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Re: BOOK_ARTS-L Digest - 12 Jan 1998 to 13 Jan 1998



Thanks everyone for the info on brayer's.  After everyone's description of
it, I realized I used one in my intaglio printing class long ago - I forgot
the name of it I guess or we just called it a roller... elementary my dear,
elementary...

Thanks,

Colette Vosberg

----------
> From: Michael Morin <ba202@FREENET.BUFFALO.EDU>
> To: BOOK_ARTS-L@LISTSERV.SYR.EDU
> Subject: Re: BOOK_ARTS-L Digest - 12 Jan 1998 to 13 Jan 1998
> Date: Sunday, January 18, 1998 1:04 AM
>
> A brayer is a rubber inking roller with a single handle. The frame of the
> brayer attaches to each end of the axle that runs thu the full length of
> the roller. This frame attaches to the roller in much the same way as
that
> of a hosehold paint roller, however, the frame is attached at both ends
of
> the roller and the perpendicular handle is centered on the frame.  IA
> brayer is to be griped and balanced like a paint roller, where a
> large-sized printer's roller may have handles like a rolling pin (for
> lithography) or a set of two perpendicular handles to grip like a large
> diameter  leterpress forme roller.
>
> Hope that helps...
> At 01:09 PM 1/18/98 -0500, you wrote:
> ><
> >>Could someone please explain the term brayer?  And before the image has
> >>been transferred onto the clay - has it been bisqued already or do you
let
> >>the toner soak in first and then bisque?  I have not worked with
polymer
> >>clay only porous, so imagine there are differences in handling.  I've
> >>noticed your using the term bake - so is polymer clay baked in the oven
and
> >>at what temperature.
> >>
> >
> >Hi, Colette,
> >
> >A 'brayer' is just one of those small rubber rollers with a handle, like
> >the ones used by block printers to spread the ink.
> >
> >I think the posts you're referring to were talking about 'polymer' clay
> >(like Sculpey or Fimo), which is *quite* a different animal from regular
> >ceramic clay!  Polymer clays are just that, a plastic, petroleum-based
> >material, mixed with pigments.  They harden when baked at LOW
> >temperatures in an ordinary kitchen oven.  (At the temperatures involved
> >in a pottery kiln, they'd just vaporize, emitting toxic fumes...)
> >
> >I believe it's the petroleum base in the polymer clays that provides the
> >'solvent action' for the toner transfer.
> >
> >With ceramic clays, different methods are needed.  You'd have to APPLY a
> >solvent to transfer the toner.  I've heard acetone suggested, and I've
> >also used a silkscreening material called "Serascreen".  (Both these are
> >highly toxic, wear a mask and gloves!)  You place the photocopy
> >toner-side to the piece to receive the transfer, possibly taping it in
> >place.  With a tablespoon reserved for ONLY this purpose, you then apply
> >solvent to the back of the photocopy, and briskly rub it (in a circular
> >motion, as if making a block print) over the whole image area.  (Bisque
> >the piece first, greenware might break down under the action of the
> >solvent and rubbing.)
> >
> >Of course the organic parts of the toner will vaporize when you
> >high-fire the piece, leaving only whatever inorganic pigments there may
> >have been, behind.  Different pigments would give different effects.
> >You might want to experiment with oil-paint transfers, to get a wider
> >palette...?  (Note that the color of a *fired* pigment may have little
> >relationship to what it was unfired, this is also affected by whether
> >the firing was in an oxidizing or reducing atmosphere.)
> >
> >There's also a material called "paper clay" (not the commercial product
> >of that name, though).  It's just a mixture of paper pulp (about 30 to
> >50%) with stoneware or porcelain slip.  The paper fibers give the
> >greenware incredible strength, you can roll out very thin slabs and
> >manipulate them into sculptures, vessels, etc.  The sheets are even
> >strong enough to survive a trip through an etching press!  (Which allows
> >some incredible embossing and intaglio inking effects to be done.)  The
> >paper burns out in firing.
> >
> >All this has potential in non-traditional book arts... go wild.
> >
> >The book "Ceramics and Print", cited in an earlier post to this thread,
> >talks about all of these things in more depth.
> >
> >Regards,
> >Bill
> >>
> >


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