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

Baren Digest              Saturday, 27 March 1999      Volume 06 : Number 504

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From: Hideshi Yoshida <dodoland@silver.plala.or.jp>
Date: Sat, 27 Mar 1999 00:15:42 +0900
Subject: [Baren 3726] Infomation 

To members who live in Japan ,

You have chances to see my work in Japan. One of my work was selected by an
art contest "Cho kankaku museum ", this means "hyper sense museum".
This exhibition will be done in nine cities in Japan. Now three places have
been decided.  If you have time please go to see it.

The schedule
March 25th,1999 ~ April 11th  Fukuoka IMZ 9F
April 21st, 1999 ~ May 4th  Matsuya Ginza 8F
Feb.18th, 2000 ~ April 13th  Nagasaki Huis Ten Bosch

When I get more information I will let you know .

Sincerely yours,
Hideshi

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From: mmflavio <mmflavio@slip.net>
Date: Fri, 26 Mar 1999 07:41:49 +0000
Subject: [Baren 3727] Woodblock printmaking description? 

Does anybody have a brief description of the what japanese woodblock
printmaking is and how it is done, something concise and not thoroughly
technical, for the general public?
If you are willing to share it it will go on my WWW site and will be
printed and given at my show opening in San Francisco (more details
later). I will give you all the credits and link you to the WWW site of
the show which will be live this weekend.
Thank you much,
Marco Flavio Marinucci

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From: "Jean Eger" <jeaneger@LanMinds.Com>
Date: Fri, 26 Mar 1999 07:43:50 -0800
Subject: [Baren 3728] rice paper, SGC, Baren(s) 

While I was studying printmaking at San Francisco State, we went back and
forth about the term "rice paper" .  What is politically correct?   The
alternative to the term rice paper is Japanese paper.  The only problem with
that, is the Japanese are not the only ones who make that kind of paper.  So
the term rice paper becomes a catch-all term to describe the fine,
beautiful, long-fibered papers that are usually made in Japan, China,
Thailand and Bhutan and in other places in the world.  The term is used
because it conveys meaning and people know what you are talking about when
you say it.

     What could be the origin of the term rice paper?  Perhaps it means
paper from the parts of the world where rice is the main staple of people's
diet.

I just got back from the Southern Graphics Council and I'm planning to write
a few paragraphs about the wonderful Leopoldo Mendez prints exhibited there,
how I bought a Taller Graphica Popular leaflet, the strikingly beautiful
architecture at Arizona State University, the nifty workshops at the
conference, and driving through the desert with a leaky transmission.  Baren
member Kim Kaschimer was on the "Towards a Meaningful Education" panel and
spoke eloquently.

Of interest to baren members might be a method of relief printing on Sintra.
Sintra is a brand name for rigid PVC foam.  It holds an edge very well, so
it can convey detail very well,   I haven't tried it yet, but I am planning
to get some from a plastics store.

I'm also planning to try low-tech photo etching using wintergreen oil
dotted on the back of a laser print-out on top of an etching plate, which
has been coated with asphaltum.  The laser print is then burnished. The
wintergreen oil goes straight down and dissolves the asphaltum.  So one can
produce a crude photo-etch plate from this.

There are a couple of web sites relevant to the Mendez and TGP subject
matter.
http://whowhat.net/deadmeat/ineye/index2.htm
http://asuam.fa.asu.edu/mendez/codex.htm  In spite of the title, this web
site does not contain Mendez prints.  It has prints by other artists in
homage to him.

The first comprehensive book in English about Mendez is being written now.
He is a greatly admired Mexican printmaker, who worked in a social realist
style.  Some say he is the foremost Mexican printmaker since Posada.
However he was a lefty, so that is probably why he has not been better known
in the States until now.  Muchas gracias to ASU for digging him up!

I vote for Dave to set up a third baren forum for all forms of printmaking
besides woodblock.  Dave has a knack for supporting free discussion.  A
general printmaking forum would be a very valuable resource.

Jean Eger

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From: Cucamongie@aol.com
Date: Fri, 26 Mar 1999 12:59:33 EST
Subject: [Baren 3729] Re: rice paper, SGC, Baren(s) 

Jean wrote:
>While I was studying printmaking at San Francisco State, we went back and
>forth about the term "rice paper" .  What is politically correct?   The
>alternative to the term rice paper is Japanese paper.  The only problem with
> that, is the Japanese are not the only ones who make that kind of paper. 

An alternative would be "Asian paper" or if you are talking about a specific
type of paper or paper made from a particular fiber, you could call it what it
is, e.g. "hosho," or in the case of a particular fiber, "kozo" etc.  "Rice
paper" is really a misnomer as this paper is not made out of rice - personally
I feel uncomfortable w/the term "rice paper," as it could come across
uninformed at least and racist at worst, but still many people use this term -

Sarah

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From: "Jeanne N. Chase" <studiojnc@prodigy.net>
Date: Fri, 26 Mar 1999 13:01:24 -0500
Subject: [Baren 3730] Re: Infomation 

Dear Hideshi
Are there catalogs available about the art show?  If so, could you print out
the address and I would love to have one and share the art work with you.
A good idea, if anyone is participating in a Print Show. I am sure a lot of
us would like to collect some Baren member catalogs.

Jeanne

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From: Graham Scholes <gscholes@home.com>
Date: Fri, 26 Mar 1999 10:03:01 -0800
Subject: [Baren 3731] Re: Exhibition announcement ... 

>of European artists, of Jackson Pollock, who was
>influenced by these European artists,

I didn't think Jackson Pollock was infjuenced by anybody.
But then I guess we all are at some time.

Graham

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From: Graham Scholes <gscholes@home.com>
Date: Fri, 26 Mar 1999 10:03:36 -0800
Subject: [Baren 3732] Re: Infomation 

Hideshi wrote....
>To members who live in Japan ,

You could have added ...and Jet Setters.

>"Cho kankaku museum " , this means "hyper sense museum" .
>This exhibition will be done in nine cities in Japan . Now three places have
>been decided .

Congratulations.  Way to go.  Well done.
It is always a thrill to be included in shows of this nature. it is a real
uplifting.

Graham

My nephew live in Japan. I will tell them.

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From: David Bull <davebull@woodblock.com>
Date: Sat, 27 Mar 1999 12:47:13 +0900
Subject: [Baren 3739] One-Point Lesson 

Here is this week's 'One-point' lesson (contributed by John Amoss)

(Editor's note: John's series of illustrations for this lesson can be
seen in the Encyclopedia version ...
http://woodblock.com/encyclopedia/updates.html)

********** ********** **********

(#36)  Block 'Plugging' ...

The following is a summary of how I used a plug to rectify a mistake
while carving the keyblock for my entry in the 1999 [Baren] Exchange. 

***

During the few last clearing cuts of this keyblock, my U-shaped chisel
broke though the narrow wall of wood intended to be the cat's shoulder.
The carving was thin and the ridge of wood lay at a 90-degree angle from
the grain making that segment very weak. 

Sometimes such events can be happy accidents, leading to an unexpected
character or form. This was not one of those times and I knew that my
slip of the chisel had to be fixed. I considered a couple of
alternatives: trying to stick the piece back with a water-proof glue, or
using a wooden plug. Since the line was thin and susceptible to breaking
again, I chose the latter as the cure.

The first step was to decide what area needed replacing. Even though the
chipped part was only 1/2" wide, I chose to make my plug a full square
inch for added strength. I rummaged through scraps left over from
cutting the same basswood planks (a good reason to leave a few pieces
lying around) and located a 1"x 3" piece. I then hand-planed it to a
thickness of about 1/2", and cut it down to the rough 1"x 1" size, while
taking care to match the grain direction of the main block. I wasn't too
concerned if the angles of the plug weren't perfectly square, in fact I
deliberately made one side a little off so that the piece would only fit
in only one way. The edges of the plug were sanded to form a very slight
taper- making the top of the plug ever so slightly larger than the
bottom.

(Illustration) To prepare the intended hole area, I first very gently
cleared the design so that the plug could lie flat on the block. It was
then positioned and its outline was scribed onto the keyblock using a
sharp pencil.

(Illustration) To carve the hole, I began cutting right on the pencil
line using small straight chisels and clearing with the bull-nosed
chisels (aisuki) as I went.

(Illustration) While attempting to fit the plug into the hole, I took
care not to dent the surrounding printing area by forcing the piece in.
Eventually, the plug slid in and I could then judge the appropriate
depth needed to be cleared. I continued this excavation, each time
gingerly fitting the plug in until it rose just a hair above the
surrounding wood.

(Illustration) I then added a dab of waterproof glue to the base of the
plug for good measure. When all was ready I carved it to match the
'pre-mishap' design and then took an aisuki and very lightly shaved off
the top of the ridge to conform to the surrounding keyblock's printing
surface.

(Illustration) Even with the care I took through all of this, a
noticeable line between the block and the plug remained. But since wood
expands widthwise when wet, at printing time I happily noticed that the
plug and the surrounding block expanded to form a tight seal.

(Illustration of finished block)

It was a joy to find out that sometimes this craft can be forgiving to
the inexperienced!

********** ********** **********

Next week -  TBA  ...

These 'One-point' lessons are being collected into a section in the
[Baren] Encyclopedia of Woodblock Printmaking.
http://www.woodblock.com/encyclopedia/updates.html

Contributions from experienced printmakers for future 'One-pointers' 
are eagerly solicited.

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From: David Bull <davebull@woodblock.com>
Date: Sat, 27 Mar 1999 13:19:51 +0900
Subject: [Baren 3740] Various ... 

Thanks very much to John Amoss for that One-Point lesson.  I was really
pleased to find it in my mailbox one day last week - not only written
out and all ready to go, but with a complete set of illustrations
already done!

***

Jean wrote:
> I vote for Dave to set up a third baren forum for all forms of 
> printmaking besides woodblock. 

The idea of setting up a third [Baren] forum - one for general
printmaking - is one that I'm sorry Jean, I just can't consider at
present.  I think it would need a truly enthusiastic person, and one
whose skills in that area everyone had respect for, in order to be
successful.

But as I understand it, it's not needed at the moment; [Baren] member
Brad Schwartz started one a few weeks ago.  He posted:
> Go to www.onelist.com and look for the [Printmakers] list...

Are you up and running yet Brad?

***

We're again moving into a situation where members are starting to
challenge each other on the content of [Baren] postings.  In order to
try and maintain a civil discourse, could I please ask that you all try
and follow some of the points of list etiquette as set out on the
[Baren] web site.

http://woodblock.com/forum/baren_faq2.html

Please take the time to drop over there and read them ...

Thank you

Dave

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From: "Brad A. Schwartz" <brads@iea.com>
Date: Fri, 26 Mar 1999 21:05:26 -0800 (PST)
Subject: [Baren 3741] Re: Various ... 

Hi everyone...

David Bull wrote:
>But as I understand it, it's not needed at the moment; [Baren] member
>Brad Schwartz started one a few weeks ago.  He posted:
>> Go to www.onelist.com and look for the [Printmakers] list...
>
>Are you up and running yet Brad?

Yes. It has been running for several weeks now. I think there are around
45 subscribers now... if people would like to subscribe simply go to:
http://www.onelist.com/subscribe/Printmakers

I know there are quite a few [Baren] members there already.

Also... on the whole topic of [Baren] vs. the rest of the printmaking
world.... I stumbled upon the list in my quest for more information on
relief printing. At the time, I was looking for as much knowledge on
techniques, tips, hints, etc. that I could find. It was all hear. I
learned a lot of valuable information.  Relief printmaking was all I was
able to do at the time due to lack of press (for my favorite media -
intaglio), so there you have it... I think it would be great for people to
share their knowledge of other printmaking media on the list I created...
[Baren] is [Baren]. It is a great resource in itself, let's try to keep it
that way....

Hope this helps...

Brad

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End of Baren Digest V6 #504
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