Today's postings

  1. [Baren 42775] Re: printing smallish prints Moku hanga//Exchange print 47 final version(s) (Barbara Mason)
  2. [Baren 42776] 4 side bleed paper registration (Margot Rocklen)
  3. [Baren 42777] Re: printing smallish prints Moku hanga//Exchange print 47 final version(s) ("Maria Arango Diener")
  4. [Baren 42778] Re: printing smallish prints Moku hanga//Exchange print 47 final version(s) ("Ellen Shipley")
  5. [Baren 42779] Re: New Baren Digest (Text) V54 #5518 (Feb 9, 2011) (A WRIGHT)
  6. [Baren 42780] Re: printing smallish prints Moku hanga//Exchange print 47 final version(s) ("Maria Arango Diener")
  7. [Baren 42781] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Barbara Mason
Date: Wed, 09 Feb 2011 15:31:34 GMT
Subject: [Baren 42775] Re: printing smallish prints Moku hanga//Exchange print 47 final version(s)
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With clean hands you can register to the corner of the block...you just have to
be very neat, doable but irritating if the ink goes all the way to the edge.
I would vote for no ink going to the edge until the last block and be sure not
to print any upside down. I have done this and it makes you crazy.
my best
Barbara
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Message 2
From: Margot Rocklen
Date: Wed, 09 Feb 2011 16:34:05 GMT
Subject: [Baren 42776] 4 side bleed paper registration
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In response to Annie's request for suggestions on registering a 4-side bleed,
Maria's idea of adding paper strips to reach the kento while printing, and then
removing them, sounds good to me, but I would be afraid that with all the
dampening, positioning, etc., those strips would eventually dislodge.


Rolling up the paper and grasping the two front corners, positioning them at the
front corners of the block, laying the roll down gently, and then guiding it
toward the back of the block as it unfurls, is something I've done, and it
works, as long as the leading edge of paper and block are absolutely square, and
the roll doesn't "skip" or bunch up as it unrolls.

Viewing Mike Lyons' setup for registering very large paper, it seems that a
movable frame positions the paper at the edge of the block. That gave me an
idea, but I haven't tried it yet.

The printmaking paper could be laid on a sheet of lightweight plexi, with about
1/2 inch of the front edge hanging off the plexi. The plexi can be placed on 2
strips of wood on opposite sides, and slightly higher than the block. The free
edge can be positioned at the edge of the block, and held in place with one
hand, while the plexi is slid from under the paper with the other hand. The two
strips are then set aside for printing. Again, unproven!

Margot Rocklen
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Message 3
From: "Maria Arango Diener"
Date: Wed, 09 Feb 2011 17:04:08 GMT
Subject: [Baren 42777] Re: printing smallish prints Moku hanga//Exchange print 47 final version(s)
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You can use a foamboard jig that allows you to register to the edge of the
block.

Ink the block, place the jig flush to the edge, place the paper, remove the
jig, print. Sounds longer than it takes.



I make a standard square jig using the edge of the block as pattern so it
will fit perfectly. I'm notorious for cutting my blocks a bit off (sigh).

Place strips of foam-board alternating the lengths so that they criss-cross
at the corner for strength, glue with block in place then remove the block
and let dry.

The foamboard must extend above the block a smidgen (technical term) so that
the paper will have something to butt against.



After your jig is dry, you can put painter's tape on the inside corner of
the jig and remove/replace as it gets soiled with ink.



Works perfectly, I have about 30 such jigs laying around the studio; for
some reason I always think I will re-use them but end up making a new custom
one for each "job".



Maria



[=o=][=o=][=o=][=o=]

www.1000woodcuts.com

www.artfestivalguide.info

[=o=][=o=][=o=][=o=]
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Message 4
From: "Ellen Shipley"
Date: Wed, 09 Feb 2011 17:35:26 GMT
Subject: [Baren 42778] Re: printing smallish prints Moku hanga//Exchange print 47 final version(s)
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This sounds...complicated. Do you have a picture of this we can peruse? ;-]

Ellen
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Message 5
From: A WRIGHT
Date: Wed, 09 Feb 2011 17:44:52 GMT
Subject: [Baren 42779] Re: New Baren Digest (Text) V54 #5518 (Feb 9, 2011)
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Hi Tony here to let you know....
It isn't woodcut related but I have updated the Blog with a new use for our collection.
www.oldfield-press.blogspot.com
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Message 6
From: "Maria Arango Diener"
Date: Thu, 10 Feb 2011 01:29:38 GMT
Subject: [Baren 42780] Re: printing smallish prints Moku hanga//Exchange print 47 final version(s)
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Your wish is my command!
http://1000woodcuts.com/studio/method.html scroll down to:
Registration Methods: Bleed registration with a foam-board jig

And for those who have been waiting patiently for the introduction of the
never seen before and completely ingenious “baren bonnet”, same Studio Notes
page, scroll down to:
Baren Bonnet: Covering your baren with an unconventional durable "skin"

Alex from McClain’s, steal my idea and get someone to sew up a bunch of
those baren bonnets! They will sell like hotcakes. Let me know if you need
more details on how to make one.

Maria

[=o=][=o=][=o=][=o=]
www.1000woodcuts.com
www.artfestivalguide.info
[=o=][=o=][=o=][=o=]

Digest Appendix

Postings made on [Baren] members' blogs
over the past 24 hours ...

Subject: Mystique Series #11 : printing begins ...
Posted by: Dave Bull

If I still remember how ... printing of the Urashima Taro design now begins!

After Tuesday's school demonstrations, and yesterday's trip downtown to see young carver Sato-san (and Takahashi-san, the lady who is sponsoring his work at present) - to discuss the senshafuda project - it's time to get back to the bench.

I'm on a very tight deadline now with this print, for a couple of reasons: the nominal schedule which the collectors have become used to is to have each print ready for shipping preparation by the 15th of each month, at which time I do all the invoicing. The 15th is obviously impossible this time, but the first batch of 100+ should be off the blocks by around a week from now, maybe the 18th. I would then normally get started on the second batch right away, but there is another 'distraction' coming up; I will be flying over to Canada on the 21st for a quick family visit with my parents, my kids, and the grand-sons. I haven't seen them all since last June, and a few months ago when I looked ahead to late February, I thought that the schedule might be a bit relaxed at that time, so booked the ticket.

Hah.

But it'll only be a short break, just seven days, and I'll then be back at it. So this print will be a few days late for everybody I guess, but the next one - which has yet to be carved - won't even begin . . .
[Long item has been trimmed at this point. The full blog entry can be viewed here]


This item is taken from the blog Woodblock RoundTable.
'Reply' to Baren about this item.


Subject: New Project for this spring ...
Posted by: Dave Bull

Over on the RoundTable blog, I've been talking a lot about the plans for Mokuhankan moving forward this year, and it's time to get something actually under construction!

First, a tiny bit of 'history'. From late Meiji up until the wartime period, collecting small prints known as senshafuda (or alternatively senjafuda) was a common activity. These prints had their origin in the fuda labels that travellers and worshippers pasted on the walls and gates of shrines during their visit. A recent story in the Japan Times gives some background.

That story mentions how the senshafuda evolved from simple name labels into something more colourful and decorative, suitable for appreciation as a beautiful object in their own right. Here is a batch of them (probably dating from early Showa, maybe Taisho) from my own collection:

'Labels' they may be, but they are actually full-colour woodblock prints.

This particular set wasn't printed on very high-quality paper, but even so, the colours blend beautifully, and the carved lines clearly show that they are 'real' prints.


[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Mokuhankan Conversations.
'Reply' to Baren about this item.


Subject: Reduction printing: It's about what remains
Posted by: Sherrie Y

Eight colors. I know I said seven, but you know that I know that I sound like a broken record*, so from here on out I will try to refrain from making too many predictions about total colors in a linocut. I'll mention my approximate goal when I start, but as I can no longer remember the last time I met a target, I'll just stop bringing it up. Deal? (*Wait. Does anyone even get this simile anymore

[This was a summary of the original entry. The full entry can be viewed here]

This item is taken from the blog Brush and Baren.
'Reply' to Baren about this item.


Subject: Pretty Slugs
Posted by: Oldfield Press

The band I am in (Terrorvision) have a new album out. First in 10 years and so it has to be special. After seeing the first ideas and attempts at a cover design I thought, 'we have some wonderful Rockwell shadow which would look great on the cover.
I think cds' are alot harder to design for as when I was a kid I loved looking at the pictures on the album covers. The covers for lps' were bigger and so I think alot easier to make interesting. Now we have a small square that measures 5"x5". I suppose this is the door to open to see what is inside, the lyrics the photos and of course the music.

I made up the block and Stu came down with his super delux camera to get some close up and detailed pics. To really show the beauty of the lead slugs and the font they represented.


[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Oldfield Press.
'Reply' to Baren about this item.