[Baren]: The mailing list / discussion forum for woodblock printmaking.

Baren Digest              Monday, 26 January 1998      Volume 02 : Number 049

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From: Ray Esposito <brassring@brassring.org>
Date: Sun, 25 Jan 1998 09:12:19 -0500
Subject: [Baren 239] Woodcut Book 

Dave wanted to know about the woodcut book I mentioned in an earlier post.
Here it is for all if interested:

Woodcut by David L. Oravez
Published by Watson-Guptill Publications
Softcover - 128 pages - 125 bw illustrations

I bought mine at Pearl Art Supplies

Mr. Oravez is listed as associate professor of printmaking at Boise State
University where he has taught printmaking and woodcut for 20+ years.  

It is written in language even I understand

Ray

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From: Graham Scholes <gscholes@islandnet.com>
Date: Sun, 25 Jan 1998 10:00:26 -0800
Subject: [Baren 240] Re: Gradations, etc. 

>Matt wrote:
>>> ... on the bokashi: Very long gradations - are done in multiple passes

Dave did good here. I would like to add.....

>They sort of 'stack up' like this:

>*****
>**********
>***************
>(if you get the idea ...)

	If you only do two bokashi's then a lot more care is needed to
gradate the ink line.   A lot depends on the size of the bokashi.
I have often gone back and but the small band on last.  It worked OK.

>in exactly the same place each time.
>Never turn the brush end-for-end, as one end is the 'full' end and one
>end is the 'empty' end ...

	I put a piece of masking tape on the end that gets the pigment.
This will save your ass because invariably you put the brush down .. not
know which way in the heat of printing.

>> Also, is the "shin seki ei" a cobalt yellow, a cadmium yellow, or . .

> The three chinese characters translate as 'new' 'stone' 'yellow'.  It has a
> faint greenish tinge to it sometimes ...

	I wonder if it is Aurelian yellow.  It is greenish.

- ----------------------
On the news below Dave...
>What he _is_ going to do though, is add English commentary to his next
>catalogue, due out in a few months.

Way to go.  I would like to see his catalogue.
I get so many requests to teach and if I get to this  ...when I finish the
project.... I will need supplies.

Graham

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From: Graham Scholes <gscholes@islandnet.com>
Date: Sun, 25 Jan 1998 10:01:04 -0800
Subject: [Baren 241] Re: rods, cones and pixels 

Morning John.

Your use of a computer to do commercial art is an very necessary procedure.
You are faced with time and money constrains and this is very important to
stay compeditive.
The Fine Art field is different.  For a me it is the end results that out
wieghts the time and money factor.
As a matter of fact the last two have absolutely no bearing on what I do.
I am known as a dye-in-the-wool traditionalist and what ever I do must be a
part of me.

The best way to express the difference between computer art (commercial)
and Fine Art is the difference between an computer or typewrite written
letter and letter written by pen........No contest.

Graham

PS  Aren't Mac wonderful. I do all my PR material on a Power Mac then print
it out on an Epson 800 colour printer.  Great fun.

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From: Graham Scholes <gscholes@islandnet.com>
Date: Sun, 25 Jan 1998 10:16:37 -0800
Subject: [Baren 242] Re: Press vs Baren 

Good morning Ray,

>>>  I have a book - Woodcut by David Oravez.  He says to
>>> cover the block with gesso for a white background ...

???????? must be woodengraving as Dave mentioned.

>For Wood Cuts Only:
>
>1.  What kind of wood does everyone use?
>2.  Do you do anything to prepare the wood?
>
I use mostly Basswood in the block form ...not plywood.
I like Cherry better but can't get big widths.
I have a local supplier and being a traditionalist I prefer the look and
feel of a 'nice solid block of wood.'
The preparation time is a lot more however.  The plywood comes nicely
sanded and all the remains is to cut it into size and them 400 sandpaper
and a touch of 50/50 varnish/thinner and rub with 600 sandpaper ...let dry
and you are set.

With the blocks I get in a timber 4" x as wide as I can get (15" - 20") x
at least 6 - 8 feet long.  No knots and no cracks thank you.

This is then planked to 1" thick,  planed, and I store them on end in a dry
cool place. (My garage)
When ready for a new print I then cut to length and start the finishing
process.  Sanding starts with 80 grit until I get to 320 grit and ready for
vanish. Then I do the same as with plywood.

That is it. Time  to carve.

Graham

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From: Graham Scholes <gscholes@islandnet.com>
Date: Sun, 25 Jan 1998 10:19:17 -0800
Subject: [Baren 243] Re: ADDRESSES 

Dave

I think you mention about putting the [Baren] link on our pages.
I have done this.  OK?

Graham

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From: Graham Scholes <gscholes@islandnet.com>
Date: Sun, 25 Jan 1998 10:33:59 -0800
Subject: [Baren 244] Re: Wood,etc. 

Matt wrote:
> There are certainly other woodblock artists out there, lots, and
>working with all manner of combinations of approaches. One who is quite
>successful and lives in my area has recently put up a web-site:
>www.sabrafield.com

When I read this in her site I had to react.

		Well-known for her woodcuts, she also uses the electronic
                                medium of IRIS ink jet prints,
collaborating with Jon Cone of Cone Editions in East Topsham, Vermont

I asked ...why when she is a fine art print artist she would consider the
commercial print stuff.

Is it bottom line greed or are they just getting lazy about the hard work
of printing.  Ohhh..... its because it enables an artist to allow more
people to have there images.  This is the usual crutch.!!!!

I wonder if I will get a response.

Graham

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From: Graham Scholes <gscholes@islandnet.com>
Date: Sun, 25 Jan 1998 12:04:03 -0800
Subject: [Baren 245] Printing Press 

Hi Ray.

Have made contact with the person here on the Island.
His name is Dan Patrick who lives in Comox  BC.
It is a medium size community half way up Vancouver Island.
His address is  ......    danpat@comox.island.net

They are in the process of putting together a brochure and a web site about
the presses.

I have e-mailed him with my address and instructions to send one when ready.
you should do the same.

Regards
Graham

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From: Ray Esposito <brassring@brassring.org>
Date: Sun, 25 Jan 1998 21:06:32 -0500
Subject: [Baren 246] Re: Printing Press 


Graham wrote:
>Have made contact with the person here on the Island.
>His name is Dan Patrick who lives in Comox  BC.

Thanks for the info.  I have sent an e-mail to Dan.

Ray

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From: amoss@mindspring.com (John Amoss)
Date: Sun, 25 Jan 1998 18:32:38 +0300
Subject: [Baren 247] re: digital tools 

Graham-
I thought the subject of computers and technology in the process would come
up sooner or later. Using the internet to discuss  ancient techniques is
quite a juxtaposition, but it works. I am sure people wonder what H.
Yoshida would do in this digital age. I wish he were online so that I could
ask him.

As I said before: In the cerebral process of color composition (not a step
producing the actual image), I think that the computer can be a valuable
asset. I'm glad that Gary has explored it's potential in the area. I don't
think time or money has any bearing on what tools I choose. Using the
computer for my business has forced me to be creative (not corrupting) in
problem solving. I could go on to say that once the "cutting edge" was a
chisel. I just want to add the computer to my own toolchest.

Am I on the slippery slope to the level of hell reserved for compromised
artists?
If so, I'll say "hey" to Sal Dali and Bob Bateman for you Graham.

Question to all: How do you all decide on your color schemes? Do you do
watercolor comps? Do you use limited palletes? More of an intuitive
approach? Do you use photos? Field sketches?  Traditional combinations?

- -john

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From: Graham Scholes <gscholes@islandnet.com>
Date: Sun, 25 Jan 1998 16:23:29 -0800
Subject: [Baren 248] Re: digital tools 

John wrote,
>Question to all: How do you all decide on your color schemes? Do you do
>watercolor comps? Do you use limited palletes? More of an intuitive
>approach? Do you use photos? Field sketches?  Traditional combinations?

All of the above.

First you want to draw and then with practice you succeed.
Then you learn perspective and composition and eventually master all three
of them. (2 perspective....linear and atmospheric ....composition.)
Then with the 2 or 3 years of colour theory you take in Art School you try
to  master it until you die.  Then it doesn't matter.
It takes a life time to try to understand colour and its the potential.

>>>I'll say "hey" to Sal Dali and Bob Bateman for you Graham.<<<<

I've said a lot more than that in writing to Bateman. He is a wonderful
copy the photograph artist. Its the scamming of John Q puplic that burns my
ass.

Better get off that subject Scholes

cheers

Graham

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End of Baren Digest V2 #49
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