[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Friday, 3 September 1999 Volume 08 : Number 688 ---------------------------------------------------------------------- From: Vollmer/Yamaguchi Date: Thu, 2 Sep 1999 09:28:43 -0400 (EDT) Subject: [Baren 5589] Pyramid Atlantic Saturday and Sunday September 25 and 26 I am teaching a two day workshop in Riverdale, Maryland, if any printmakers are lurking in the area.. Pyramid Atlantic, 6001 66th Avenue, Suite 103, Riverdale, MD 20737, 301-459-7154, e-mail pyratl@earthllink.net. They have a lot of interesting print, paper and book classes, for info try http://home.earthlink.net/-pyratl/ April Vollmer ------------------------------ From: Vollmer/Yamaguchi Date: Thu, 2 Sep 1999 10:23:00 -0400 (EDT) Subject: [Baren 5590] Hanshita Great step by step, Dave, so interesting to see photos of the whole process for Exchange #2. I didn't look till Jack mentioned the gluing of the hanshita. This process has eluded me. When I learned from Prof. Noda, we simply drew on the first sheet of washi with sumi ink, and glued that sheet face down on the block with rice paste. (This would be difficult to do if your drawing is more complex.) After printing from that key block, those hanshita were glued to each color block the same way. I see you use a copier and a spray glue. Is this true for the successive color hanshita as well? Or only the initial drawing? I love the 'simplicity' of the traditional approach, no machines, but lots of skill. I had difficulty gluing the key block hanshita prints to the color blocks without stretching the paper. Especially for large work, I find it much easier to transfer photocopies with wintergreen and an etching press. (it's in the encyclopedia somewhere!) But it means I do the color separations in my head. Also, it is important to do all the copies at the same time on the same machine, because photocopiers are so variable, changing the sizes of things. Every one different. Even the ink is different and will respond to solvents differently. Anyway, I shouldn't be asking questions as I won't see the response for a week or so! I should be packing instead of reading Baren! Can't help myself! April Vollmer ------------------------------ From: Ruth Leaf Date: Thu, 02 Sep 1999 08:32:21 -0700 Subject: [Baren 5591] Re: Baren Digest V8 #686 Wow thank you all, expecially Arafat. The websites he listed gives pictures and information and it was exciting to be able to access it on the computer. You're a great bunch. Ruth http://www.ecom.net/~leafr ------------------------------ From: "Brad A. Schwartz" Date: Thu, 2 Sep 1999 09:59:53 -0700 (PDT) Subject: [Baren 5592] Reduction printing tips... Doee anyone have any tips, tricks, suggestions for doing successful reduction prints? I'm interested in trying one.... Thanks! Brad ------------------------------ From: "Cyndy Wilson" Date: Thu, 2 Sep 1999 12:24:31 -0700 Subject: [Baren 5594] Re: what's going on ? > What about a "Bulletin Board" feature on Baren that would cover that sort > of thing? I think that it's a great idea, and wouldn't clog up the "conversations" on the main list. Cyndy ------------------------------ From: "Cyndy Wilson" Date: Thu, 2 Sep 1999 12:34:14 -0700 Subject: [Baren 5595] Re: what's going on ? 13th Parkside Nat'l Small Print Exhibition. Deadline: Nov. 5, 1999 Show:1/19-3/4. Open to all artists, all media. Works should draw inspiration from the elements of winter; interpretations may be broad and not limited to representational works. $1000+ in awards. Jury fee: $15/1 entry, $20/2. Insurance, 33% comm. Must have entry form. For prospectus SASE to: Center for Visual Arts, P.O. Box 475, Madison, WI 54402-0475. 715-842-4545, fax 715-848-8314. Cyndy ------------------------------ From: Jack Reisland Date: Thu, 02 Sep 1999 10:20:59 +0000 Subject: [Baren 5596] Re: bulletin board Gary wrote: > Can a page be created where a member simply > can send in something comparable to an index card with the info on it, much > as an office, or grocery store type bulletin board is there for anyone to > stick a notice or ad on? It seems to me that this single page format would only work if there weren't very many postings, otherwise it becomes one huge page to download and read through each time you want to search for some specific information. The bulletin board that Dave proposes would be much easier to search, and would not require any maintenance by the list server. At any rate, it would have to be carefully spelled out what sort of postings go on which forum, so that we don't end up with stuff scattered all over. Jack ------------------------------ From: Jack Reisland Date: Thu, 02 Sep 1999 10:49:13 +0000 Subject: [Baren 5597] Re: shark skin David Bull wrote: > I've just had a close look at mine, and I don't think we're looking at > the same thing. They are definitely little _teeth_, not scales. Thanks Dave, for all of your info, Those little teeth are called 'denticles', and for what it's worth, are considered a form af scales. Some sharks scales (like those that I got) are definitely more like a regular fish scale, while others (like yours) are more tooth like. Grahams dog fish skin is half way between, pointed, but much less robust, and that is probably why they don't last as long. I will send a letter to Matsumura san to ask about shark skins, and will post the information that I get. What is the proper Japanese name for these things? Also, does he have a catalog in Japanese that I might request? If so, I will be able to do an english translation of it, with help of course. Thanks for your info on the hanshita registration. I failed to take into account the possible difference between the key block design as it is drawn and as it is actually carved. This reminds me of anther question. Is there usually any overlap between the color block and the key block line? Jack ------------------------------ From: David Bull Date: Fri, 03 Sep 1999 06:31:57 +0900 Subject: [Baren 5598] Re: Hanshita April wrote: > I see you use a copier and a spray glue. Is this true for the successive > color hanshita as well? Or only the initial drawing? I use my 'combination' paper (thin gampi sprayed to normal copy paper) only for the initial hanshita. For the kyogo-zuri (the colour separation sheets) I use a paper known as 'hodomura', with a very strong sizing. This paper isn't so thin as to be unmanageable - it doesn't 'flop around' while you are handling it. It is extremely important that it maintains dimensional stability ... My current surimono print (#6 this year) has lines on the keyblock - and which will be borders for colour areas - that are literally hair-like. The paper for the kyogo _must not_ stretch or vary by even that much. *** Jack wrote: > This reminds me of anther question. Is there usually > any overlap between the color block and the key block line? In most cases (in the traditional work), the general 'rule' is that the colour blocks overlap the black lines by a little more than halfway. *** ... and: > I will send a letter to Matsumura san to ask about shark > skins, and will post the information that I get. What is > the proper Japanese name for these things? same no kawa (as in 'sah meh noh kah wah') > Also, does he have a catalog in Japanese that I might > request? He has a Japanese catalogue (no pictures, just price listings). A new, illustrated version is in preparation, along with an English version. But that's been the story for a while now, and I don't have the slightest idea when they will be ready. *** Small administration message: Would everybody try and remember to chop off most of the extraeneous quoted material from their postings please. We've had so much volume recently that the Digests are getting triggered a couple of times a day, and reducing the amount of quoted material will help to keep things under control (and will help me save time when preparing the archive every evening ...) Thanx. Dave ------------------------------ From: judy mensch Date: Thu, 02 Sep 1999 18:10:27 -0400 Subject: [Baren 5599] Re: what's going on ? I think the bulletin Board is a great idea. Here's another announcement: Our classes at the Manhattan Graphics Center will begin at the end of September. For a brochure please write or call: 212.219.8783, Manhattan Graphics Center, 481 Washington Street, New York, NY 10013, for our latest brochure. We're also having an open house to look at the Center and watch demonstrations, I think, on September 15th. There will be a faculty exhibition of prints up in our gallery area. (The next show will be our Baren exhibition.) I'll be teaching a course in woodblock printing (western and Japanese) at the Graphics Center, beginning Wednesday, September 29th for 10 weeks. Everyone is welcome. Judy ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Thu, 2 Sep 1999 17:03:25 -0500 Subject: [Baren 5600] Re: what's going on ? Thanks to evreyone for the bulletin board ideas and for your quick response to my request for shows. I have never tried making a miniature print, but sounds like an intriguing proposition. I would like to enter one of these if time permits, of course with Exchanges 4 & 5 just around the corner.......I don't know how feasible that might be. Bea; could you send me your url again, I somehow deleted the wrong mesage and lost your web-site info. Thanks.....Julio ------------------------------ From: Bea Gold Date: Thu, 02 Sep 1999 15:21:08 -0700 Subject: [Baren 5601] Re: what's going on ? Here's the place some of my prints are - enjoy, Bea http://beagold.com/prints.htm ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Thu, 2 Sep 1999 17:36:22 -0500 Subject: [Baren 5602] Re: bea's prints Thanks Bea.......I enjoyed your prints. I like your style very much, there is a "flowing" type of feeling to your prints, very down to earth, very family oriented, your characters are very warm and seem as they could be part of anyone's family. I gather that not all the prints are traditional woodblocks, what do you mean by "watercolor under print", is that the same as coloring a b&W print by hand after printing the main block ? Thanks again.... JULIO ------------------------------ From: John Ryrie Date: Fri, 03 Sep 1999 10:52:38 +1000 Subject: [Baren 5604] Re:reduction Brad My method of doing reduction prints my not be the way most people do them as I made it up as I went along. I make a coloured drawing in water colour onto the block. I then cote the wood with several layers of shellac to protect it from the washing up after each colour is printed. I then print the lightest colour first chuting away the area that I wish to be left that colour before printing the next. And continue till all the colours are printed. The image will get harder to see but the shellac will protect it enough to see what you are chuting. John Ryrie ------------------------------ From: Bella1yopp@aol.com Date: Thu, 2 Sep 1999 20:55:30 EDT Subject: [Baren 5605] Re: Foxfire Wanda, I enjoyed your print. I think it is wonderful for your second time. Personally, I do not know how to do a hanga print. I think yours is beautiful. I love the length of the print and the gradation of color. I understand what Ray was saying about the border. Perhaps the plant needs a little more space... perhaps it is perfect the way it is. I love borders whether it be a thin line or an intricate weave. Great resolution online. Good job. - -Amanda Yopp Tucson, AZ ------------------------------ From: Bea Gold Date: Thu, 02 Sep 1999 18:20:09 -0700 Subject: [Baren 5606] Re: bea's prints Thanks Julio - yes - about a year ago, when I was doing black and white oil prints I decided I wanted color didn't want to print in oil so I started hand painting with water color or I used a palate knife with thick water based inks under the print - I made a template of the print first with a burnt sienna pastel (not oil) and painted and then printed the key block over the painting. I was enjoying it until - HANGA - came along - now I'm off on another adventure. I am going back to old blocks and cutting color blocks for them to print in hanga fashion. I have to use a jig for the kento since I cut my old blocks to the edge. The only trouble is that they are large and I'm expecting trouble when I try to print - so I'll be crying for help soon. Bea ------------------------------ From: Maria Arango Date: Thu, 02 Sep 1999 19:41:21 -0700 Subject: [Baren 5607] Kim's work and where Ray went Kim's work can now be seen in the Invited Artist's Gallery pages in my site. My favorite is Sun Road, Kim! Makes me remember all those long bike rides along the lake road in 110 deg. heat. The other update of note is the Printhouse Gallery can now be peeked at through my site. Some of you were asking where Ray went...there he is! Make sure you send him a note. Ray Esposito's Printhouse Gallery is a non-profit gallery dedicated to raise money for The Brassring Society, which in turn helps needy children. Ray will tell you all about it, e-mail him: brassring@brassring.org. The key point for the Baren members is that you can, with an art donation, send some other pieces to show in the gallery. It is a great deal to get in on the ground floor, you help needy children, and one more opportunity to show and sell your art. Several Baren members are already populating the gallery and Jeanne N. Chase and yours truly will be the featured artists in September and October, respectively. As Ray would say... Cheers! Maria ------------------------------ From: viscult@mich1.telmex.net.mx Date: Thu, 02 Sep 1999 22:32:54 -0500 Subject: [Baren 5608] Re: Baren Digest V8 #686 Julio and everybody; Here it goes a web site (I'm sure many of you know it o'ready) where you can find some On Time calls for entries on biennals, contest, etc. in the world. I hope it works for you, http://www.eyelid.ukonline.co.uk/print/works.htm Juan Guerrero, Mexico ------------------------------ From: arafat alnaim Date: Thu, 2 Sep 1999 21:35:58 -0700 (PDT) Subject: [Baren 5609] The ART DEADLINES LIST Dear Maria, The URL of The ART DEADLINES LIST is http://www.xensei.com/adl/ Hope you enjoy it. Arafat Al-naim ------------------------------ End of Baren Digest V8 #688 ***************************