
carbon black as opposed to lamp black. If you really
want true purple you will have to buy it as it is hard
to mix. Lamp black is sort of blue when you really
thin it down.
Sets well allows you to layer ink with less chance of
a shinny buildup in an area with more than one or two
layers. Transparent base is ink with no color in it,
it is just the vehicle or binder and mixed with litho
ink will make it more transparent. I like the Handschy
inks myself. I don't use Dan Smith litho inks as find
they have less pigment in them than I like.
Etching ink will work as well for block printing, you
can add setswell to it also. I rarely use the inks
designed for relief printing but they work well also.
Everyone I know here in the Northwest that uses oil
based inks for woodblock uses litho inks. It might be
also because the black is stiff and you can modify it.
At any rate they have worked very well for me.
My best to you
Barbara
Message 5
From: "Barbara Carr"
Date: Wed, 20 Feb 2008 10:52:31 -0800
Subject: [Baren 35140] Re: paper and exchanges
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Maria, you use the most wonderful papers for your prints! It's fortunate
that Baren won't be furnishing the papers for prints; that would be more
collating, packaging and mailing than most coordinators could stand,
probably. I brought it up just to give an idea of what some other people are
doing. Two of the portfolios I was talking about can be seen on this site:
www.tworiversprintmaking.com. The prints are mostly not relief, but still
interesting. Thanks for getting the exchange prints online, too.
Barbara C
that Baren won't be furnishing the papers for prints; that would be more
collating, packaging and mailing than most coordinators could stand,
probably. I brought it up just to give an idea of what some other people are
doing. Two of the portfolios I was talking about can be seen on this site:
www.tworiversprintmaking.com. The prints are mostly not relief, but still
interesting. Thanks for getting the exchange prints online, too.
Barbara C
Message 6
From: peart # comcast.net
Date: Wed, 20 Feb 2008 23:56:32 +0000
Subject: [Baren 35141] Rat Postage
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Howdy All,
After our brief discussion on whether we needed extra postage for the cellophane envelopes, I must tell you what happened to me today when I took my Rats to the US Post Office.
As you may recall, I'm the one that got smart-alecky about the people at the PO...I said they'd only make you pay extra postage if they were having a bad day!
Instant Karma got me...as I handed my cellophane envelopes to the man behind the counter, I said, "These are going to the US and are all ready to go". He said, "If they go thru the mechanical sorter, they will probably be mangled. You need to add 17 cents extra postage so they can be sorted by hand. It's up to you." After a brief internal struggle, I opted to add the extra postage, as he guaranteed they wouldn't get mangled in the sorter , giving them a better chance of making it to their destinations.
So, bottom line - it was 41 plus 17 cents, 58 cents for US.
It was 69 cents to Canada, and 90 cents Internationally.
I think next year, I'll rethink the cello-envelopes!
Hope you enjoy my little Rats, they are joyfully on their way to you!
Terry
West Seattle
After our brief discussion on whether we needed extra postage for the cellophane envelopes, I must tell you what happened to me today when I took my Rats to the US Post Office.
As you may recall, I'm the one that got smart-alecky about the people at the PO...I said they'd only make you pay extra postage if they were having a bad day!
Instant Karma got me...as I handed my cellophane envelopes to the man behind the counter, I said, "These are going to the US and are all ready to go". He said, "If they go thru the mechanical sorter, they will probably be mangled. You need to add 17 cents extra postage so they can be sorted by hand. It's up to you." After a brief internal struggle, I opted to add the extra postage, as he guaranteed they wouldn't get mangled in the sorter , giving them a better chance of making it to their destinations.
So, bottom line - it was 41 plus 17 cents, 58 cents for US.
It was 69 cents to Canada, and 90 cents Internationally.
I think next year, I'll rethink the cello-envelopes!
Hope you enjoy my little Rats, they are joyfully on their way to you!
Terry
West Seattle
Message 7
From: Formschnider # aol.com
Date: Wed, 20 Feb 2008 19:17:39 EST
Subject: [Baren 35142] Re: Rat Postage
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printed mine directly on post cards 23 cents US POSTAGE and you
don't have to even buy the paper
don't have to even buy the paper
Message 8
From: "steffan ziegler"
Date: Wed, 20 Feb 2008 19:59:27 -0800
Subject: [Baren 35143] Re: Ink
Send Message: To this poster
I am sure graphic chem is watching the threads and will respond in time with
lots of helpful info, but here is my two cents to hold you over till then.
The inks referenced in the catalogue are specifically engineered to act
appropriately for different processes. But this doesn't mean you can't work
with an on-hand ink and then modify it. It is just that the cost for
materials that you can use to modify inks may run you as much as you would
have spent to buy the specially engineered inks. In any case, it is
probably a good idea to have some of this stuff on hand to "tweak" inks to
your preference.
I've had to modify etching inks quite a bit in the past to make them work
with viscosity printing, and to make them work with woodblocks. Litho ink
was usually too sticky for me to modify and use with thinner Japanese
papers.
For oil based inks, they can be "thinned out" with gel medium, but this
generally increases the drying time. A few drops of cobalt drier will offset
this, but it is quite toxic, so take care. The effects of adding more medium
can be offset by adding talcum or something like it to absorb the excess
oils.
I'm just starting with water based inks, but I believe that they can be
thinned with glycerin, but I have not tried it in a long while.
On Wed, Feb 20, 2008 at 9:51 AM, Eileen Corder
wrote:
> Hi Everyone,
>
> I have been reading with interest all your recent postings, as well as
> past forums, re: paper. Also, I've had lots of fun studying the past
> exchanges for style and materials. I've done limited experimentation with
> materials at hand, but I'm still in want of information about inks. If I had
> the money I'd just buy up everything and try it all out, but unfortunately,
> I'm stuck to carefully and slowly picking and choosing. Perhaps a few of you
> could comment about inks, in particular, in using lithographic and etching
> inks for wood block. The folks at GC&I say that only Perfection Palette is
> appropriate for woodblock, but I see that some of you use both regular
> etching and litho inks from GC&I. Any comments or special considerations
> before using these inks? (Sorry to bother you all with such an amateur
> question!)
>
> Peace,
> Eileen
>
>
lots of helpful info, but here is my two cents to hold you over till then.
The inks referenced in the catalogue are specifically engineered to act
appropriately for different processes. But this doesn't mean you can't work
with an on-hand ink and then modify it. It is just that the cost for
materials that you can use to modify inks may run you as much as you would
have spent to buy the specially engineered inks. In any case, it is
probably a good idea to have some of this stuff on hand to "tweak" inks to
your preference.
I've had to modify etching inks quite a bit in the past to make them work
with viscosity printing, and to make them work with woodblocks. Litho ink
was usually too sticky for me to modify and use with thinner Japanese
papers.
For oil based inks, they can be "thinned out" with gel medium, but this
generally increases the drying time. A few drops of cobalt drier will offset
this, but it is quite toxic, so take care. The effects of adding more medium
can be offset by adding talcum or something like it to absorb the excess
oils.
I'm just starting with water based inks, but I believe that they can be
thinned with glycerin, but I have not tried it in a long while.
On Wed, Feb 20, 2008 at 9:51 AM, Eileen Corder
wrote:
> Hi Everyone,
>
> I have been reading with interest all your recent postings, as well as
> past forums, re: paper. Also, I've had lots of fun studying the past
> exchanges for style and materials. I've done limited experimentation with
> materials at hand, but I'm still in want of information about inks. If I had
> the money I'd just buy up everything and try it all out, but unfortunately,
> I'm stuck to carefully and slowly picking and choosing. Perhaps a few of you
> could comment about inks, in particular, in using lithographic and etching
> inks for wood block. The folks at GC&I say that only Perfection Palette is
> appropriate for woodblock, but I see that some of you use both regular
> etching and litho inks from GC&I. Any comments or special considerations
> before using these inks? (Sorry to bother you all with such an amateur
> question!)
>
> Peace,
> Eileen
>
>