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

Baren Digest               Sunday, 21 March 1999       Volume 06 : Number 498

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From: Gayle Wohlken <blueman@pantek.com>
Date: Sat, 20 Mar 1999 08:24:01 -0500
Subject: [Baren 3675] Re: Baren Digest V6 #497 

Dave, with each one of the one-point lessons
I feel more and more encouraged to try the
water-based pigment method.  Your lessons
are clear and short , and not so 
technically tangled as to make one feel over-
whelmed.  I very much appreciate the photos
you include.  You mentioned the name of the
mizubake brush and I thought to myself "now,
what's that one again"--then there was the 
photo and I said, "oh yeah!  I remember now."

Gayle

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From: Shimizu <shimizu@mail1.nai.net>
Date: Sat, 20 Mar 1999 10:15:05 -0500
Subject: [Baren 3676] Re: More pigment questions 

Thanks Daniel, Dave and Kim for the help with my pigment questions.

An update on Dave's first video... I've been enjoying it this week and
will mail it to James Mundie on Monday.  Knowing an even longer video
will soon be coming makes it easier to part with this one. ;->

Lynita

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From: Cucamongie@aol.com
Date: Sat, 20 Mar 1999 10:24:34 EST
Subject: [Baren 3677] Re: more baren questions 

Somebody wrote:
>After reading what Shireen asked and Dave's I was very interested since I
>am getting ready to get a decent baren also . 

I recently got a ball bearing baren and have found it to be great! (especially
for large areas) and you don't have to worry about recovering it - I have a
Murasaki baren which is synthetic coil inside w/bamboo skin outside and a
plastic "disk baren" from Daniel Smith for smaller areas, but at least I won't
have to worry about recovering the bamboo baren so much - just my 2 cents -

Sarah

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From: Cucamongie@aol.com
Date: Sat, 20 Mar 1999 10:35:36 EST
Subject: [Baren 3678] Re: More pigment questions 

There are a couple of places in NYC, Guerra & Kremer, that sell pigments
dispersed in water so you don't have to deal w/the powder stuff - it's great
for me since I'm very allergic to any types of dust anyway - I don't know if
either of these places do mail order - but it might be worth checking out - 

Sarah

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From: Sherpsm@aol.com
Date: Sat, 20 Mar 1999 17:15:39 EST
Subject: [Baren 3679] Re: One-Point lesson ... 

Dave
Moistening the brush: I have been soaking my brushes, surikomi bake before
printing as instructed by the seller. This is to keep the bristles from
becoming loose and spreading onto the block. 
In your one point this week you suggest that a dry brush worked up to a
"loaded" point is the preferred method.  
Is there a point when soaking one's brush is necessary? If so when and how
often?

Joe

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From: Michael Schneider <mikasch@t0.or.at>
Date: Sat, 20 Mar 1999 23:22:43 +0100
Subject: [Baren 3680] just subscribed 

Hello to all baren members!

My name is Michael Schneider, I just subscribed and as I have been told
to do so by the replying software, I post a short info mail about
myself.

I live in Vienna, Austria (so you may excuse postings written by an
othographic wild boar who has been forced to study this language in
school years ago) and I have made woodblock printing my job 12 years
ago. That time I studied at the Academy of fine arts in Vienna
/Departement of Printmaking and after I tried several techniques like
etching, serigraphie, lithograph, etc. I found that everything I did
looked like a woodcut. So finaly I found the place I belonged and since
that time I never stoped to make woodblockprints.
Later on I went to Japan to study printmaking there, originaly scheduled
for one year, I stayed there for almost four. (Enough of biographical
notes.)

Some words to what is in the moment my greatest interest in
woodblockprinting.
As I started learning the traditional methods of printing used in europe
since around the 14. century and later spend a few years to study the
japanes methods, I am now at a point where I belive that it is very
important to discuss not only technique but also the impact printmaking
has had on the society when developed and what political and social
developements resulted from that. What influence does have the katholic
ikonographie, widespread by woodcuts on the kind of prints we see done
today?
And is not the woodcut that marks the real starting point of the age of
comunication and information?

And last but not least I still encounter technical problems that are
solved faster when discussed with others. Just as Mr. Lacinsky a woodcut
artist from poland who is considered a expert ( he is over 80 years old
now and a Professor Emeritus from the Academy in Warsawa) told me
recently: " When it comes to woodcut, we are all just students."

Looking forward to study together with you,

michael

If you are interested in my artwork, projects, cv, etc., please try:

http://www.t0.or.at/~mikasch

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From: David Bull <davebull@woodblock.com>
Date: Sun, 21 Mar 1999 08:48:08 +0900
Subject: [Baren 3681] Re: brush soaking ... 

Joe wrote:
> Is there a point when soaking one's brush is necessary? If so when and how
> often?

How to treat brushes is apparently one of those points that differs very
widely from person to person.  Please always remember that when I say
something that implies 'do it _this_ way!', I am speaking of my _own_
way, and not trying to imply that those 'other' guys are doing something
wrong.  Each to his own.

I have read posts from other people here in which they describe soaking
their brushes before using them.  I don't, and in my experience, it is
not common among the traditional workers here.

Problems with soaking the brushes:
- - the wood base is constantly wetted, and because of the construction of
a brush, the area around the base of the hairs never has a chance to
really dry out.  This rots out the hairs at the place where they are
tied in, and they start falling out all over the place.

- - when the wood base is wetted, it absorbs more moisture on the 'hair'
side and less on the 'out' side.  This leads to warping and cracking, 
again with the inevitable loss of hair ...

- - too much water in the brush means that too much water comes out onto
the block. As contradictory as this might sound, water is _poison_ to
good clear impressions (remember I'm speaking of traditional smooth and
flat colour).

So for me the combination is: a brush with good stiff hairs, softened to
the ultimate at the tips, used dry, with a good body of pigment/paste
worked into it ...

And when the impression is finished, a quick rub of the hair section
only under the tap to clear away the pasty mixture.  Then on its side on
an open shelf to dry out as well as it can.

***

Welcome to Michael from Austria.  I must admit that when I read on your
page that you don't use knives but use stones instead I was somewhat
shocked.  

But when I tried to access further pages on your site, the ones where
you describe your technique, I wasn't able to proceed, due to many
browser errors.  (Did anybody else have a better experience?)

***

Jean wrote:
> The Baren encyclopedia is deep and wide ...
> ... the pictures in Woodblock Dreams .... they are totally amazing ...
> did everyone look at this yet??!!! 

In my general 'busyness' here I sometimes forget about that block.  Then
I occasionally think of it and take it out to look at for a while.  And
I always blow hot and cold when I do ... will I _ever_ be able to do
that?

Maybe ... but only _maybe_ ...

Dave

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From: Graham Scholes <gscholes@home.com>
Date: Sat, 20 Mar 1999 16:06:20 -0800
Subject: [Baren 3682] Welcome 

>My name is Michael Schneider,

Welcome to the new kid on the BLOCK......(that's bad Graham!   It must be
Saturday afternoon because that is when I'm at my best....(:<)

It is wonderful to have you join us Michael.  It will be great to get the
perspective of the scene in Europe.  You, it seems, have been doing
woodblock the same length of time as I have.  Your trip to Japan must have
been wonderful.   I know I have yearned to get there but alas.....$$$$$.  I
have been saying, someday when my boat comes in I'm out of here,  seems I
am always at the airport.

Had a look at your site and recognized that here's work done by someone who
knows his stuff..   Interesting images.

Cheers for now

Graham

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From: Mariten@aol.com
Date: Sat, 20 Mar 1999 21:49:11 EST
Subject: [Baren 3683] Re: Alternative papers 

Gayle writes:
>Wow, Maria's prints!  I love "Silent Night".  
>and the Canyon image with the red ground.
>What paper did you use, Maria, for these. . .

A hearty thank you, Gayle! "Silent Night" was printed on dry Arches tan,
probably some heavyweight stuff I had for drawing. Another Arches that takes
ink well is gray and black, all beautiful "meaty" papers. "Red Canyon" was
printed on (don't beat me, oh traditionalists) Canson Me Tientes crimson,
dampened. This pastel paper takes the ink well but just once, so it is only
suitable for one-color images. "Pine Creek" was printed on Magnani Pescia
light blue paper, also dampened, a wonderful soft paper that absorbs the ink
like a sponge; this print was made on oak plywood, which has a life of its own
in terms of the grain it lends to the prints. I usually experiment with
different papers, inks and additives, all oil-based so far.
The image for Silent Night was inspired by a night hike I took in the desert
after losing Cisco, a 17+ yr old mutt-mix who died last year. Maybe that's
where the feeling comes from?
I have found the performance of Japanese papers superior to all the above, by
the way, I just wish they came in colors to suit the stuff I enjoy doing.
Health to all,

Maria in Las Vegas

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From: James G Mundie <jimandkatemundie@juno.com>
Date: Sat, 20 Mar 1999 21:50:06 -0500
Subject: [Baren 3684] experimental transparencies 

Dean wrote:
>Can you recommend particular transparent bases or types of ink or 
>paint or secret formulas for adapting say transparent medium used for acrylic
>painting?

For oil-based inks, I've used any number of products made by Graphic
Chemical, Faust, Dan Smith, etc.  Most of them we always just referred to
as "transparent base".  Some companies also call it "transparent
extender", as it supposedly keeps the ink 'workable' longer.

For water-based, you might try any of the various Liquitex products.  A
mixture of transparent gel medium and the extender (forget the exact
name) that one adds to acrylic paints to keep them from drying too
quickly might help.  Certainly these would give the pigment more 'body'.

I should really bow to Hideshi-san's superior knowledge in this arena
though, as Liquitex acrylics are his printing pigments of choice.
  
****

Ray H., thanks for the extended description of how you made your print. 
So, do you allow the print on this thin Chinese paper to dry completely
between each printing so that the previous colors don't bleed?  I looked
and looked at that red to blue area and was pretty sure it was the same
block, but printed twice with a bokashi gradation from either end. Very
interesting method, sir!  Are you misting the back side or the front to
remoisten the paper?

Mise le meas, 
James Mundie, Philadelphia USA

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From: Jack Reisland <reislandj001@hawaii.rr.com>
Date: Sat, 20 Mar 1999 21:15:57 +0000
Subject: [Baren 3685] Re: brush soaking ... 

David Bull wrote:
> Welcome to Michael from Austria.  I must admit that when I read on your
> page that you don't use knives but use stones instead I was somewhat shocked.

As I understood it, he is using stone knives or tools to carve or chip the
block instead of the usual metal tools. An interesting idea. I wonder, Michael,
do you chip your own tools?
 Also, your idea of recording the process of the creation of the block is also
interesting, it reminds me of another (unfortunately unlikely) idea that I
heard somewhere that the grooves created in the walls of ancient wheel thrown
pots had somehow recorded the sounds in the potters workshop ages ago, and
could somehow be "played" if we could only figure out how. Hey, back off you
guys! It wasn't me that brought up ceramics. It was......well never mind.

Jack Reisland

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From: David Bull <davebull@woodblock.com>
Date: Sun, 21 Mar 1999 19:24:06 +0900
Subject: [Baren 3686] New Member ... 

Although this post is marked from David, it is actually from a new
member ...  Here is his introduction:

*** start ***

My name is Graham Hall and I live in Wanganui New Zealand. I have been
involved in printmaking for a number of years and have just  finished my 3rd
year into a 4 year degree in Printmaking. The degree at Wanganui Polytechnic
is unique in that printmakers whether they put their ink on top of the block
or in the line, build a press. The bed on my press is 850mm by 1550mm which
is the perfect size to take a full sheet of BFK. My work is primarily in
wood and I work mainly with  multi block using a combination of MFD (medium
density fibre board) and 3ply plywood. I use woodcut as a means of social
commentary and rely heavily on the works of Hogarth for my inspiration.
I have recently finished a series of works dealing with local land rights
issues with the local iwi (Tribe). I am presently working on a series of
prints using the seven deadly sins as the structure but working with animals
as the story teller in each series. the most recent series dealing with
gluttony and using the hedgehog as the symbol. The local community provide
most of the material for each of the prints Each of the seven sins will
eventually have seven prints each,  making for a few years cutting.
My greatest pleasure is when I'm cutting and love the seductive cut of a
sharp chisel. I you are interested I will attach some work to  the next
email as I don,t yet have a web site; although I dont think it is too far
away. I am also interested in any future exchange portfolio programmes or
contact from other printmakers working in wood.

*** end ***

Nice to have you aboard Graham.  I don't know if you've been reading any
of the 'back issues' in the [Baren] archives, but if you have, then
you'll know that we already have a very vocal 'Graham' on the list -
we'll have to be careful not to get confused ...

You are also the first (I believe) from New Zealand, although we have at
least one other member in Australia.

We would like to see your work, but please don't send it as an
attachment to the list.  Sending it to me (davebull@woodblock.com) is
OK, or you can upload it to the ftp site at (ftp.woodblock.com).

And as far as your inquiry about exchanges go ... see my next post,
going out in a few minutes!

Dave

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From: David Bull <davebull@woodblock.com>
Date: Sun, 21 Mar 1999 19:43:58 +0900
Subject: [Baren 3687] Exchange sign-ups ... 

Just a reminder to everyone that sign-ups for [Baren Exchange 2] start
up in a few hours - at 10:00 am March 22, Tokyo time. (1:00 am March 22,
GMT, if that's any easier for you to calculate from ...) 

That will be Sunday evening for most of you in North America ...  Please
don't send in your sign-up requests before that time.

Remember that the first chance at sign-up is going to members who did
not participate in the previous exchange; general sign-up will follow
later.  

We have at the moment 79 members, so it is quite possible that this
exchange will be fully subscribed quite quickly.  If that turns out to
be the case, the list for the next one will be set up immediately, so
don't panic about missing your chance.

Don't remember where the sign-up sheet is?  No problem.  From now on, a
new page on the woodblock.com web site will connect you to all [Baren]
administrative stuff: posting, subscribing, signing up for videos or
exchanges, etc.

Just head for the main portal page at:

http://woodblock.com     

... and click on the 'Administrative Links' that you see in the [Baren]
section there.

Gentlemen ... and ladies ... start your engines!

Dave

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End of Baren Digest V6 #498
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