6/3/2008

Oh joy! Here are the gory details of the printing process. I just love prints hanging in my studio...

Every good rock pile must start with a solid foundation, so I printed the bottom block first. The "makeready" part of printing these puzzles is a bit complex.

The process goes something like this:
1. Level blocks "dry" (without inking) and glue to the backing board to hold steady. I learned last time that the blocks shifted with the pressure and gave blurry edges in some spots, so this time I glued all the little blocks with Yes Paste, which allows for quick popping up and re-positioning if need be. I checked the level of the blocks by placing the side of a metal straight-edge on top at various angles and just visually checking that all blocks touched the straight-edge. Will illustrate this in a later entry. Gross adjustments are best done before the block is inked, the process being much cleaner than after the ink is on the block.

2. Next I proofed with ink and tweaked any obvious low blocks or low spots. This can be done several ways: the "Barbara-Mason-masking-queen" method, which entails applying masking tape to the underside of the blocks to raise them. Or when the block is really low, I simply popped the block loose, added blotter paper and glued to the backing board anew. Some blocks were proofed using waterbased inks, which shrinks the block considerably. Some simply traveled to humid parts of the world and returned to me to dry out in the desert. You would be surprised at the variety of the heights of these blocks when they are returned to 3% humidity!

Another recurring problem was that when you raise one block, the roller will "ride" on the higher block and affect the adjacent blocks. If you think about it, it's kind of like a large group getting along; everyone has to make a compromise. Whereas each block would print perfectly if printed on its own, the collective has to compromise to achieve a collaborative print. Interesting...

3. Proof again and carve away inked spots not on images, usually backgrounds or edge of blocks. A continuation of the above mentioned "compromise theory", some blocks are carved in exquisite detail and would normally require very little ink. But when placed next to a block that is mostly large flat areas, each block has to adapt to the others' needs.

4. By now I'm proofing again on the "good" paper to get an exact idea of what the darned thing will look like. Once I'm printing on the Stonehenge paper, I can tweak the pressure of the Whelan Press to achieve maximum saturation without too much pressure. This press is a beauty by the way and I'm enjoying finally having a professional quality press. Incidentally, I'm using Graphic Chemical's Perfection Palette Intense Black oil based ink...and lots of it!

5. Once everything is set I start the music (literally!) and get in the "production mode" mood, where I just print another and another and another and another until my feet hurt, I catch my hand on the press wheel, the cats step on the ink or anything else interrupts my flow. I can usually crank out 40-80 of these full sheet prints a day, then I start getting cranky (ha!) and quit for the day.

This is a picture of the bottom block. These collaborations just amaze me, how so many different images can quite literally come together to form a coherent "whole". Every time I look at the images I see another detail, another surprise, another interesting image caused by the fortuituous juxtaposition of the creations from two printmakers who probably don't even know each other.

Well, one major adjustment I had to make and need to report. The initial plan was to provide every participant with 2 complete sets. Unfortunately these cherry plywood blocks didn't hold up to that. Some blocks literally fell apart on me, not too many, but I had to stop the presses and reglue the missing delicate parts. After having to repair several areas several times and watching the edges of some blocks go "soft" on me, I decided there was no possible way to get more prints out of the bottom block. With 79 participants and 90+ good prints, this means only one set per participant. Live and learn!

For next project, I will either choose a more stable synthetic block (yuck!) or just limit the number of participants...or go wild and do the same thing and live with it.

2/11/2008
Here we go, I finally get to get on with the printing!
First and foremost, a huge THANK YOU to the folks at Graphic Chemical for their generous discount of the 600 sheets of Stonehenge Cream, upon which the Baren Cairn will be inked and pressed.

(For Previous Project Diary, go here)

In the last couple of weeks, I received the last few blocks and got going on the assembly phase.

Nothing like a good jigsaw puzzle to get started... (all images link to an enlargement)

I finally reclaimed my studio shelves, spread out the cairn framework, dehaired everything (those darned cats) and proceeded to reopen all the little packages. Incidentally, I just loved all the notes and surprises that came with the blocks and I kept everything in a folder, which will bring fond memories after a few years.

Although you may see the "key" map in the background, I tried to fit all the pieces without looking at it, more fun that way.

Nicely taking shape, I really enjoy how the pieces go together and the "whole" comes alive.

There it is, four MIAs counting mine, which is here somewhere....

After the fitting was done, I was left with the decision of what to do with the missing pieces. I thought about just leaving the holes, but decided I liked my initial design and proceeded to come up with four quick ideas.

To carve substitute blocks, first I made a template by pressing a piece of foamboard against the edges of each hole. This made a nice impression of the perimeter of each hole. I cut the foamboard and transferred to the cherry plywood, fired up the jig-saw and cut my brave replacements. Nothing like pressure to design and carve four little blocks in a hurry!

Ah yes, much better complete.

The last task was to clean up the edges and get rid of the background. I still have to glue each block to the backing. In the last puzzle I printed with Barbara Mason the pieces tended to shift a little; to prevent this, I'm going to level and secure each piece to the backing this time.

I chose to leave the pieces on matboard rather than afix to a wooden base so that if a block is too low, it can be easily raised by placing newsprint under the matboard. I guess that will be my next task. For now, see below for the complete cairn, with the edges removed.

I am amazed at the variety of styles and interpretations of the cairn theme. Really to have all the 79 blocks together ready to print is kind of a cool thing, considering how far they've traveled and how long ago they were separated from their neighbors.

Here is the entire cairn, ready for the next step. Clicking will give a large enlargement.

COOL HUH?!

...to be continued soon enough!

 

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PUZZLE PROJECT #1
"WHAT IS BAREN?"A PUZZLE BY ITS MEMBERS"

DETAILS    INSTRUCTIONS TO PARTICIPANTS!     PARTICIPANTS LIST
STAY TUNED FOR PUZZLE PROJECT #2, COMING IN SPRING/SUMMER 2004...

DIARY IN PHOTOS:
JUNE 2003 | OCTOBER 2003 | JANUARY 2004 | FINAL IMAGE | COLOPHON |

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