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Message 1
From: Pinto Lawrence
Date: Wed, 21 Sep 2011 13:23:58 GMT
Subject: [Baren 44241] Does anyone know of examples in which printmakers have engaged in efforts to save wildlife?
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Dear Baren Forum People,

I just read an article in Nature Magazine (Aug 4, 2011, p. 32, vol
476) by Anthony King telling how exhibitions of paintings were used to
help generate support to preserve the a North American wildlife
corridor 3,200 km long, from Yellowstone Park in the western US to the
Yukon in Canada. This was done at the end of the 19th century. Elk,
Bison, Grizzly bears, Pronghorn Sheep and of course smaller animals
including birds move up and down this corridor in great numbers. There
are now many fewer impediments than there would have been without this
campaign, assisted by artists. Our lives are better in some measure
because of this conservation effort.

Does anyone know of examples in which printmakers have engaged in
similar conservation efforts? I'd be grateful to know about them so
that I could learn from them.

Thank you,

Larry

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Message 2
From: Oldfield Press
Date: Wed, 21 Sep 2011 13:45:53 GMT
Subject: [Baren 44242] Re: Baren Member blogs: Update Notification
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www.oldfield-press.blogspot.com

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Message 3
From: Phil Hillmer
Date: Wed, 21 Sep 2011 14:02:49 GMT
Subject: [Baren 44243] Oil based reduction prints generally printed on dampened or dry paper?
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Hi,

I have been wondering about this, I would think that oil based multicolored
reduction prints with possibly layered inks should be printed on dampened
paper to accept the ink better. However I am wondering how repeated
dampening and drying out of the paper would change the stretching
characteristics of the paper and maybe after three or four times through the
press, the print would be out of registration solely due to the changing
characteristics of the paper stretch-shrinkage cycles due to dampening and
then drying out between printing sessions. So I am wondering how folks who
are doing these kinds of prints go about it. I have no experience with
reduction, my beginnings of printmaking are multi block, I am not brave
enough yet for reduction.

I guess maybe a better question would be - is layering of oil based ink in
reduction prints a no no, and/or should these prints only be attempted on
dry paper?

Thanks for any insights on this.

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Message 4
From: Barbara Mason
Date: Wed, 21 Sep 2011 14:29:13 GMT
Subject: [Baren 44244] Re: Does anyone know of examples in which printmakers have engaged in efforts to save wildlife?
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Larry,
They had a bird show here in Portland at the Audubon Society, everyone used the imagery of a bird and birdhouse..it was hugely successful for them, I think it was painting as well as printmaking. It was several years ago. The prices were low but they sold out the show...I think they raised $20,000 for their efforts to save our feathered friends.
My best
Barbara

Subject: [Baren 44241] Does anyone know of examples in which printmakers have engaged in efforts to save wildlife?

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Message 5
From: Barbara Mason
Date: Wed, 21 Sep 2011 14:45:52 GMT
Subject: [Baren 44245] Re: Oil based reduction prints generally printed on dampened or dry paper?
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Phil,
I use dry paper...Arches 88 with a press and lighter oriental paper like Kitakata or Masa with a baren or spoon......
.I think I have one on the exchange galleryhere

http://www.barenforum.org/exchange/exchange_26/exchange_frame.html ...you need to click on my name

This is printed 4 times as I recall, the black block has little on it, but I still have it. As I look at the listing I see I used Akua Inks to print this but it is the same idea. I usually use litho ink when printing relief prints in oil, if you modify it a bit it works well printing by hand. I think I printed this with a ball bearing baren...it has been awhile so I have forgotten exactly how I did it, but I have samples of each step and show them when I do demos and teach classes, it is always a hit. If you use a wooden spoon or rice paddle, start in the center and work to the edges. The paper sticks pretty well to the ink so not many problems with movement on light weight paper.

I have done 7 layers, but you need to print and carve like crazy to get it done before all is dry, I like to print wet ink on wet ink, so that means moving at light speed. Not for the faint of heart! But you can sure let it dry...I just have my own crazy way of working
My best
Barbara

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Message 6
From: Renee
Date: Wed, 21 Sep 2011 16:30:34 GMT
Subject: [Baren 44246] Re: Oil based reduction prints generally printed on dampened or dry paper?
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Hi all,


Many of my prints are reductive, transparent, sometimes multiple blocks, but I print these relief prints on dry paper. Usually the first layer will dry rather quickly, then the following (up to 11 or 12, colors) take a longer period of time, depending on the humidity and temp., here in the PNW, with our basically cool climate, it takes quite a while, maybe a week or so for each color. I fill in the waiting time with other work. Also, I cannot recommend the cobalt drier as it is a pretty toxic chemical. Good luck, be patient, the best teacher is experience and lots of experimenting and lots of patience!


Also, welcome to the new folks who have joined recently, this is a fabulous place to learn, be inspired and find great comraderie!


Cheers!


Renee
Beautiful and warm (for now) Oregon.

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Message 7
From: Joe Martin
Date: Wed, 21 Sep 2011 20:07:10 GMT
Subject: [Baren 44247] re.soap and litho
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I believe that particular soap is made with a base of olive oil, maybe that's a better formula than ivory? Suzi SM

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Message 8
From: Michael Gorrie
Date: Wed, 21 Sep 2011 21:41:20 GMT
Subject: [Baren 44248] Re: Oil based reduction prints generally printed on dampened or dry paper?
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I only make multi-colored and many layered color reduction woodcut prints with oil based inks and I would never dampen the paper. Sometimes I print a color over until it fills in to where I want it. I consider dampening paper for Intaglio/Etching, where the paper needs to be malleable. I used to use rice papers but they weren't tough enough to stand up to so much rubbing on the back side. Now I only use thick rag papers (Arches, Rives, etc.).

In summary: if you are using a press, maybe it's ok to dampen the paper. If you are burnishing the back of the paper by hand I think wet/damp paper might tear.

Michael
www.michaelgorrieart.com

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Subject: Woodson Art Museum makes "Ripples" all its own
Posted by: Sherrie Y

This item is taken from the blog Brush and Baren.
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