Today's postings
- [Baren 40806] Re: white lines and craziness (Annie Bissett)
- [Baren 40807] Re: white lines and craziness (l k)
- [Baren 40808] RE: New Baren Digest (Text) V50 #5167 (Mar 10, 2010) (April Vollmer)
- [Baren 40809] paper ate my blue ("Maria Arango Diener")
- [Baren 40810] Re: Chinese New Year cards (Constance Brewer)
- [Baren 40811] RE: New Baren Digest (Text) V50 #5167 (Mar 10, 2010) (Le Green)
- [Baren 40812] Three questions (Getting rough textures, reductive preferences, and a plexiglass problem) (Conor Moe)
Message 1
From: Annie Bissett
Date: Wed, 10 Mar 2010 14:06:58 GMT
Subject: [Baren 40806] Re: white lines and craziness
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Hi Bareners,
I'm listening with rapt attention to Barbara and Linda describing the
trials and tribulations of making white line prints, as that's
something I've wanted to try. Linda, I made my way over to your blog
and enjoyed seeing your results:
http://lindakelen-artings.blogspot.com/2010/03/first-two-white-line-
woodblock-prints.html
You reported trying two kinds of paper, kizuki hanga and nishinouchi.
Did you find one worked better than the other? I think your prints
came out beautifully. I especially like "The Patron Saint of Shrews."
Barbara, I LOL'd to read your comment "I am nothing if not
tenacious." I consider that one of my own best qualities as a
printmaker too, although some of my loved ones refer to that trait as
"stubborn." I guess it can go two ways...
Annie B
I'm listening with rapt attention to Barbara and Linda describing the
trials and tribulations of making white line prints, as that's
something I've wanted to try. Linda, I made my way over to your blog
and enjoyed seeing your results:
http://lindakelen-artings.blogspot.com/2010/03/first-two-white-line-
woodblock-prints.html
You reported trying two kinds of paper, kizuki hanga and nishinouchi.
Did you find one worked better than the other? I think your prints
came out beautifully. I especially like "The Patron Saint of Shrews."
Barbara, I LOL'd to read your comment "I am nothing if not
tenacious." I consider that one of my own best qualities as a
printmaker too, although some of my loved ones refer to that trait as
"stubborn." I guess it can go two ways...
Annie B
Message 2
From: l k
Date: Wed, 10 Mar 2010 18:48:12 GMT
Subject: [Baren 40807] Re: white lines and craziness
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Thanks very much, Annie..
but, you have to remember that this might be nothing but beginners luck.
I'm taking the first print off the third block this afternoon,
and will post for show&tell
so you guys can all see the troubles I ran into,
but, like I just told Barbara, I'm a firm believer in the importance of problems...
although, I do a fair amount of teeth gritting when I first lay eyes on them...
without trouble and problems, I would never learn anything.
Anxious to get the next one started to see if I can figure out one big, nasty issue I'm having....you'll see when I get it up.
Linda
lindakelen-artings.blogspot
but, you have to remember that this might be nothing but beginners luck.
I'm taking the first print off the third block this afternoon,
and will post for show&tell
so you guys can all see the troubles I ran into,
but, like I just told Barbara, I'm a firm believer in the importance of problems...
although, I do a fair amount of teeth gritting when I first lay eyes on them...
without trouble and problems, I would never learn anything.
Anxious to get the next one started to see if I can figure out one big, nasty issue I'm having....you'll see when I get it up.
Linda
lindakelen-artings.blogspot
Message 3
From: April Vollmer
Date: Wed, 10 Mar 2010 19:52:00 GMT
Subject: [Baren 40808] RE: New Baren Digest (Text) V50 #5167 (Mar 10, 2010)
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I just checked Annie's link to Katie Baldwin, pretty fabulous prints! I know Katie from when I was in Japan, and look forward to seeing her at the Southern Graphics Council meeting. Katie Baldwin (along with Daniel Heyman) will be giving a moku hanga demonstration at Southern Graphics council meeting at the end of March. http://www.sgcphiladelphia.com/demos.html
Anyone from Baren planning to attend? It will be an especially good conference, coinciding with Philagraphika. Here are the details:
Japanese Style Water-Based Printing (Moku Hanga)
Date: Friday, March 26, 2010
Time: 1:00 PM to 3:00 PM & 3:30 PM to 5:30 PM (continuous on the hour and half hour)
Location: Moore College of Art & Design, Room 610, the print shop. (20th Street & the Parkway)
Become acquainted with the tools and materials associated with the traditional Japanese techniques of carving and printing. Participants will have the opportunity to watch a demonstration that will introduce kento registration and a traditional carving sequence. Observe water-based inking and hand printing of multiple blocks using a baren. An international exhibition of exchange prints in this technique will be on display along with examples of other work in this technique.
Demonstrator: Katie Baldwin
Pirntmaker and Book Artist, Faculty, Moore College of Art
Demonstrator: Daniel Heyman
Artist who teaches printmaking at RISD, Princeton University and Swarthmore College
Best wishes,
April
www.aprilvollmer.com
Anyone from Baren planning to attend? It will be an especially good conference, coinciding with Philagraphika. Here are the details:
Japanese Style Water-Based Printing (Moku Hanga)
Date: Friday, March 26, 2010
Time: 1:00 PM to 3:00 PM & 3:30 PM to 5:30 PM (continuous on the hour and half hour)
Location: Moore College of Art & Design, Room 610, the print shop. (20th Street & the Parkway)
Become acquainted with the tools and materials associated with the traditional Japanese techniques of carving and printing. Participants will have the opportunity to watch a demonstration that will introduce kento registration and a traditional carving sequence. Observe water-based inking and hand printing of multiple blocks using a baren. An international exhibition of exchange prints in this technique will be on display along with examples of other work in this technique.
Demonstrator: Katie Baldwin
Pirntmaker and Book Artist, Faculty, Moore College of Art
Demonstrator: Daniel Heyman
Artist who teaches printmaking at RISD, Princeton University and Swarthmore College
Best wishes,
April
www.aprilvollmer.com
Message 4
From: "Maria Arango Diener"
Date: Wed, 10 Mar 2010 22:28:48 GMT
Subject: [Baren 40809] paper ate my blue
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I'm working on a new moku-hanga image, go figure, I guess I just decided
that the desert was delicate after all.
Anyway, ran into a glitch with a paper I'm using called "kihada".
I printed about a third of the run on New Hosho from the Baren Mall, and the
other two thirds on this "kihada" which looks about the same as the New
Hosho but it is about twice as "weighty". Using Akua inks, black,
ultramarine, crimson red, sienna, umber, and ochre, mixes thereof.
I have printed key and four colors on about 20 proofs on alternate paper and
20 prints on New Hosho that are looking yummy and colorful, delicate, but as
planned.
The kihada prints ALL ate my ultramarine blue; the sky is gone, like,
totally dude. The red has faded to a light pink, the purple is very light
and almost umber. At first I thought maybe the colors had faded a little or
just looked different on this paper, but after three days of printing, the
first color (blue) is all but gone.
Is this paper meant for something else? Is it a blue-eating paper? Does it
eat all colors and the blue is the best tasting so it ate that first?
HEEEEEEEEEEEELP!
What's going on?
Marrrrrria, going to the Mall to order mas hosho, mas brusho, y mas cosas
[=o=][=o=][=o=][=o=]
www.1000woocuts.com
ww.artfestivalguide.info
[=o=][=o=][=o=][=o=]
that the desert was delicate after all.
Anyway, ran into a glitch with a paper I'm using called "kihada".
I printed about a third of the run on New Hosho from the Baren Mall, and the
other two thirds on this "kihada" which looks about the same as the New
Hosho but it is about twice as "weighty". Using Akua inks, black,
ultramarine, crimson red, sienna, umber, and ochre, mixes thereof.
I have printed key and four colors on about 20 proofs on alternate paper and
20 prints on New Hosho that are looking yummy and colorful, delicate, but as
planned.
The kihada prints ALL ate my ultramarine blue; the sky is gone, like,
totally dude. The red has faded to a light pink, the purple is very light
and almost umber. At first I thought maybe the colors had faded a little or
just looked different on this paper, but after three days of printing, the
first color (blue) is all but gone.
Is this paper meant for something else? Is it a blue-eating paper? Does it
eat all colors and the blue is the best tasting so it ate that first?
HEEEEEEEEEEEELP!
What's going on?
Marrrrrria, going to the Mall to order mas hosho, mas brusho, y mas cosas
[=o=][=o=][=o=][=o=]
www.1000woocuts.com
ww.artfestivalguide.info
[=o=][=o=][=o=][=o=]
Message 5
From: Constance Brewer
Date: Thu, 11 Mar 2010 00:46:11 GMT
Subject: [Baren 40810] Re: Chinese New Year cards
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Louise,
"White Bengal" would be my traveling tiger.
He should have come with a little business card sized note with my name,
the title, and media on it... in the envelope.
Connie Brewer
Gillette, WY
http://peripheryarts.blogspot.com
>Hi all - it's really nice to have this year's cards arriving ! Please
>tell me who did the 'White Bengal' and 'Tiger in the Dark'? I hastily
>disposed of the envelopes and can't read you signatures?!
>thanks
>Louise C.
"White Bengal" would be my traveling tiger.
He should have come with a little business card sized note with my name,
the title, and media on it... in the envelope.
Connie Brewer
Gillette, WY
http://peripheryarts.blogspot.com
>Hi all - it's really nice to have this year's cards arriving ! Please
>tell me who did the 'White Bengal' and 'Tiger in the Dark'? I hastily
>disposed of the envelopes and can't read you signatures?!
>thanks
>Louise C.
Message 6
From: Le Green
Date: Thu, 11 Mar 2010 03:42:04 GMT
Subject: [Baren 40811] RE: New Baren Digest (Text) V50 #5167 (Mar 10, 2010)
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Archivists's Note: Message contained no content.
Message 7
From: Conor Moe
Date: Thu, 11 Mar 2010 12:33:40 GMT
Subject: [Baren 40812] Three questions (Getting rough textures, reductive preferences, and a plexiglass problem)
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Well I've had two questions I've been thinking about lately, both on the
print I'm working on right now. First I should say I'm using a press and
lots of layering with inks. About a third of the area of my current print is
going to be parking lot/street. The underlaying light gray texture I'm going
for is the type that may be speckly, or maybe what you would get if you
rolled an incredibly stiff and tacky ink directly onto the paper. It's going
to be mostly covered with a darker grey or black, but rhythmically and I
want some more realism to add something else to it. I'm trying to think of a
good example of this type of texture right now but I'm short on time and I
know an example will pop into my head as soon as I stop trying to think ait.
I have experimented with laying thick layers of elmers glue and stabbing it
repeatedly just before its dry, but it ends up too flat. Maybe a good way to
explain the texture would be like a 40 grit sandpaper vs a smooth run of a
color being 1000 grit or something. Just yesterday somebody gave me the idea
of using a wall painting roller to roll something stiff onto the block,
letting it dry and then either coating or spraying it with polyurethane,
then rolling the block and that sounds like it could work good, but would
take some experimenting first. Just wondering if anybody has any tricks or
ideas about creating rough/extremely tacky looking textures. To get an idea
of where I'm going with this, the blog I started,
cuttingwoodandstuff.blogspot.com has a rough key block and the stage after a
couple runs so far.
My second question is just a personal preference thing, I think (?) it would
apply to mostly reductive printers - the way I've been working is stenciling
out seperated areas and printing 3-4 colors per run, and if I keep this pace
I'll still have six or so runs to go. I tend to set up a stencil, start
cutting away pieces and don't stop, and ending up printing so much at once.
I feel like I must be wasting time somehow, usually because I can't set up 4
colors and print 24 at a time and clean up all in one sitting, so I end up
wasting time spending twice the setup/clean up time, sometimes taking 3
separate sessions to finish one run of 24 prints. I feel like sticking to
just one or two things at a time would be smarter, especially with the added
time in between to see how the colors are working out, but I also just want
to finish this as fast as I can. Do you guys stick to one or two colors, and
just spend the ink drying time on other things, or does the process take the
same amount of time either way? I'm lucky in that I'm a student and can
spend 30-40 hours a week in the studio, but I think I'm just shooting too
far with so many rollers and ink thinking to deal with at once.
The last question just arrived at my house about an hour ago. I gave a print
to my mom for christmas ( you can see it at
http://cuttingwoodandstuffgallery.blogspot.com , it's the one called 94 and
Riverside.) Its a big one for me, 2x4' and I ordered special cut plexiglass
from professionalplastics.com. The plexi is about 28x54" if I remember
right, and their professional shipping cardboard decided to chip away a nice
little corner of it, about 3-4 inches in each direction. Shipping it back it
out of the question so I'm just gonna make it work. My plan is just to put a
small amount of superglue in between, just on one piece to make sure when i
snap it together it doesnt squish out the top. I guess thats not really much
of a question, but if there's something I'm about to mess up please let me
know. It shouldn't be a huge deal because the print itself will be 2-3" in
anyways.
I guess most of this was just personal preference stuff, or tricks I don't
know yet, but it's always great to learn from you guys, so any tips are the
best.
Conor
print I'm working on right now. First I should say I'm using a press and
lots of layering with inks. About a third of the area of my current print is
going to be parking lot/street. The underlaying light gray texture I'm going
for is the type that may be speckly, or maybe what you would get if you
rolled an incredibly stiff and tacky ink directly onto the paper. It's going
to be mostly covered with a darker grey or black, but rhythmically and I
want some more realism to add something else to it. I'm trying to think of a
good example of this type of texture right now but I'm short on time and I
know an example will pop into my head as soon as I stop trying to think ait.
I have experimented with laying thick layers of elmers glue and stabbing it
repeatedly just before its dry, but it ends up too flat. Maybe a good way to
explain the texture would be like a 40 grit sandpaper vs a smooth run of a
color being 1000 grit or something. Just yesterday somebody gave me the idea
of using a wall painting roller to roll something stiff onto the block,
letting it dry and then either coating or spraying it with polyurethane,
then rolling the block and that sounds like it could work good, but would
take some experimenting first. Just wondering if anybody has any tricks or
ideas about creating rough/extremely tacky looking textures. To get an idea
of where I'm going with this, the blog I started,
cuttingwoodandstuff.blogspot.com has a rough key block and the stage after a
couple runs so far.
My second question is just a personal preference thing, I think (?) it would
apply to mostly reductive printers - the way I've been working is stenciling
out seperated areas and printing 3-4 colors per run, and if I keep this pace
I'll still have six or so runs to go. I tend to set up a stencil, start
cutting away pieces and don't stop, and ending up printing so much at once.
I feel like I must be wasting time somehow, usually because I can't set up 4
colors and print 24 at a time and clean up all in one sitting, so I end up
wasting time spending twice the setup/clean up time, sometimes taking 3
separate sessions to finish one run of 24 prints. I feel like sticking to
just one or two things at a time would be smarter, especially with the added
time in between to see how the colors are working out, but I also just want
to finish this as fast as I can. Do you guys stick to one or two colors, and
just spend the ink drying time on other things, or does the process take the
same amount of time either way? I'm lucky in that I'm a student and can
spend 30-40 hours a week in the studio, but I think I'm just shooting too
far with so many rollers and ink thinking to deal with at once.
The last question just arrived at my house about an hour ago. I gave a print
to my mom for christmas ( you can see it at
http://cuttingwoodandstuffgallery.blogspot.com , it's the one called 94 and
Riverside.) Its a big one for me, 2x4' and I ordered special cut plexiglass
from professionalplastics.com. The plexi is about 28x54" if I remember
right, and their professional shipping cardboard decided to chip away a nice
little corner of it, about 3-4 inches in each direction. Shipping it back it
out of the question so I'm just gonna make it work. My plan is just to put a
small amount of superglue in between, just on one piece to make sure when i
snap it together it doesnt squish out the top. I guess thats not really much
of a question, but if there's something I'm about to mess up please let me
know. It shouldn't be a huge deal because the print itself will be 2-3" in
anyways.
I guess most of this was just personal preference stuff, or tricks I don't
know yet, but it's always great to learn from you guys, so any tips are the
best.
Conor