[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Wednesday, 20 January 1999 Volume 06 : Number 418 ---------------------------------------------------------------------- From: "george aar" Date: Tue, 19 Jan 1999 08:13:01 -0500 Subject: [Baren 2727] Baren Digest Entry From: George Aar, geoaar@premier1.net Hello all, just a few thoughts I'd like to share. So sad to here of the passing of Ito-san and Shimano-san's illness, doubly so for me as I had to deal with a death in the family upon my return from Japan. Come we may, but go we must. With regards to the Hiroshige show in San Francisco, I was there for the Hokusai part of the exhibit in November and purchased a catalog of the entire show for about $45. I'm sure these would still be available. Dave B. mentioned something about stability of the wood after Kiln-drying as opposed to air-drying. If my experience in the cabinet shop is worth anyting, I remember the shop foreman saying that kiln-dried lumber was MORE stable then air-dried, although the grain was not as pronounced in KD lumber after finishing. I did get a chance to see Dave's show while in Tokyo last week and it was well worth the trip. One entire wall was covered with 100 prints. Ten years of work hanging on one wall. Then the print-viewing room was a real delight. Low lights at just the right angle to bring out the texture of the prints,what a change from the glare of overhead flourescents. But the one enduring image I will carry with me is that of this lanky Canadien sitting down at the printing table with a throng of elderly Japanese people crowding around him like groupies at a heavy-metal concert while he explained the intricacies of their own art form. The irony was not lost on me. Great show Dave, Omedetoo Gozaimasu! Regards, George Aar ------------------------------ From: "David Stones" Date: Wed, 20 Jan 1999 01:38:57 +0900 Subject: [Baren 2728] Re: Blocks: Preparation/Storage Dear Jake and those who need /use solid blocks: I'll just repeat a little from the post of Jan. 14th which mentioned block preparation and the need for only planed blocks - this may augment Dave B's post as we use the same type of blocks, in some cases. I wrote: >Although I use only solid blocks (so have no experience with ply) all that is >done to them is planing by hand (about a year or more before use). The Cherry >blocks are like glass and the effect of sandpaper on this surface will mark it >(albeit minutely) and, although the feel is smooth it is not as good and "sharp" >as if planed. >I usually use Cherry for the outline blocks and other similar parts with detail. For other parts I use Magnolia - the process and storage are the same... The blocks are cut from the whole of the tree's width, retaining as much as can be of the mature wood. I leave some bark on too as it's getting hard to find tree wide enough for Oban. I refuse to purchase imported timber (as Japan consumes too much) and rely on contacts to tell me where timber is available... which usually means trees being felled. Mountain Cherry is often found in amongst the cedar/cypress forests and they get cut at about 60 years so, depending on which way the tree grew, I get a variety of widths. Sizes: The logs are cut lengthways into workable planks (Cherry IS heavy!) at about 3cm or 4cm (1.2 - 2.6 ins.) thick at the sawmill and are stored for 3-5 years in the roof of the garage or machine store shed. They come down a "bit" warped and are put through a machine planer - which sometimes takes the depth down to less than 2cm. Then they're cut to block size. Using as much of the mature wood again as possible and with the grain running head to foot. Depending on the plank width, etc. I get a variety of sizes (the "traditional" sizes as far as I was taught). This is done toward the end of winter by the way... Then my carpenter friend takes over and nails a simple stop onto his "bench" (usually a rough trestle outside) and planes and turns the block whichever way the face grain dictates - if he spots a "soft" spot or problem knots we decide whether to carry on, work round the place or cut the block down (as a last resort). He stacks the blocks in size piles and the next day goes over the whole lot with a finer-set blade (just taps the blade it less with his mallet) and I haul them home in the truck. They then get stored in our unheated entrance hall until I use some stored in the workshop - then I transfer some "new" stuff to replace what I use. This all avoids sharp changes in temperature/humidity but, in Japan, we can only do so much and, even with a heavy weight on the 1.5 metre (about 5 ft.) stacks of blocks some, somehow, warp. The blocks are stored flat with a thin lath of wood between each so air can circulate. When I come to use the block it gets stood on its end and I add a brace or bar on each end - which remains until the edition is done. The used blocks are stored flat in piles with no laths between... usually in a room we rarely heat or use. Sorry this is a bit long for the non-solid-block users but here's hoping it explains one way I've got around this problem. My supplier in Kyoto ceased to be able to send all I needed ages ago and what I'll do when my carpenter friend's generation retire I don't want to think of - but I'll be the same age - so guess we'll huddle round the workshop stove and have some hot Sake... print on. Dave S ------------------------------ From: Jacob Roquet Date: Tue, 19 Jan 1999 12:36:34 -0500 Subject: [Baren 2729] Re: Blocks: Preparation/Storage Thank you. Absolutely excellent information on cherry blocks. Some questions: 1) The cherry boards I have run the range of yellow to red even in the same plank. Is the density (and hence I assume, the cutting resistance) the same in the yellow part and the red part. Perhaps this is similar to yellow bavarian limestone and blue-gray bavarian limestone. One produces better results than the other in lithography. 2) is there a minimum thickness, or less-workable thickness to the cherry wood. If the blank is 1" thick when you start,can you plane down to a 1/2" or less thickness to use over again. Can you take 5/4 cherry and resaw in half and have them hold lateral stability? I saw an Escher exhibit in San Diego last month and I recall the blocks he used (which appeared to be cherry) to be about 3/8' thick? TIA Jake ------------------------------ From: woodcuts@concentric.net (D. Joseph/R. Sexauer) Date: Tue, 19 Jan 1999 22:05:11 -0800 Subject: [Baren 2730] Re: Catalogues for the 15th National Should anyone be interested, the catalogues from the Los Angeles Printmaking Society's 15th National are ready to be sent out. The juror's essay is quite well written & informative as to his choices. Quite a number of woodcuts were chosen, Thomas Huck, Shelia Newmark, Endi Poskovic, and of course Andrea Rich - just to mention a few. Should anyone wish to order one, send a check made out to the Los Angeles Printmaking Society (or LAPS). The catalogue cost (including tax) is $11.50 & postage comes to $2.50. My address is as follows: Roxanne Sexauer, Associate Professor Art Department California State University, Long Beach 1250 Bellflower Blvd. Long Beach, CA 90840-3501 Andrea & Don - Not to worry, I'm sending yours gratis. That should do it! Thanks, Roxanne ------------------------------ From: Graham Scholes Date: Tue, 19 Jan 1999 13:05:57 -0800 Subject: [Baren 2731] Re: Baren Digest Entry George Aar wrote.... >I did get a chance to see Dave's show while in Tokyo last week and >it was well worth the trip. I believe you are a new person, welcome aboard. Just one thought about your posting.......I gather that you live in Japan. At least I hope so because if you travelled from afar to see Dave's show then I may never speak to you again. (<; ...... well not until I get an apology at least..... Enjoy the Baren Regards, Graham ------------------------------ From: kim and paul Date: Tue, 19 Jan 1999 15:12:27 -0600 Subject: [Baren 2732] Re: SGC Conference Hi, this is Kim...... I will be attending the Southern Graphics Council conference this year. In 1996 I also attended and enjoyed the experience of a 5-day complete-immersion in printmaking! A great opportunity to see a lot of prints at once, and up close. My head was spinning when the dust settled, however. There are daily lectures, panel discussions, and demonstrations as well as a forum to buy printmaking supplies, many with discounts, some at cost. Some of this year's discussion titles include "Print Programs in the Community and in the Institution", "Printmaker's Body/Printmaker's Chemistry" and "Digital Media for Prints and Multiples". Some demos include Non-Toxic Intaglio; Polymer Plates for type, relief and intaglio; and Relief Prints from Sintra. Also, I have the opportunity this year to participate in the one of the panel discussions, titled "Toward a 'Meaningful' Education". Will anyone else in our multi-talented and highly vocal group be attending? I am looking forward to finally matching faces/voices with some of the names in Baren. I think the deadline to register for the conference is Feb. 10. ------------------------------ From: David Bull Date: Wed, 20 Jan 1999 09:06:57 +0900 Subject: [Baren 2733] Wood and stuff ... Jacob asked: > Is the density (and hence I assume, the cutting resistance) the same in the > yellow part and the red part. Not in my experience. I find the 'red stuff' quite a bit harder, and generally more 'figured' than other types. I love it, but can't get my hands on very much of it. Some of the best wood for colour blocks is a pale pink colour, and these blocks are usually very fine. Whitish or pale yellow is usually too soft. But these things are all very variable. David S. down there in Aichi prefecture is using local wood I assume, and this may differ considerably from the stuff I get here, which is cut in quite a more northerly area. > If the blank is 1" thick when you start,can you plane down to a 1/2" > or less thickness to use over again. This was very common in the old days, and I have an old key block here of a design from Hiroshige's Tokaido series (the one showing the horse market in an open field). It is the 'second' dressing of the wood: it was presumably used at the 2cm+ thickness, then planed down later for this design. It is now just a shade under 1 cm. But you lose a lot of stability when doing this, and definitely need to use 'hashibame' - those end braces. *** Dave S. wrote: > This is done toward the end of winter by the way... Dave, any reason for this, other than that is when the carpenters might not be so busy? I can understand trees being cut down at a particular season, to minimize sap content, etc., but is the planing work affected by the season? *** I noticed while I was reading through the back numbers that a few people mentioned receiving my new year card ... I should have been polite enough to announce this _before_ new years: if any of the more recent [Baren] members would like to be added to my personal mailing list, to receive my quarterly newsletter and this sort of card, please drop me your postal address (off list, please). I'll be happy to send them to you. I'm doing another run of those cards, to send out as exhibition 'thank yous' next week, so anybody who didn't get one ... this will be your chance. *** George wrote: > I did get a chance to see Dave's show while in Tokyo last week ... Thanks for the 'review' George! 'Groupies at a heavy-metal concert' ... Wow! I don't know if that's exactly the image I would hope people would take away from one of my exhibitions, but anyway ... they _were_ certainly paying attention! Note for residents of Japan: the long-awaited one-hour documentary airs tonight at 10:00 pm. In the Tokyo area: 'terebi tokyo' (TX) In the Kansai: 'terebi osaka' (TVO) For David Stones: 'terebi aichi' (TVA) ... and in many other parts of the country on local stations ... I guess I'll be going over to friend Sadako's house this evening to watch it, but I really have to admit that I don't want to. It has felt quite gratifying to have this thing taking place, but now that it's done, and all these millions of people are going to sit there and watch that guy on the screen go through the ten years of the project, it does seem a bit unreal. Did all those things really happen? I've been forgetting them all as the years have gone by ... but now there they are permanently captured 'on tape' ... It's a bit hard to explain what it feels like. I guess I'll just try and watch it as though I was watching somebody _else_ ... not me. And then I guess during the next couple of days the phone will start to ring ... just when I was ready to get back to my peaceful life! Dave ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Tue, 19 Jan 1999 18:29:49 -0600 Subject: [Baren 2734] re: Dave's show Dave: You have not mentioned any comments regarding your Poetry Reading date with the Emperor. Did I miss it ? What happened ? Also, do you know if the TV director can provide with a dubbed in english (subtitles) copy of your video show ? For us in America it would be great to be able to see & "hear" the program. JULIO ------------------------------ From: Graham Scholes Date: Tue, 19 Jan 1999 19:38:15 -0800 Subject: [Baren 2735] Ringing off the hook Dave wrote.... >And then I guess during the next couple of days the phone will start to >ring ... just when I was ready to get back to my peaceful life! Kiss that peaceful life good bye. Enjoy the lime light for what ever time it lasts. God ..... You will be on the Rich And Famous show next thing we know. Cheers Graham ------------------------------ From: Matthew.W.Brown@VALLEY.NET (Matthew W Brown) Date: 20 Jan 99 00:36:33 EST Subject: [Baren 2736] Solid blocks for printing . . . to the two Daves, I enjoyed the exchange about the solid blocks: what you described re: drying and planing of blocks over there in Japan seems to make sense! On drying: kiln-drying actually stresses the fibers of wood so that there is a noticeable decrease in fiber strength and resiliency. This is desirable in many situations (in a piece of furniture which will recieve a lacquer or urethane finish this can put 'the wood in its place' at any season of the year). But for wood that will have a job in a situation where moisture will be re-introduced (as with hanga printing blocks), it would seem to be a real liability (kiln - -drying makes most woods useless for steam-bending, for instance). As lots of hardwood tends to end up in the kiln-dry pipeline (from the lumber dealer point of view air drying is a lot of inventory tied up for a long time) it would seem we printmakers need to find our own 'personal' sources for lumber (as David S. describes)! on planing blocks: Dave wrote, > Fine lines carved on a block that has been surfaced with sandpaper > almost _always_ expand in width when the block is washed and printed. >I suspect that this is from the 'torn' surface of the wood wicking water >down into the cells, which then expand in size. >Wood planed with an ultra-sharp fine plane blade does _not_ expand >like this. Hmmm, this puts into words something I've been wondering about for a long time. For myself, I've done very little with sanded blocks. In my former life as the cabinetmaker I had always preferred a hand-planed finish, there is something about the way the light hits a 'cut' wood surface that is so much more beautiful than a sanded one. So I just assumed hand-planing printing blocks was also the way to go. What you describe is a difference in the way the water is taken up by the block (after all, even the finest sandpaper is basically dragging little rocks over the wood fibers, on a microscopic level). This idea solves at long last a query I've had about Graham's using a sealer on his blocks before carving, sealing the wood would seem like a good way to go in working with a sanded surface. on carving birch: this winter I have been carving almost exclusively on some white birch I cut years ago and have been really enjoying it (about the same hardness as our cherry). Anybody else have experience with this? Matt ------------------------------ From: David Bull Date: Wed, 20 Jan 1999 15:47:36 +0900 Subject: [Baren 2737] Re: wood stuff Matt wrote: > this winter I have been carving almost exclusively on some > white birch I cut years ago ... I have no experience of using this wood for printmaking, but have chopped up bits of it now and then. Unless I'm confusing it with some other kind of wood, it seems to have quite tough long fibres running through it. Does it cut 'cleanly' enough? *** Julio asked: > Also, do you know if the TV director can provide with a dubbed in > english (subtitles) copy of your video show ? Impossible Julio, I'm sorry. It's just too long, and would take an immense amount of work. About all I can suggest is that when you finally do get a chance to see it, you find a Japanese student in your area, and maybe offer them dinner in exchange for sitting down with you and going through it together ... > You have not mentioned any comments regarding your Poetry Reading > date with the Emperor. Did I miss it ? What happened ? It was really something, and I'm looking forward to telling some of the stories ... At the moment though, my focus is on getting the exchange print done and sent, on keeping the Inbox from building up any further, and on trying to match up my print stock with the orders that came in last week, so the ladies can start getting the shipping organized, so please just hang in there a bit longer ... All I've got for you so far is a snapshot taken just before I set off: http://www.woodblock.com/forum/archives/vol06/extras/penguin.jpg (that's vol as in volume ...) Dave ------------------------------ End of Baren Digest V6 #418 ***************************