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

Baren Digest            Wednesday, 29 December 1999    Volume 09 : Number 837

----------------------------------------------------------------------

From: "Daniel Dew" <ddew@tampabay.rr.com>
Date: Tue, 28 Dec 1999 10:27:25 -0500
Subject: [Baren 7325] Dazed And Confused 

> Regarding linocuts .......while the techniques are somewhat
> similar........the Baren exchanges are only open to WOODBLOCK 
> prints. 

Is it welcome aboard or take a hike?

Can I participate in the exchange #5 or not?

Please advise,

Dan Dew

P.S. I am in the process now of trying my first "woodcut", I'll let you know.

------------------------------

From: B Mason <bemason@concentric.net>
Date: Tue, 28 Dec 1999 07:37:07 -0800
Subject: [Baren 7326] Where to get a Baren 

Curtis,
If you contact Graham Scholes on this list he can get you a Baren from
his Japanese friend, Noboro in Victoria, Canada. Noboro also has all the
tools and wood and paper, the real stuff. Graham's email is
gscholes@home.com. We actually learned how to make them last summer at
Graham's workshop, but I confess, I haven't recovered mine yet, I may
wait till next summer for a second direction. It is not complicated,
just very hard to hold it and tie it, five hands are helpful.
Barbara

------------------------------

From: Wanda <robertson@canby.com>
Date: Tue, 28 Dec 1999 08:26:39 -0800
Subject: [Baren 7327] Re: Thanks for the welcome 

Hi Curtis,

Check out Graham Schole's web site - the barens he gets from his friend
Noburu Sawai are really good & not prohibitively expensive. ($45) I have
been using one for about 9 months now & it is really good.

Here is the page for the up-coming woodblock workshop - if you can
attend, I guarantee you won't regret it!

http://members.home.net/woodblocks/

Wanda

------------------------------

From: Graham Scholes <gscholes@home.com>
Date: Tue, 28 Dec 1999 09:48:04 -0800
Subject: [Baren 7329] Thanks/welcome from Curtis. 

Hi Curtis,

I see you have been looked after already.  Good .... I have been busy
taming the grog, playing fort with my grandchildren and generally going
back to my second childhood.....
To see Forts go.....
http://members.home.net/woodblocks/The_Ultimate_Woodblock.html

To see materials and stuff go
http://members.home.net/woodblocks/Materials.html

Now..... I don't sell the stuff direct but can put you intouch with
Noboru Sawai who can sell and ship to you.  Just let me know what
you want from the list and I will phone Noboru and makes sure he has
the goods....  Then you will phone him and place an order.
What could be simpler.....and all at Can$.
If it is 10.00 Can you would pay about 6.80 US.....depending on the
exchange rate.

Graham

Oh and welcome to the group.

------------------------------

From: Graham Scholes <gscholes@home.com>
Date: Tue, 28 Dec 1999 09:52:06 -0800
Subject: [Baren 7330] Re: Where to get a Baren 

Barbara wrote....
>but I confess, I haven't recovered mine yet, I may
>wait till next summer for a second direction. It is not complicated,
>just very hard to hold it and tie it, five hands are helpful.

Tsk Tsk  bad girl......
You must go to:
http://members.home.net/woodblocks/Tiebaren.html
and get the job done.

I will sure get you tieing many many many when you attend boot camp in June.

Graham

Compliments of the Season

------------------------------

From: "Daniel Dew" <ddew@tampabay.rr.com>
Date: Tue, 28 Dec 1999 13:03:45 -0500
Subject: [Baren 7331] Re: Dazed And Confused 

Is it recovery or discovery?

Bought a few pieces of red oak. Can I use a Dremmel or do you have to use
carving tools?

I'm excited.

Dan Dew

------------------------------

From: Graham Scholes <gscholes@home.com>
Date: Tue, 28 Dec 1999 10:20:14 -0800
Subject: [Baren 7332] Re: Dazed And Confused 

>Is it recovery or discovery?

Well I guess it's both and you have them in the proper order......

>Bought a few pieces of red oak. Can I use a Dremmel or do you have to use
>carving tools?

Red oak is much to hard and grainy for most woodblock applications.

The best is Cherry and them comes Basswood. Then comes birch or maple which
are terribly hard but some of the folks.... guerrillas..... I should think,
wrestle their way through the carving.

The dremmel tool won't cut fine enough nor clean enough for our sport....
When you go across the grain with a dremmel it feathers the wood leaving a
burr..... Also you much less control with the dremmel.
It want to run off in all directions depending  on the cut head you are
using.  Terrible beast.....

You need to use the proper tools which in the long run will save you time,
money and frustration.

To see materials and stuff go
http://members.home.net/woodblocks/Materials.html
There are recommendation there.
Help is only an e-mail away.

Graham

------------------------------

From: David Bull <davebull@woodblock.com>
Date: Wed, 29 Dec 1999 08:14:23 +0900
Subject: [Baren 7338] Ruling from the 'bench' ... 

Re the recent discussion/confusion about lino work and woodcuts.

Dan must indeed be feeling confused at the moment, with some members
telling him lino cuts are 'OK' for [Baren] and some telling him 'No
way'.  I guess this is one of those cases where we need a ruling to be
made.

Excuse me a moment while the judge puts on his robes ...

"Ahem. Silence in the court, please.

"There are two approaches to take to this question - that of purism, and
that of practicality.  From a purist's approach, any print that is not
'born' from the wood must be rejected by this group, and such members
would not be welcome. (Goodbye Maria and Andy, and take your Resingrave
blocks with you!)

"From a practical point of view, considering that the technique of
making a lino cut is in all essentials identical to that of making a
woodcut, it makes sense for people working with the two materials to
share experiences and achievements with each other.

"Those working in the water-based tradition will find it more difficult
to see the similarities between the linocut and the woodcut, but those
who are experienced in ink-based work will recognize that they are
basically the same.

"From the spectator's point of view, it is frequently (usually?) the
case that the artist's choice of material for the plate - whether lino
or wood - is not a factor in the appearance of the finished print. In
practical terms, the two crafts are identical.

"Material on making linocuts has been an integral part of the [Baren]
Encyclopedia since it was first set up; indeed the very _first_ book
in the Library was on lino cuts. For a good example, check the
article at:

http://woodblock.com/encyclopedia/entries/011_01/part_3_b.html

... and the interesting illustration at:

http://woodblock.com/encyclopedia/entries/011_01/images/deserted_large.jpg

"After giving all these factors due consideration, it is the decision of
the court that the defendant, Mr. Dan Dew, is found _not guilty_ of the
charge of treason, and is hereby permitted to retain membership in
[Baren] and to participate in all activities and affairs of the group.

"The name of the group will remain [Baren] - the Forum for Woodblock
Printmaking, and the exchange folios will continue to be marked as
'Woodblock Print Exchange'. Prints made on cherry, basswood, shina ply
(is that stuff really 'wood'?), lino, boxwood, Resingrave ... all are
welcome.

"Members who prefer wood to lino are of course free to campaign in
support of their choice, and to try and encourage back-sliders to con-
vert to the particular wood they prefer. That's what [Baren] is for!

"Court is adjourned."   :-)

Dave

------------------------------

From: "John Ryrie" <johnry@hotkey.net.au>
Date: Wed, 29 Dec 1999 13:16:57 +1100
Subject: [Baren 7340] Re: Ruling from the 'bench' .. 

My learned colleague said:

>From the spectator's point of view, it is frequently (usually?) the
> case that the artist's choice of material for the plate - whether lino
> or wood - is not a factor in the appearance of the finished print. In
> practical terms, the two crafts are identical.

I don't agree with this at all I will be updating my web site in the middle
of January.  And will be showing some of my new linocuts and I think the
difference between them and my woodcuts will be clear.   I know you said
(usually?) but I think the artists like myself who use both mediums
generally see the two as being quite aesthetically distinct from each other.

I do however agree with your verdict.

Like any other tool a Dremmel is only difficult to control wen you are
inexperienced at using one.   I have seen many woodcuts, cut with them
including a very nice book of woodcuts by Jim Dine were he uses one along
with traditional tools.    Red Oak is not the best wood for woodcuts but for
cutting with a Dremmel could be the very thing.

    John

------------------------------

From: Maria Arango <Maria@mariarango.com>
Date: Tue, 28 Dec 1999 19:56:01 -0800
Subject: [Baren 7341] Catchup & biz 

Howdy all! I am refreshed and roaring to print again. Hope everyone's
vacation/holiday/Christmas was as deliciously boring as mine, although I
managed to engrave a block while sittin' and stewin' by the fire.
Incidentally, the activity of cutting on a block of wood for the purpose
of making a print will forever be known in certain circles of Kansas as:
"scraping on a log." Man, I loooove the simplicity of the midwest.
Before I forget, a hearty welcome to the new members. Nice work on the
website, Julio!

Annnd now, a bit of biz.
I have so far received 16 Exchange #4 prints (self-portrait exchange)
and promises of more in the mail. I also received and forwarded a
reminder from Dave that not all the information necessary for the
colophon had been received. So if you missed my Exchange #4 e-mail,
please head on over to the woodblock site and enter your info.
The cases arrived shortly before I did so they are here awaiting your
prints.

IMPORTANT:
I received a "returned unknown e-mail address" message from John Center
and Daryl DePry. I'm not worried about Daryl because I've got his prints
and know where he hides, but if anyone knows how to get in touch with
John Center (the Mad Engraver) please send me an off-list message. That
goes for you, John C. if you're "listening."
Okay, back to scraping on my logs. I can't wait.
Health to all,
Maria

ps. A couple of curiosity items: we're expecting 600,000 people in Vegas
for New Year's celebrations, aaagh. Hesston, Kansas, where we spent
vacation, has a total population of 1,945, all of whom would fit in any
one (1) of the major Hotels (3,000-4,000 rooms _each_). What a strange
and varied world.

Maria Arango

------------------------------

From: CHRISTY BLANK <chris_lyonette@yahoo.com>
Date: Tue, 28 Dec 1999 21:48:34 -0800 (PST)
Subject: [Baren 7343] Re: Welcome 

> Welcome Christy and anyone else who is new. I have a
> brother in Richardson so next time I come to Texas, I will call you. 

Barbara, 

That would be great!!  I would love to visit with you.
 Let me know when your coming.  I know what you mean
about printers being few and far between!  I'm the
only printer in my district and my historical
organization, they don't quite know what to make of
me.:)

christina

------------------------------

From: CHRISTY BLANK <chris_lyonette@yahoo.com>
Date: Tue, 28 Dec 1999 22:01:38 -0800 (PST)
Subject: [Baren 7344] Re: Statements in our Work. 

   What a fabulous quote John!  I agree, that is just
what I ment.  My friend Micheal and I meet one a week
for Art Night.  We Have been sharing our different
fields of art.  We work on one subject, but the art
generated is so vastly different.  I'm always struck
by how much of yourself you show threw your work. 
   I have an other friend who will not part with her
work, or show any of it to strangers.  She calls her
work her children, she says they are too private.  To
a certain extent I agree with her, my work is like a
child born from me, but I want to share my "children",
not hide them.

------------------------------

From: Chloe T LeMay <CTLEM@RHTC.NET>
Date: Wed, 29 Dec 1999 00:56:45 -0500
Subject: [Baren 7345] Re: Bombs away <199912290513.OAA38236@ml.asahi-net.or.jp> 

Dear Gregory,

How is life in Kampala? Uganda dropped from my radar after Idi Amin left
power. Africa still holds mystery for me. There were once great and wealthy
civilizations there. What are the chances of it happening again? Uganda must
be a fascinating place.

I finished drawing the key block for my first wood-block print in some
years. It is a very small affair, only 1.7" square. It is meant to fit onto
some African Ebony I have in my stock. I used it to make small parts for the
musical instruments I manufactured. It is too beautiful and expensive to
waste, plus it has a very tight grain for printing. The only problem that
may arise is that it tends to be somewhat brittle. I will have to consider
this during the printing phase.

Curtis

------------------------------

From: "DShack" <TSHACK@SILVER-BAYOU.COM>
Date: Tue, 28 Dec 1999 22:59:23 -0800
Subject: [Baren 7347] Re: Ruling from the 'bench' ...  

> "The name of the group will remain [Baren] - the Forum for Woodblock
> Printmaking, and the exchange folios will continue to be marked as
> 'Woodblock Print Exchange'. Prints made on cherry, basswood, shina ply
> (is that stuff really 'wood'?), lino, boxwood, Resingrave ... all are
> welcome.

Thanks Dave.  This brings up a question for me.  Has anyone used Vinyly
Asbestos Tile (VAT) for carving.  I've seen it referenced, and it is CHEAP.
12" squares for $0.79.

As an intro (I rarely introduce myself when I join a list.  Don't know why,
just like that.), here is some info about me:

Dwight Shackelford
Near Berkeley, California
Computer Jock
Washboard player in some Cajun bands in this area.

Learning etching, woodcut, linocut, screenprinting, maybe some papermaking
next year.

I've only done a couple of woodcuts, one I really liked, but am having a
problem getting the colors as brilliant as I did when the teacher was
standing next to me guiding me.  So, I haven't really editioned it.  I did
make several copies, but didn't like the color.  This one is using
waterbased ink.  Shina plywood.  Boy that stuff is easy to cut.

I am currently slowly working on a rather large, rough,  woodcut of a man's
chest (supposed to be autobiographical, but no way I'm built like this
thing) using a scorp.  The plywood is about 2' square.  I don't have enough
patience to remove everything but the line, so I'm experimenting with
another way of adding values by letting the gouges give me values.  Of
course this image lends itself to that, large expanses of the same color,
with values added by crosshatching and layering color.

The piece work is about stress and masculinity, and I wanted to be able to
"attack" the wood, not belabor it, so I found that scorp to help me.  I
posted on the list about this over a week ago I think.

Anyway, hello everyone.

------------------------------

End of Baren Digest V9 #837
***************************