[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Saturday, 6 November 1999 Volume 09 : Number 770 ---------------------------------------------------------------------- From: "Philip Smith" Date: Fri, 5 Nov 1999 19:30:29 -0800 Subject: [none] Maria,.... I just looked at your Japanese print details,...what precision huh? Very impressive!! You also asked where to buy cherry wood,...'hard to find and when you do,' very expensive,..I noticed Dave used plywood on one of his close-ups,. however, Steve Wall Lumber at WWW.WALLLUMBER.com has cherry shorts,..sounds a little strange,..actually short pieces of 4/4 cherry 22"to56" long for $33.00,S2S, per bundle of 22 board feet,.... plus shipping,...at $29.62, here to Oregon,...my price is $62.62,....that's $2.84 a board foot delivered,...so you might give that a look see,...they are in N. Carolina,...best of luck. Philip ------------------------------ From: Josephine Severn Date: Sat, 06 Nov 1999 03:01:58 +1100 Subject: [Baren 6502] Series Dear Jeanne About series. I start a series and write heaps and heaps in my journals of all the ideas of what I can do with the topic and this crosses media and method too. I fill about three thick journals a year like this, they are good to read later and if I ever get stuck for an idea of what to do next or asked to do a project, out come the journals. They get treated like scrap books and sketchbooks. Someone told me recently that I put too much in them and not enough of it on paper. I think he was right. I work on other things in between and I find that one series will run into the next. You can see it in the work. I find working in series gives you a body of related work which hangs together conceptually as well as visually. One of the first valuable lessons I learned at art school was to make all my stretched canvases the same size and shape so that no matter what the images are, they hang together. When you apply this to paper and plate size you have all these similar sized plates that you can over and under print and combine with new plates. This works especially well with abstract or textural plates rather than representational stuff. The Vic Park woodblocks that I added to the site recently were like that. it also helps with framing as you can get 'stock' frames made and recycle the images. Another valuable lesson I learned was to restrict colour to a limited palette, of course in prints that usually means black, white, sepia and cream/grey for me. With the new series, it was illustrative of the OVid story, so the trap I didnt want to fall into was to illustrate everything and do nothing else. The first step was to get those images out of my head by the drawings and monoprints, but these are done in good quality media these days so that they form part of the body of work. Then I went onto woodblock, collograph and etchings, and worked at it till I decided what the final series was going to look like. Of course this changes from week to week but that helps it develop and I re-write the project every few months as it changes. Then I got an internet account and I cant find the studio anymore its been soooo long. But this rest has given me new ideas. This is a brief summary of how I work. Hope you found it interesting. I really did not understand about the journal thing when I was first required to keep one for my course. Now I would not be able to work without it. enough from me Josephine ------------------------------ From: John Ryrie Date: Sat, 06 Nov 1999 20:01:08 +1100 Subject: [Baren 6503] new member Jim The traditional stuff to stick gold leaf onto oil based prints is egg white. John http://www.geocities.com/laddertree ------------------------------ End of Baren Digest V9 #770 ***************************