[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Thursday, 10 June 1999 Volume 07 : Number 591 ---------------------------------------------------------------------- From: Gayle Wohlken Date: Thu, 10 Jun 1999 09:18:39 -0400 Subject: [Baren 4594] Re: Baren Digest V7 #590 For the people in the exchange. How are you packing up your prints to send to John? I can't get a picture of how to do this because he will be sending them back in the porfolio and I don't know the size of it. Aren't we supposed to send our prints in a box big enough for him to mail everything back to us? Big enough for the porfolio and its contents? How big is that? Gayle ------------------------------ From: James G Mundie Date: Thu, 10 Jun 1999 12:02:42 -0400 Subject: [Baren 4595] carbon paper, mylar, mat cutting Graham said: >It is interesting when you said "Anybody ever tried this one?" and >how sometime one takes for granted everybody knows about the method of >verifying register of one plate to another. Now, that is the very reason for a forum such as this! This particular method is one I don't recall ever having read about or heard anyone mention before-- although it is possible that I had it tucked away subconsciously. The carbon paper trick just occurred to me the other day when I needed to proof the block I'm cutting. So, I thought I'd pass it along to anyone else who hadn't yet "discovered" it. :-D >When you do this it is better to take a piece of Frosted Mylar. When >you get the rubbing you easily can move to another plate to make sure the >register is OK. A good thought. My concern this time was not for registration as there are no color plates. I simply wanted to examine the progress of the cutting and see which lines might need to be trimmed. I will keep the mylar in mind for my next color project. *** Maria wrote: >I use acetate to proof second and third states on reduction prints >also. It does not move at all, sticks to the block and stays put and I am able >to pull a proof which then can be held right to the previous state to see >exactly what the addition/deletions will look like. Wonderful stuff. I print >with wooden implements and sometimes a plastic baren with no problems. Yes, I can see no problem with that. However, Horacio's technique as I understood it was to print _from_ the acetate -- in other words, use the cut acetate as a color block. Printing a block onto acetate is one thing, but applying ink to a piece of acetate and trying to pull a print from that is a whole other animal entirely. Past experience has taught me that these acetate or mylar shapes become really tricky to handle when they are inked and have a tendency to prove the rule that toast will usually fall onto the floor buttered side down. *** About cutting mats: I recommend to anyone who exhibits and frames a lot of work that you go out and buy yourself a Logan Compact system. I have a model #301 that has served me well for a couple of years. I bought mine for about $75 at Pearl (a 25% discount -- yippee!), and darned if the little sucker didn't pay for itself after the first few mats. Basically, it is a handy little package with the straight edge built right in. The mat cutter is grooved and slides along the straight-edge. Nice straight clean bevel cut every time and no need to mess with undoing those clamps for every cut. The only drawback to the model I own is that I am limited as to the size of mat I can accommodate, but I can easily and quickly handle something for a 16x20in frame, which is my size of choice. One reason I like this dimension is that is exactly a quarter of a standard 32x40in sheet of museum board. This system is time-saving and cost effective as there is no wasted material; and if I need to I can easily pop one print or drawing out of its frame and stick in another. Mise le meas, James Mundie Philadelphia USA [considerably cooler today] ------------------------------ From: Graham Scholes Date: Thu, 10 Jun 1999 09:37:48 -0700 Subject: [Baren 4596] Re: Dave's latest print Dave wrote.... >This Graham, is one of those times when you and I will have to agree to >disagree ... Before wrapping the skin around the ategawa (after >moistening it and softening it up), traditional printers here do their >best to 'kill' those ribs. No not really ... we are both on the same wave length on this. Even after the rub down, there is a degree of rib that survives (no matter how hard on tries) and as subtle as it is this still aids in the transition of the baren across the paper. I picked up some 'yoshida' baren from Noboru Sawai for the workshop and he was in the process of applying the sheaths to the disc He does not rub down the front. He vigorously rubs the back. Some of the rib survives. He believes it assists the burnishing process. Looks like a case of 'different strokes for different folks' (<: ....ooohh, bad Graham bad. >I would guess that in your case Graham, you are perhaps using the paper >quite a bit dryer than I do. The hosho is moist enough that it requires protection and so I always lay a piece of newsprint to protect the hosho paper when printing. Thin tracing paper is good to use, for just the small areas you are burninshing. Graham ------------------------------ From: arafat alnaim Date: Thu, 10 Jun 1999 10:23:16 -0700 (PDT) Subject: [Baren 4597] Introducing my self, relief printmaking project and other ideas Dear Baren's, I apologize for not introduced my self to you yet because I had been travailing outside the country. Any way here I'm to introduce my self and make some comments. My name is Arafat Al-Naim; I'm a Jordanian artist printmaker graduate BA and MFA in printmaking from The National Art Academy Sofia, Bulgaria. Where I'm working and doing my Ph.D. research project in Relief printmaking (almost I'm in final phase of it). For the last ten years I have been exhibiting and participating in national and international exhibitions, biennials and triennials in Jordan, Poland, Macedonia, Tunis, Cyprus, China, Syria, Bulgaria, France and now Hungary. As apart of my Ph.D. relief printmaking research and the Program of Graphic Art Department at the National Art Academy Sofia, Bulgaria we are working on project for putting all together the new technical and artistic achievements of relief printmaking artists, instructors and work shops. For this purpose we designed a form which contains basic points to be filled by the above mentioned parts. This will serve as information database of relief printmaking artists, instructors, workshops, and techniques for future projects in this field as well as for analyzing and studying the new forms of relief printmaking and documenting the achievements in this filed. On the base of the activity of Baren members until now and outstanding relief printmaking made in the last years, I would like on behalf of the academy to invite all of you to participate in this project and to fill the project form describing your personal technique and way of work. In accompanied e-mail You will find the project form. In late November this year the Graphic Art Department organizing a seminar on NEW FORMS OF RELIEF PRINTMAKING those of you how would like to participate or take part are welcomed (contact me for detail's). Dear Dave: Thank you for you generosity and efforts for making woodblock printmaking available on the Internet and giving us the opportunity to discuses and share our experiences. I want too to know all the members! What do you think about putting information about Baren Form members so the new members could easily fined information about every body in the form and introduced them selves? Dear Jean, Thank you for putting samples of woodcut by Anslem Kieffer. What about discussing his technique and philosophy? (Thanks to others who shared opinion too) What about starting a serial of discussions about the techniques and works of contemporary printmakers who use the woodblock in their works? (We should have in mind putting samples of there works some where on the internet to make it easier for all of us to take part in this discussions). Regards to all of you Arafat ------------------------------ From: arafat alnaim Date: Thu, 10 Jun 1999 10:26:42 -0700 (PDT) Subject: [Baren 4599] relief printmaking project form RELIEF PRINTMAKING PROJECT Dear relief printmaking artists, instructors and workshops, The Graphic Art Department at the National Art Academy Sofia, Bulgaria as a part of Ph.D. Printmaking research project invite You to participate in a project for putting together all new technical and artistic achievements of Contemporary relief printmaking artists, instructors and workshops. It's waiting the project to be an information database of relief printmaking artists, instructors, workshops, and techniques for serving future projects in this field. On the base of your activity until now and outstanding relief printmaking made in the last years, we would like to request you to participate in the project by filling the following form describing your personal technique and way of work. We are looking forward to your replay and Materials. Yours faithfully Arafat Al-Naim Graphic Art Department National Art Academy Sofia/Bulgaria you can find the relief printmaking project form on this page: http://www.prontomail.com/Prontomail/users/arafat ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Thu, 10 Jun 1999 13:03:08 -0500 Subject: [Baren 4600] Re: Introducing........ Welcome to all the new members here and across the seas.....for those new to Baren....wanting to jump right in......there are still thirteen openings for entering Baren Print Exchange #3 (as of this email). Join us and let us see your work!!! Ray Esposito had put together a list of BA5 members back a while.....I don't think I have it anymore... it had names & cities.......did anyone keep that list ? It might be a good start for a Baren index......... Yes Gayle.... I am still here, just toooooo busy to join you guys at BA5..... JULIO ------------------------------ From: "Jeanne N. Chase" Date: Thu, 10 Jun 1999 15:01:35 -0400 Subject: [Baren 4601] Several posts Dave Tried to get to the Comtemporary Japanese prints but just got the NOT FOUND message, anyone else who cannot access this. It sounds really interesting. Baren Users I am really getting a learning experience re; barens lately. This is what is so great about the group, all the pertinent information. I use a disc baren, a silver spoon or a wooden spoon. The wooden spoon has been used for so many years that it has a wonderful feel to it and really glindes across the paper beautifully. But when I get into the water color printmaking (instead of the "greasy kid stuff". ), all of the info will be greatly appreciated. Welcome Arafat What a generous introduction. You have a profound history. Am looking forward to seeing your work. We still have room for you on the next Exchange!!! Thanks Jean For the information on acetate. I will try it . I have been using tracing paper which will not stay put at all. This technique sounds like a winner for me. Registration is the most difficult part of all. (Except sharpening tools). Maria Nice to hear again from you! Anyone who has not checked out Marias site is in for a real treat. I agree with you Maria on the wonderful feel of the oil based ink as it takes to the paper. Even if I fall in love with the Japanese style of printing with water color, I will always print with oil based inks from time to time. I guess it is also because I have been an oil painter for most of my life. The smell and texture is home to me. Thanks for the plastic tips Barbara. There , I have said it all in one post!!!!!! Jeanne Who is still trying to meet the Print Exchange 2 deadline!!!!! ------------------------------ From: Jack Reisland Date: Thu, 10 Jun 1999 09:19:56 +0000 Subject: [Baren 4606] Re: Several posts Jeanne wrote: > Tried to get to the Comtemporary Japanese prints but just got the NOT FOUND > message, anyone else who cannot access this. It sounds really interesting. The very end of the address is not registering. Just cut and paste the whole thing into your web browser, and it will work fine. Nice stuff to look at, but not near enough information, and most of the artist's images are just tiny, and not clickable. Jack ------------------------------ From: Elizabeth Atwood Date: Thu, 10 Jun 1999 15:33:11 -0400 Subject: [Baren 4607] Re: And knobs! Graham wrote: >The next time you come to visit your daughter in Seattle or (where ever) >you must come to Victoria and I will show you. Thanks, Graham........I'd love to take you up on the baren-wrapping. Each day I become more envious of all those who are taking part in your workshop. Alas...no cross country this year...we're hoping for Ireland in the fall. ElizA ------------------------------ From: David Bull Date: Fri, 11 Jun 1999 08:33:19 +0900 Subject: [Baren 4608] Re: baren skins and members' list Graham wrote: > The hosho is moist enough that it requires protection and so I always lay a > piece of newsprint to protect the hosho paper when printing. Thin tracing > paper is good to use, for just the small areas you are burninshing. Well, this is of course the main reason then for our different methods. With this kind of protection in place, it wouldn't matter if the 'bite' was left in the baren skin, as the newsprint will protect the printing paper. *** Gayle wrote: > Dave, didn't you mention > that bamboo sheaths were getting hard to find? Kaneko Shoten, the place I've been getting them for many years, is now pretty much out of that business, and at the time I wrote that, I hadn't found a new supplier. But I _have_ now found a good place for them, and in fact, the quality of skins these guys have is much higher: thin but strong, a good light colour, and (sorry, Graham!) very small ribs ... *** Arafat wrote: > ... works of contemporary printmakers who use the woodblock ... > We should have in mind putting samples of their works some where on > the internet to make it easier for all of us to take part in this > discussions. Well, I've tried to do that with the 'Woodblock Printmakers on the Web' section of the Encyclopedia: http://woodblock.com/encyclopedia/topics/017/017.html ... which now has nearly three dozen people in it, and of course with our own 'Who is Baren?' page (which I will be updating this weekend): http://woodblock.com/forum/who.html > What do you think about putting information about Baren Forum members so > the new members could easily find information about everybody in the > forum and introduce themselves? Again, I can't easily respond to this request. I myself only find out 'who' each [Baren] member is when they pop up and make a posting, as you yourself have done for the first time today. The only list of members that I have is the list of email addresses on the list server, and this tells us nothing about who the people are. Anybody who wants to try and put together some kind of list of [Baren] members names and places can do it the same way that I would have to do it - by trolling through the archives and picking up the information ... > an information database of relief > printmaking artists, instructors, workshops, and techniques for serving > future projects in this field. That's quite a comprehensive list of questions that you're asking people, and as it comes together should make up quite an interesting database. Are you going to make the information available on-line when you've got it all collected? Dave ------------------------------ End of Baren Digest V7 #591 ***************************