[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Sunday, 22 August 1999 Volume 08 : Number 668 ---------------------------------------------------------------------- From: Graham Scholes Date: Sat, 21 Aug 1999 12:53:26 -0800 Subject: [Baren 5303] Sample of Paper I had a chat with Dave....that's right Dave our leader..... and we were discussing the paper that I made available at such a good price. I have determined that the price was almost 40% cheaper than you could buy it at a retail level. I was surprised that only a few persons took advantage of this offer and the other surprise was the paper that is available from McClain's and the roughness. It is not a paper I would even consider. Now I realize, that I can expound about this till I am blue in the face. Dave said something that made a lot of sense..... Send them a sample and they will see what real good paper is suppose to be like. I thought ah ha..... this will also be a way of informing and helping members. Soooo, on that basis I offer you guys and gals the chance for a little piece .... to help you better realize what the REAL STUFF is like. I was going to return the paper but will now hold it until the rest of you get see the samples, believing that you will want to order some. I ask that you send me a buck $1.00 to cover handling cost and when you order the paper this will be refunded. (You can realize that with over 100 members that a fee bee could grow to the $100.00 figure) E-mail your snail mail address. Regards, Graham My inner self says..... Hmmm it would be easier just to send the damn stuff back. ------------------------------ From: Sherpsm@aol.com Date: Sat, 21 Aug 1999 16:50:58 EDT Subject: [Baren 5304] Re: Sample of Paper Graham I have not received my paper as of Saturday. I am looking forward to using the real stuff." I have a collection of 19th and 20th Century Japanese woodblocks and have always wondered where one could get that quality of paper. I hope that my order will answer my question. I think Dave's suggestion on samples may work well on several levels. If enough of our fellow Baren members find that a quality paper makes a difference in their printing (and I know it does) your overstock will be gone. More importantly, it may create a larger demand for quality paper. This will keep those paper craftsmen working, a tradition alive and a new source for all out here in the world wide web of printmakers. Thanks Graham Joe ------------------------------ From: Graham Scholes Date: Sat, 21 Aug 1999 14:48:05 -0800 Subject: [Baren 5305] Re: Sample of Paper Joe wrote.... More importantly, it may create a larger demand for quality paper. This >will keep those paper craftsmen working, a tradition alive and a new source >for all out here in the world wide web of printmakers. >Thanks Graham That is an interesting and important point. I know that Dave has real concerns that we are loosing the young people that use to carry on the tradition of the family papermakers. Lets hope.... In the mean time I will be putting any spare money into Kozo Paper. Graham ------------------------------ From: Barbara Mason Date: Sat, 21 Aug 1999 15:49:22 -0700 Subject: [Baren 5306] Re: Sample of Paper Graham, I got my paper and it is beautiful. I am sorry I have no time to work with it until September. I can't wait to print on it. Sending a sample is a great idea! Barbara ------------------------------ From: April Vollmer/John Yamaguchi Date: Sat, 21 Aug 1999 23:32:13 -0400 (EDT) Subject: [Baren 5307] Kizuki Hosho/Kizuki Hangaa Graham, I've printed a lot on Elaine's "kizuki hanga" it is indeed rough, but I need paper that is very strong when I print my big prints with lots of layers. It needs a good strong baren, and has to be dampened overnight. But it is great stuff because it stays moist well and evenly, and withstands lots of overprinting. It doesn't change shape, good for registration. My prints are generally fairly large, 18" x 20" up to 36" x 18", so the heavyweight is good for me. And it prints smoothly enough with a good baren. Well folks, I'm back, just catching up with the latest paper questions. My paper package safely from Graham while I was away. Looking forward to trying the Yamaguchi. But I had to give a quick report on the Horizons New England Craft Program. I taught a week long Elderhostel class there, just got home tonight. My star students were Barbara Hearn (N. Carolina) and Bea Gold (L.A.) from Baren. They flew to Massachussets to take my class! What a treat, both great people with a strong interest in learning hanga. The class total was seven, and I was pretty busy. But it was a pleasure to work with that group. I rushed everyone through cutting an 8 x 10 block (two to four colors) in two days. Everyone thought it was quite unfair, but I knew the printing would take even longer! I made them all work pretty hard. Barbara was so well organized, had her nishinouchi paper all cut and a sketch ready. She printed a whole edition. Bea's charming husband Jack took a photography class next door. Four kids, and fifty years later, Bea and Jack still enjoy taking different vacations together. (him in the darkroom, her in the studio this time) Bea did a woodcut based on a painting of hers. Seven colors, I think! Beautiful little piece. We did not cover sharkskin stretching or sizing the paper, but we were plenty busy. Bea promises to write up the details for the enlightenment of all, but I wanted to thank Dave, and Baren for bringing us together. We had lots of talk of how Dave did this, how Matt did that, and what Graham says about that, and what was written about something else in the encyclopedia. We used Bea's copy of Baren II to show the class what hanga prints are. Bea also brought her computer, but we had no internet connection, so we couldn't share the moment, but we were thinking of you all! I should get my photos back Monday, I'll post them up to Dave ASAP. April Vollmer ------------------------------ From: Graham Scholes Date: Sat, 21 Aug 1999 21:30:26 -0800 Subject: [Baren 5308] Re: Kizuki Hosho/Kizuki Hanga From April........ >I've printed a lot on Elaine's "kizuki hanga" it is indeed rough, >but I need paper that is very strong when I print my big prints with lots >of layers. Thanks for the feed back April. A couple of observations re the weight related to number of layers or colours and the maintaining of moisture. The paper you received is the same that is used by an artist in Vancouver who prints 145 colours from 26 blocks. So you can see that this paper knows how to take colour and punishment. The folks who were at Boot Camp saw this image and the general consensus was it looked like a photograph. The Artist name is Mosato Arikushi and was taught hanga by Noboru Sawai. On the subject of moisture retention.... A damp box is recommended. This can be an elaborate affair with dampened felt, sponge, or blotting paper in a large tray with water. The Kozo paper is suspended over the top on a shelf. It has a hinged lid. Or As I do... large plastic pieces one top and one bottom. I dampen blotting paper and then dampen the paper and place it between the damp blotting paper. When it is hot and humid you must dry your paper after two or three days.....or put it in the freezer over night and/or between printing sessions. We have been over this in the past so will not elaborate further. The Yamaguchi paper is by far a superior product and you will be pleased with the results. Sounds like you had a great workshop. Regards, Graham ------------------------------ End of Baren Digest V8 #668 ***************************