Stepping into the world of hand printmaking opens up a fascinating journey of image creation, where ink meets paper through pressure. At the heart of this transfer process lie two distinct approaches, embodied by different tools: the traditional, hand-held baren and the mechanical printing press. While both aim to achieve the same fundamental goal – transferring an inked image from a matrix (like a woodblock, linoleum sheet, or metal plate) onto paper – they offer vastly different experiences and results. Understanding their unique characteristics is crucial for any aspiring or established printmaker looking to refine their technique or choose the right equipment for their practice.
The Baren: Intimacy and Tradition
The baren is perhaps the most elemental tool for applying pressure in relief printmaking. Originating from Japan, the traditional Hon Baren is a complex, beautiful object made from layers of paper, a lacquered dish-like core (ategawa), and a bamboo sheath (takenokawa). Its slightly convex surface is designed to glide smoothly over the back of the printmaking paper, applying focused pressure to lift the ink from the block below. Today, many simpler, more affordable barens exist, crafted from materials like plastic, wood, or metal ball bearings encased in a handle, mimicking the function of their traditional counterparts.
How it Works
Using a baren is an intimate, tactile process. After inking the block and carefully laying the paper on top, the printmaker holds the baren firmly and rubs it across the back of the paper using circular or back-and-forth motions. The key is applying consistent, even pressure across the entire image area. This requires considerable physical effort and skill. The printmaker can often feel the underlying texture of the block through the paper and baren, allowing for subtle adjustments in pressure to different areas. Want a lighter patch? Ease up slightly. Need a deep black? Apply more force and perhaps more rubbing time.
Advantages of the Baren
- Portability and Space: Barens are small, lightweight, and require no dedicated studio space beyond a sturdy table. You can print almost anywhere.
- Affordability: Compared to a press, even high-quality barens are significantly less expensive, making them accessible entry points into printmaking.
- Direct Control: The hand-held nature allows for nuanced pressure variations across the print, which can be a desired aesthetic effect. You are directly connected to the pressure application.
- Suitability for Specific Techniques: It’s the traditional tool for Japanese woodblock printing (Mokuhanga) and works exceptionally well with thin Japanese papers. It’s also great for smaller linocuts and woodcuts.
Limitations of the Baren
- Physical Effort: Achieving consistent, strong pressure, especially on larger prints or for sizeable editions, is physically demanding and can lead to fatigue or strain.
- Consistency Challenges: Maintaining perfectly even pressure across the entire print and replicating it exactly for an edition takes practice and can be difficult.
- Pressure Limits: A baren simply cannot generate the sheer pounds per square inch (PSI) that a press can. This limits its effectiveness for certain techniques, like deep intaglio etchings or printing very stiff, large relief blocks cleanly.
- Paper Limitations: While excellent with thinner papers, achieving a deep, crisp impression on very thick, heavily sized papers can be challenging.
The Printing Press: Power and Precision
Printing presses designed for hand printmaking come in various forms, but the most common types are etching presses (roller presses) and sometimes platen or relief presses. An etching press typically consists of two heavy steel rollers, a flat metal bed that passes between them, and a large wheel or crank handle to move the bed. The pressure is adjusted by tightening or loosening the top roller against the bed.
How it Works
Operating a press involves setting the desired pressure, placing the inked matrix and paper (often with protective blankets or felts) onto the press bed, and then smoothly turning the wheel to roll the bed between the rollers. The immense, evenly distributed pressure generated by the rollers forces the paper into contact with the ink in the matrix, whether it’s sitting on the relief surface or down in the grooves of an intaglio plate. The setup requires care – ensuring the pressure is correct for the specific block, paper, and desired effect is crucial.
Advantages of the Press
- High and Even Pressure: Presses deliver significantly more pressure than can be achieved by hand, and distribute it very evenly across the entire print area. This leads to crisp, consistent impressions.
- Consistency for Editions: Once the pressure is set, a press allows for highly consistent results across multiple prints, essential for editioning.
- Versatility: Presses, particularly etching presses, are versatile. They excel at intaglio techniques (etching, engraving, drypoint) which absolutely require high pressure, but they are also highly effective for relief printing (linocut, woodcut, collagraph), especially for large or complex images.
- Reduced Physical Strain: While operating the wheel requires some effort, it’s far less strenuous than rubbing with a baren for extended periods or on large prints.
- Handles Thick Paper/Deep Bites: Presses easily handle thick printmaking papers and can effectively print matrices with deep textures or intaglio lines.
Limitations of the Press
- Cost: Presses represent a significant financial investment, ranging from hundreds to many thousands of dollars.
- Space and Weight: Presses are large, heavy machines that require dedicated studio space and are not easily moved.
- Maintenance: They require occasional maintenance, such as oiling, cleaning, and blanket replacement.
- Less Direct Interaction: The process is more mechanical; the direct tactile feedback experienced with a baren is lost. Setup can also take more time.
Safety First! Always exercise caution when operating a printing press. Ensure pressure is set correctly before running a print through, as excessive pressure can damage the press, the matrix, or even cause injury. Keep hands and loose clothing clear of the rollers and moving bed during operation.
Baren vs. Press: Making the Choice
So, which tool is right for you? There’s no single correct answer, as the ideal choice depends heavily on individual circumstances and artistic goals.
Consider These Factors:
- Printmaking Technique: If you primarily work with intaglio, a press is almost essential. For relief printing, either can work, but the choice impacts the aesthetic and scale. Mokuhanga traditionally demands a baren.
- Desired Aesthetic: Do you prefer the subtle variations and hand-rubbed quality a baren can impart, or the crisp, uniform impression of a press?
- Edition Size and Print Size: For large prints or consistent editions, a press offers significant advantages in terms of efficiency and uniformity. For smaller works or variable editions, a baren is perfectly capable.
- Budget: A baren is the far more economical option. A press is a major investment.
- Space: Do you have a dedicated studio space that can accommodate a heavy press? If not, a baren is the practical choice.
- Physical Considerations: If physical limitations make strenuous rubbing difficult, a press might be a more sustainable option.
Not Necessarily Either/Or
Many printmakers utilize both tools. They might use a baren for small test prints, specific effects, or when working outside the studio, while relying on a press for larger works, editions, or intaglio processes. The baren fosters a close connection to the materials, while the press offers power and consistency. Exploring both can enrich a printmaker’s understanding and expand their creative possibilities.
The Resulting Print
The tool used leaves its mark, subtly or obviously, on the final print. Baren-pulled prints may show slight variations in ink density, a softer edge quality, or even the ghost of the rubbing pattern – characteristics often embraced as part of their charm. Press-pulled prints tend towards uniformity, deep blacks (in relief) or rich plate tone (in intaglio), and sharp definition, showcasing the power of the machine.
Conclusion: Tools of the Trade
The baren and the printing press represent two different philosophies and practicalities in the art of hand printmaking. The baren speaks to tradition, portability, and direct hand-to-paper connection, requiring skill and physical input for nuanced results. The press embodies mechanical power, enabling consistency, high pressure for demanding techniques, and efficiency for larger scales, albeit at a higher cost and space requirement. Neither is inherently superior; they are simply different tools suited to different needs, aesthetics, and circumstances. Understanding their strengths and weaknesses allows printmakers to choose wisely, experiment effectively, and ultimately, find the best way to bring their unique visions to life on paper.
