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

Baren Digest             Wednesday, 13 October 1999     Volume 09 : Number 740

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From: <DARICH@prodigy.net>
Date: Tue, 12 Oct 1999 10:16:31 -0700
Subject: [Baren 6219] sucess 

Printmaking is alive and woodcuts are in demand.  I had open sudio here
last weekend and sold 52 prints, two books, and a bronze, and received oh
so many wonderfull comments on my work.  

Just had to celebrate with you all a little.  Now since I'm doing it again
next weekend I have to get back to framing, printing....

Andrea Rich

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From: Graham Scholes <gscholes@home.com>
Date: Tue, 12 Oct 1999 14:13:09 -0700
Subject: [Baren 6224] Re: sucess 

>Printmaking is alive and woodcuts are in demand.  I had open sudio here
>last weekend and sold 52 prints, two books, and a bronze, and received oh
>so many wonderfull comments on my work.

Holly smolly Congrats.....
I hope this means that the corner has been turned for the purchase of
art......real art.

Graham

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From: Wanda Robertson <robertson@canby.com>
Date: Tue, 12 Oct 1999 16:45:47 -0700
Subject: [Baren 6227] Re: sucess 

Andrea! Congratulations! Open studios are wonderful, both for the artist
and for the art buyer! Such good news, you deserve this success!

Wanda

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From: Gary Luedtke <GLuedtke@compuserve.com>
Date: Tue, 12 Oct 1999 20:06:13 -0400
Subject: [Baren 6228] Making a living 

Hi Matt,

Glad to hear your visit has gone well.   Also great to hear that you are a
successful printmaker.   I have an inkling of the effort you must expend to
that end, as some years ago I was a custom woodworker for a living, doing
some fairs and things.  It's not an easy life, and that you can do it,
means you work hard.  You're actually doing two full time jobs, making it,
and selling it.   

Say Hi to Dave and Sadako, if they are coming back.   Didn't know if they
were, or had hopped the bus to go to Canada, where I thought Dave said they
would spend some time in Quebec.

It's great that you had a chance to meet each other and discuss ideas and
techniques.   Has that changed any of your thoughts or processes about
doing things?   Be interested to hear more about your visit if you get the
time.

Gary

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From: severn@acay.com.au
Date: Wed, 13 Oct 1999 11:06:47 +1000
Subject: [Baren 6231] Trip Report 

Hi everyone

Just got back from the trip to Canberra to find in excess of 100 e-mails
mostly Baren or after five. Think I will change to the digest versions..

I visited Studio One, the Canberra Print Workshop and saw two print
exhibitions that were part of the Festival of Contemporary art.

see http://www.foca.com.au and http://www.studio1.org.au The foca site
mainly gives information about bookings.

I also went to the National Gallery and found an Exhibition of
Australian Landscape prints. ****Dont miss this****, especially Bea
Maddocks piece, it was stunning as usual.

http://www.nga.gov.au/Landscapes/

All you non-aussies need to discover some of our master artists in this
show...


Also showing was a new acquisition of Frank Stella's "The fountain"
1962, a "67 colour, hand-coloured woodcut, etching, aquatint, relief,
drypoint, screenprint on three sheets of natural Kozo". (size 231.1cm
high x 700.4cm wide) yes, that's two by seven meters... or a bit bigger
in yards.
What I liked best about this was they also had the plates on display
which had been donated by the Tyler workshop, and a brochure showing a
photo essay on the process and the specially made press with bed size
250 x 305 cm. The plates looked much better than the print.

Canberra's annual floral festival "Floriade" was on and I went to see it
and the installation by glass artist Dale Chihuly. The piece I liked
comprised a collection of coloured and textured blown glass spheres
which were floated on the still lake in the centre of the flowers. The
spheres were reflected and were slowing moving around forming new
combinations of colours; moved by the breeze and the motion of passing
water fowl. Excellent!

His work is also on display at the national gallery. See

http://www.nga.gov.au/chihuly/ or http://www.chihuly.com 

I also went to the NAtional Library to see John's artist book, see the
Book Report following.

Regards

Josephine

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From: severn@acay.com.au
Date: Wed, 13 Oct 1999 11:28:29 +1000
Subject: [Baren 6233] Book Report 

Trees/Ladders an artist book; woodblocks John Ryrie, Poems Alex
Selenitsch and slip covers Hamish Hill.

I took the time to visit the National Library in Canberra, Australia to
see John's book. As this was my first visit here I asked the librarian
for assistance. After obtaining the catalogue entry a form is filled out
in triplicate, date stamped and submitted at the desk. The book was in a
special collection in the Library vault. I was given a magnetic key to a
special viewing room and had a twenty minute wait whilst it was
retreived from the depths of the Library. I had to present
identification before I was handed a grey box and a pair of cotton
gloves.

The box peeled like an onion. First the warm grey box folded flat onto
the table into a cross. Revealed was a wooden slip case of great beauty.
A note inside informed that each volume of the edition and proofs was
made from a different combination of Australian Timbers with the current
volume identified on the list of timber types.

Another grey package slid out from the slip case. It was nearly a full
sheet of thick warm grey art paper, deckle edged on the three uncut
sides. It folded in three, opening to the left and right as it was
unfolded.

Inside was a stack of folded 'leaves' of similar dimensions that
comprised the body of the text. These were thick creamy lightly textured
rag paper (rives?). Each folded into three, with different layouts of
image and text for each page.

Poems dealt with Australian trees, ladders and a charming piece about
metaphor. I regretted leaving my journal in the car. From memory, one
piece states that you can't paint the part where the ladder touches the
wall. Very Zen! Perhaps John can quote us some of the poems.

John's woodblocks looked like John's woodblocks. The texture of the
paper gave a range of blacks in the images from dense black to finely
speckled greys. When I got to the end of the stack I turned it over and
started it again.

Refolded and enclosed, layer upon layer, the book was returned to the
vault. A most rewarding experience, and well worth both the diversion
snd the wait.

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From: "Fell" <flyfish@swcp.com>
Date: Tue, 12 Oct 1999 20:59:20 -0700
Subject: [Baren 6235] baren exchange #3 

hi,  my name is frank fell and i  have been here for a few months.  it just
never seemed the right time to introduce myself. as i have subscribed to the
3rd exchange and mailed it to barbara. i thought now was the time.... i live
in Albuquerque New Mexico and my main feed is that of a furniture
maker,woodworker, picture framer and lastly a print maker. i  have been
carving in furniture for years,then one day i decided to print one of my
carvings......the rest is history.  ihave a  gallery where all is for sale
and wish that there was more time to do just the printing..i work mostly in
reduction   . and oil base ink. have a press but only use it for signs..
love the feel of the baren on my woodcut.as for wood i have a shop full of
it but i do use mostly bass wood..as a carpenter i am not to comfortable
with the computer so i hope this gets out there.     as a  side...i have a
printed sign telling my hours..my son(with a masters degree) saw all the
little specks and blobs of ink," what a neet program.how did you do that? Is
it microsoft?//////////  maybe he is on to something.......

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From: Maria Arango <Maria@mariarango.com>
Date: Tue, 12 Oct 1999 21:39:46 -0700
Subject: [Baren 6237] Invited Artist et new work 

Hi all,
first my apologies for those of you who get this twice
The work of Veronica Ceci, fellow printmaker and world traveler, can now
be seen in my site, just click on her name from the index page.
Also, a new engraving
http://www.printmakingstudio.com/woodengravings/engrave1.html
dem cute lil' thangs are fu-uh-uhn to make!
Some of you may recognize the view, it is overlooking Capitol Reef
National Park, near the entrance.
Okay, now a question for my woodblock eggsperts:
How do you get the burr off a 1.5 mm v-chisel? Graham, "very carefully"
won't do (I know what you're thinkin'). I have a honing stone with all
the shaped depressions and V-shapes, but none are litl enough for my
tiny-chisel. A leather shoestring, perhaps?
Muchas gracias,

Maria Arango

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From: Graham Scholes <gscholes@home.com>
Date: Tue, 12 Oct 1999 22:00:10 -0700
Subject: [Baren 6238] Welcome 

>hi,  my name is frank fell and i  have been here for a few months.

 Hi Frank Fell.

Welcome to our place.  If you have been here for a few months you probably
got a pretty good handle on the goodies and badies.
It is agreed that I am in between these.   (<:

You will enjoy and sure be able to learn much, and if not that much a whole
lot......

Cheers,

Graham

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From: Graham Scholes <gscholes@home.com>
Date: Tue, 12 Oct 1999 22:17:00 -0700
Subject: [Baren 6239] Re: Invited Artist et new work 

>Okay, now a question for my woodblock eggsperts:
>How do you get the burr off a 1.5 mm v-chisel? Graham, "very carefully"
>won't do (I know what you're thinkin'). I have a honing stone with all
>the shaped depressions and V-shapes, but none are litl enough for my
>tiny-chisel. A leather shoestring, perhaps?

Maria,  ....  You guys are getting know my response before I response......

Oh boy you pick the toughies.....
Of all the chisels the Sankakuto,  (V-shaped gouge) are the most difficult
to sharpen.

I gather that the burr is on the inside of the V.  If so then the leather
may remove it if it is not to much of a burr.  You should have one of those
little 4000 grit Water Slips that are sold in 4 different configurations or
shapes. You need to shape them to fit the little V grove.
If the the honing stone you have can be shaped then do so.  You shape the
stone by rubbing it on another stone of the same grit.  I have been able to
shape the 4000 grit slips using my 1000 grit stone.

http://www.members.home.net/gscholes/Sharpen.html 

shows the stones very nicely.

Let me know how you make out.

Graham

Oh and "very gently" please.

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End of Baren Digest V9 #740
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