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

Baren Digest                Sunday, 5 April 1998        Volume 03 : Number 117

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From: Graham Scholes <gscholes@islandnet.com>
Date: Sat, 4 Apr 1998 10:01:45 -0800
Subject: [Baren 552] Re: paper prices, Mexican leadcuts 

Hi James

I understand what you say about "need to buy groceries, " and paper
purchases have to be done astutely.

When I started into this Sport I investigated the high cost of paper as I
thought I was getting a Snow Job.  I talked to may persons I knew across
Canada about having to spend 25 odd bucks a sheet for paper.
I was in touch with The Japanese Paper Co. on Queen St in Toronto and had a
long telephone conversation with them.

I was advised that there are many grades of Hosho (Mulberry) paper and that
you get what you pay for.  The sent me a price sheet. It ranges from $5.00
up to 59.00 a sheet. Much depends on on the value of the Yen.

This conversation took place 5 years ago and I remember at the time that
the owner assured me that the price of the paper I was purchasing through
Noboru Sawai was slightly over the whse price. Her price for the same paper
would have been $59.00  At that time I was paying 28.00 sheet for the
minimum order qty of 300 sheets. By the time I paid duty, taxes, and
shipping, the bill came to just under $10,000.

I look at is as the cost of creating the kind of work I want to produce. It
all goes into the price of the product anyway.

One statement that the owner said to has stuck with me and was the convincer.

There are buyers out there that only purchase woodblock prints that are
printed on this kind of Hosho paper.

Hope this explains ...I am not an wealthy Canadian.... but a wise Canadian.

Graham 

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From: Graham Scholes <gscholes@islandnet.com>
Date: Sat, 4 Apr 1998 10:02:40 -0800
Subject: [Baren 553] the formalin odor  

Morning Dave
What is formalin?

Graham

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From: Ray Esposito <brassring@brassring.org>
Date: Sat, 04 Apr 1998 17:13:18 -0500
Subject: [Baren 554] Re: paper prices, Mexican leadcuts 

Graham wrote:
>By the time I paid duty, taxes, and
>shipping, the bill came to just under $10,000.

Graham:
Wow.

It is hard to believe the grades of Hosho are spread that great.  You are
correct however, when you write about you get what you pay for.  I would
sure like to see samples of papers that are in that price range.  I am sure
the manufacturers would not be charging those prices if the paper wasn't
something special.  For me, for now, money is important and I will have to
forego the joy of using these expensive papers.  Perhaps someday, a few
years from now, when my wood cutting skills are honed, it might be time to
try it.  Thanks for sharing your thoughts.

Cheers

Ray Esposito

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From: David Bull <davebull@asahi-net.email.ne.jp>
Date: Sun, 05 Apr 1998 07:20:32 +0900
Subject: [Baren 555] Re: formalin 

Graham wrote:
> What is formalin?

'Formalin' is a trade name for some company's formulation of a
formaldehyde solution.  I think the Brits call it Formalinum.    It's a
35% solution of CH2O ...

I used to use it in the water bucket to stop mold, but after reading a
number of news stories that mention it being a 'virulent carcinogen' I
stopped, and am now racing against the mold every month from just about
now, up until October or so.

We discussed this back on [Baren] in the first week or so (Digests
#2,#3,#4) and there were quite a number of ideas proposed.    Maybe some
of the newer members have some other ideas on how to handle this (if so,
please read through the old posts and then speak up ...)

Dave

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From: David Bull <davebull@asahi-net.email.ne.jp>
Date: Sun, 05 Apr 1998 07:58:54 +0900
Subject: [Baren 556] Exhibition idea 

Ray said:
>What did you think of my traveling exhibit idea?

I had been waiting to see what the other members thought about this
before I chimed in with my thoughts ...

>Then again, there is David.  We all know David is not excited about framing
>his works.  

Of course I'm not such a 'stick in the mud' as to put down such a
project just because I don't usually frame my stuff.  The local
community centre and library both have one of my prints on the wall in a
frame - it's the only practical way to show them in such an environment.

What I was more concerned about was the amount of work involved.  I
think perhaps you underestimate just what kind of hours something like
this would entail.    You say 35-40 locations ... two shows at each
location (Maryland / Baren) ... putting up, taking down ... driving ... 
endless phone calls and communication ... the inevitable 'trouble' that
will come up with prints being swiped or lost, etc. ...  What you are
proposing is almost a full time job for somebody.  

But lest I seem too negative, let me add that I too have been thinking
of something along this line.  My Tokyo exhibition in January 1999 will
consist of the complete series of 100 poets, along with a corner
announcing my 1999 project.  The exhibition following that, in January
2000, will consist of my own 10 prints from 1999,
along with a new set of six prints from other designers (information on
this is on a special web page that you can find linked at the bottom of
the main menu of my web site).  I hope that will set the pattern for
future years.  If that pattern does become established, I would then
add, in January 2001, another 'special' guest corner ... a selection of
prints by [Baren] members.  I would select prints that I liked, and
display them with information on the printmakers, along with a sort of
custom-made order form for each one that would make it easy for the
viewers to do a simple and direct 'mail order' from the maker.  I'm
looking forward to this ... maybe some of you would like a chance to
have your prints exhibited in Tokyo, no?

As for Ray's current proposal ... what do the others have to say about
it?  I'd hate to feel responsible for causing the Brassring president
to start neglecting his kids ...

Dave

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From: Ray Esposito <brassring@brassring.org>
Date: Sat, 04 Apr 1998 19:03:40 -0500
Subject: [Baren 557] Re: Exhibition idea 

Dave wrote:
>As for Ray's current proposal ... what do the others have to say about
>it?  I'd hate to feel responsible for causing the Brassring president
>to start neglecting his kids ...

Dave's concern for the kids is commendable and I know from the heart.  Let
me just say that no project will ever take so much time that the kids get
neglected.  These kids are my life and they will always come first.

When I said there were 30-45 locations, let's put this in perspective.  I
have no intention of this being a multi-placement project.  In other words,
I would arrange for a location, put it up, leave it for a time, hopefully
at least one month, than move it.  I do not think it will take all that
much time.  There will also be periods of time when we will be between
shows and the art will be securely stored in a bank or other facility.

Dave is correct that this could be a full time job.  IF I let it.  Simply
put, I do not plan on making this my life's work.  It is an idea that
appeals to me and one I think I am capable of pulling off if you think it a
worthwhile idea.  I also think it is an opportunity for printmakers to get
their name in front of the public.

I assume any cost will be shared by participants and not me alone.  THAT
would take away from the kids.

Understand also that I am going into this with my eyes wide open.  Although
my personal background is of little concern or interest to any of you,
permit me to say that in 1990 I had a complete and total nervous breakdown.
 We need not go any further than that.  The point is, it was caused by
working 18 hour days and 7 day weeks for the Brass Ring.  Both our board of
directors and the shrinks told me I had to have more things in my life than
the kids, as important as they are. 

A strange thing happened.  By dividing my energies between the kids and
art, I actually get more done for the kids.  I manage my time much better.
And since I took to printmaking last year, I have gotten more done for the
Society.  It's a little weird but art allows me to take my mind off the
kids for a time and come back to them refreshed.  Thinking about nothing
but terminally ill children 24 hours a days can be wearing.  When I add a
project to my life, it is with the full knowledge of what I am getting into
and also the idea that it is necessary.

Besides, I am selfish.  Remember the proposal requires that the artist
agree to donate 10% of any sales resulting from the traveling exhibition to
The Brass Ring Society.  The kids will benefit.  And remember the I-net
auction idea we talked about months back.  That is not dead.  And hey, I am
a new artist.  If you guys can get me hung in museums for a couple of
weeks, I love it.  I don't mind sneaking in.  :>)

The bottom line is, if I agree to do this and you all join in, it will be
done on my terms.  What I mean is, if I get tied down with the kids, the
art may sit.  We may have a couple of shows and than nothing for a few
months.  The kids will ALWAYS come first.

I would appreciate all of your ideas and thank Dave for getting the
discussion going and Graham's thoughts from the other day.  Now let's hear
from the rest of you, particularly the lookie-loos who have not jumped in.
Here is your chance.  Good idea or waste of time?

Cheers.

Ray Esposito

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From: April Vollmer & John Yamaguchi <jy6@columbia.edu>
Date: Sat, 4 Apr 1998 20:26:02 -0400
Subject: [Baren 558] Re: Mitsumata/Crazy fox/Posada 

I like Kitakata paper, too, I believe it is made from mitsumata fiber, not
kozo (mulberry), which is the more common fiber used. Mitsumata fiber makes
a crisper paper, you can HEAR the difference. Kozo, Mitsumata and Gampi are
the three fibers washi can be made from....and I have also found that with
washi, you get what you pay for....almost never any bargains! I took a
workshop making kozo paper, and it helped me appreciate why this is so:
it's really really hard work to make it!

But mostly, I wanted to respond enthusiastically to Ray's "crazy" idea. I'm
always interested in showing work...especially when someone else volunteers
to do the work! I'd be happy to frame in plexiglass and ship the work....I
actually like to have control over the framing....but if it's easier for
shipping, I could just have things matted.....Also, Ray: I met Suzanne
Carmack, a printmaker at Maryland Printmakers....is she still there? Do you
know her?

James/Dan/James: Jose Posada did some wonderful metal relief prints, very
free, bold political and popular illustrations from Mexico at the turn of
the century...they look more scratched and cut than punched,
however....could be lead....Dover reprint....Is that who you refer to....I
mean to whom you refer?

Dave: very interesting about drying the sumi key block before continuing
printing....I try to print my darkest colors last (I don't usually use a
key block). I have noticed colors occasionally bleeding into the next layer
of color...I thought it was my poor printing technique! Maybe my paper is
not sized as well as it could be...

I sometimes put a little formalin into my blotters to keep down the
mold...but like you say, it's pretty poisonous, so I use it sparingly. If
you use methyl cellulose instead of rice or wheat paste, it won't mold. One
of the reasons I like hanga, is that it uses fewer poisonous chemicals...no
solvent fumes.

April Vollmer

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From: Ray Esposito <brassring@brassring.org>
Date: Sun, 05 Apr 1998 04:38:01 -0500
Subject: [Baren 559] Re: Mitsumata/Crazy fox/Posada 

April wrote:
>But mostly, I wanted to respond enthusiastically to Ray's "crazy" idea. I'm
>always interested in showing work...especially when someone else volunteers
>to do the work! I'd be happy to frame in plexiglass and ship the work....I
>actually like to have control over the framing....but if it's easier for
>shipping, I could just have things matted.....Also, Ray: I met Suzanne
>Carmack, a printmaker at Maryland Printmakers....is she still there? Do you
>know her?

I do not know Suzanne.  She may or may not still be a member.  I would
guess yes.  She was not at the semi-anual meeting a couple of weeks ago but
there weren't that many there because of the location in the boonies.  I
have not received my member list as of yet.

As to framing prints for the shows, let's not everyone get ahead of
themselves.  A lot of thought has to go into this first.  For one thing,
how many want to join?  That gives us some idea how many prints each will
lend to the effort.  Second, should we restrict size?  Third, should
framing be uniform?  My suggestion that it should was based on MP way of
doing their shows.  Besides of unifrm framing, it takes very little time to
set up and take down.  That doesn't mean my idea is the best way to go.
How do we handle expenses?  How do we handle sales?

All of this am a lot more needs to be discussed.  If I am going to borrow
your prints, I want every participamt to know going in what is required of
them, of me and what to expect.

Once we have a roll call of members who want to join or who at least want
to explore the possibilities, than we can get together on specific points.
This is Ray Esposito's idea.  It is Baren's show and members must help plan
it.

Cheers

Ray Esposito
WEB SITE:    http://www.brassring.org/brassring  	

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End of Baren Digest V3 #117
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