[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest 1900 Volume 10 : Number 847 ---------------------------------------------------------------------- From: Jack Reisland Date: Wed, 05 Jan 2000 10:46:30 -1000 Subject: [Baren 7478] Re:help? Does anyone have a trick for loosening a stuck ferrule on a hangito? Jack ------------------------------ From: "John Ryrie" Date: Wed, 5 Jan 2000 19:46:04 +1100 Subject: [Baren 7479] Re: Sheepish > No, the answer is simply that a flock of sheep is a thing whose beauty > is in inverse proportion to your closeness ... the farther away you > stand, the better it looks! This is true also of my violin playing, in fact you are probably is the ideal geographical location to best appreciate it. John ------------------------------ From: "Jean Eger" Date: Wed, 5 Jan 2000 06:02:44 -0800 Subject: [Baren 7480] I think you make a ball bearing baren out of light-string pull. Just out of curiosity, what were the postmarks on my dragon? jeaneger@lanminds.com I mailed it New Years eve. Jean Eger http://users.lanminds.com/~jeaneger ------------------------------ From: Gregory Robison Date: Fri, 29 Dec 2000 18:57:55 +0300 Subject: [Baren 7481] X5 Show in Kampala Kampala, 4 January 2000 Bea wrote: "Any rules for deciding which prints you choose to enter into the exhibit?..." Actually, my thought was that the whole collection of X5 would be exhibited. If you're in Exchange 5, you're in the show -- unless you tell me you don't want to be. I will proceed under that assumption, so we can dispense from here on out with individual replies to the whole list from X5 participants -- although thanks for the many responses to date. Dimitris kindly asked if there was any way to help, to which I am forced at this point to reply -- reluctantly, because it's a shame to waste a perfectly good offer of assistance -- "I don't know." But I may get back to you! Brad correctly noted that I may (and I will, I will) need more personal information from the participating artists. Stay tuned. Incidentally, the venue (which is called the Nomo Gallery) is a semi-state institution, in a state that is privatizing everything in sight. (Want to own an airline? It's practically free. Make an offer.) This means that the gallery has no budget. Part of my collaboration with Nomo's director is therefore to help figure out how to finance this show. Since I am by training and experience a finance guy, not an artist (something I am reminded of whenever I see the work of most of my Baren colleagues or read of their prodigious output), I easily slipped into discussing the logistical and organizational side of things. I have (probably foolishly) volunteered to help Nomo plan and implement some ideas for putting the museum on a firmer long-term financial footing. We will use the Baren show to kick off some of these ideas -- in other words, we will make it the major international graphic arts show in Kampala of the first half of 2000. I am buoyed, in a country where little works, by the enthusiasm of Nomo's director and his understanding of what Baren represents. He says he would be delighted with -- and therefore I, on my side, would certainly not discourage -- even greater participation from Baren than those who are in X5. In other words, we could display, say, 50 prints from Baren, not just the 30 in X5. My only requirement would be that any other prints that are submitted (and which arrive on time) be inspired by the same "junin toiro" theme. This is what gives continuity to the show. By now you have no doubt revised your mental image of the "National Gallery" of Uganda as some stately, colonial-period palace at the end of a long avenue flanked by royal palms, accessed by an imposing flight of marble steps to a colonaded portico where alabaster busts of the muses repose in cool, bougainvillea-shaded niches. Umm...no. It's not like that. In fact, if you're coming to the opening in May (I will send you an invitation; you will stay with me), wear "sensible shoes" because the parking lot is eroded, there are sinuous jacarada roots everywhere, it's on an incline and there's no outdoor lighting... On the other hand, in spite of the fact that there are only a handful of relief-print artists active in the country, the Nomo's 'Ugandan artist of the year' in 1999 was a woodblock guy. (I also had two relief prints myself at the 'Millennium Exhibition' at which that award was conferred.) In how many of our own countries does relief printing get this kind of recognition? Finally, some of us have an occasional spasm of concern about the 'social relevance' or 'meaning' of our work. We had some comments on the list recently on this topic. In the most recent exchange Graham said (and I quote, no doubt inaccurately, from memory), that what he 'means' by a recent piece of his is that 'even on a sunny day, if you look off there to the north, there is rain on the mountains.' Now as innocuous and as descriptive or representational as this sounds, there is political content to this. In the many places on earth where the government is broadcasting that 'It is sunny throughout the land!' an artist is at risk who says 'nevertheless, tho' we are told it is sunny, the people on that mountain appear to be drenched. I wonder why...' Merely encouraging people to look and to see, and to dare to represent what they see, is a political act. (Graham, if you are arrested at the airport, mention my name. They will knock ten years of the sentence.) Anyway, like the man said, 'cut, print.' Gregory Robison ------------------------------ From: Wanda Date: Wed, 05 Jan 2000 08:53:29 -0800 Subject: [Baren 7482] Re:help? Jack Reisland wrote: > Does anyone have a trick for loosening a stuck ferrule on a hangito? Or a trick for tightening one that keeps sliding down to the tip? Wanda ------------------------------ From: "Philip Smith" Date: Wed, 5 Jan 2000 10:11:58 -0800 Subject: [Baren 7484] Re:help? >Does anyone have a trick for loosening a stuck ferrule on a hangito? Jack, 'never done it before, but you are removing the "to" blade right? I think they pull straight out,.....if there's glue you might try boiling water for a couple minutes,...then vicegrips,.....just a suggestion. Philip ------------------------------ From: "Daniel Dew" Date: Wed, 05 Jan 2000 13:32:00 -0500 Subject: [Baren 7485] General Questions Since I've completed my very first, actual real wood woodblock, I've got some questions. (P.S. you can see it at http://w.com/forum/members/dew/proverbs10.jpg) #1) As much as I love the look of the grain, how do I get the grain out of places where I don't want it? i.e. the bottom area of the print I wanted to look completely black. #2) What is the best water based ink to use? I used Speedball black,brown and red. #3) Do you generally use a soft roller or a hard roller? #4) I will never use red oak again, should I try Poplar or Pine? Sorry for all these stupid questions, but this is a great opportunity for me to excavate the minds of the masters instead of my normal trial and error method. Thanks, Dan ------------------------------ From: Jack Reisland Date: Wed, 05 Jan 2000 21:26:16 -1000 Subject: [Baren 7486] Re: 'nother question To those of you that carve the outline with a hangi-to, how many of you carve the sute-bori, or "throw away cut", to form a little "trench" around the design, before clearing away the rest of the block? I have looked through the encyclopedia, and the books in the library section, and found references to carving both with and without the use of the sute-bori. Also, I found a reference (in Morley Fletchers book) on the use of the hangi-to, where he states that in cutting, the flat side of the blade is always against the line, which seems backwards to me. That means that you would always cut to the -right- of the line, and cutting to the _left_ of the line seems more natural to me. If I cut to the right of the line, my big fist will be in my line of view. How 'bout anyone else? Jack ------------------------------ From: Studio Dalwood Date: Thu, 06 Jan 2000 07:06:05 +1100 Subject: [Baren 7488] I received some paper swatches in the mail today from a supplier in Kew, Victoria, Aus. The papers sold are from France and are called "Lana". Paper names are Lanaquarelle Watercolour Paper, satine(smooth/hotpress), Lanagravure, Lanaroyal, Velin de Lana, Velin Superieur, Dessin Blanc and Ingres. I have details re content, sizes and prices. My question is does anyone know anything about this brand of paper or has anyone used any? And what did you think? Josephine ------------------------------ From: michael schneider Date: Wed, 05 Jan 2000 23:14:45 +0100 Subject: [Baren 7489] how to make a baren I just finished the text to explain how to make a ball baren by yourself. BUT, first I am not so sure about the technical terms, second, as I know how to make a baren the text seems logical to me. That might not be true for someone else. Therefor I am looking for a volunteer to check my explanation, before I give incomplete instructions to other people. michael ------------------------------ From: "John Ryrie" Date: Thu, 6 Jan 2000 09:38:07 +1100 Subject: [Baren 7490] australian Artist I just found a site that has some of Noel Counihan's work on it. http://www.arts.uwa.edu.au/lw/waywewere/counihan.html He was an important Australian Printmaker working mostly in linocut. I received another dragon today, thank you April. John http://www.geocities.com/laddertree ------------------------------ From: Graham Scholes Date: Wed, 5 Jan 2000 15:46:46 -0800 Subject: [Baren 7491] Re:help? To loose the ferrule...... Take a match and heat the ferrule .... it will expand and voila. to tighten the ferrule..... Stuff a small piece of wood in between furrule and wooden holder. Do not Glue it. Dr Scholes ------------------------------ From: B Mason Date: Wed, 05 Jan 2000 15:44:33 -0800 Subject: [Baren 7492] Help for Daniel Hi Daniel, I am too new at woodblock to give much help, but I loved your print. Eithr Graham or Dave can answer better, and the encyclopedia is wonderful. I don't think speedball ink prints the best, I think they may use sumi ink always those horse hair burshes to apply the ink, no rollers. The most amazing thing for me in taking Graham's workshop last summer was the fact that you could print the same color more than once in the same place. That was a totally new idea to me. Good luck. Barbara ------------------------------ From: Graham Scholes Date: Wed, 5 Jan 2000 15:53:17 -0800 Subject: [Baren 7493] Re: Content-Type: text/plain; charset=us-ascii >I received some paper swatches in the mail today from a supplier in Kew, >Victoria, Aus. The papers sold are from France and are called "Lana". >Paper names are Lanaquarelle Watercolour Paper, satine(smooth/hotpress), >Lanagravure, Lanaroyal, Velin de Lana, Velin Superieur, Dessin Blanc and >Ingres. I have details re content, sizes and prices. My question is does >anyone know anything about this brand of paper or has anyone used any? The are pretty good watercolour papers. Not as crisp or tough as d'Arche. No were near the old Watman that John beat a senior citizen up for. I have tried them as verification sheet for a new set of blocks. It is not a paper I would use. I will only use Hosho. Graham ------------------------------ From: Graham Scholes Date: Wed, 5 Jan 2000 16:23:05 -0800 Subject: [Baren 7494] Re: General Questions >http://w.com/forum/members/dew/proverbs10.jpg) >#1) As much as I love the look of the grain, how do I get the grain out of >places where I don't want it? i.e. the bottom area of the print I wanted to >look completely black. Oh boy.....What you are faced with is, filling the grain of the wood in that area. Tough to do. This might work.....it does on a small area. Take some bees wax melt it in a pot. With a plastic card ie Credit card. dip it into the wax and spread it very thinly on the plate. You can take a warm iron and get that wax into the grain of the wood. With the plastic card scrap off and excess and you could even use a solvent to remove some of the excess. You do not want to have so much solvent that you desolve the wax in the grain area. When printing use extra rice paste to insure the pigment cut the surface tension case by the wax. > >#2) What is the best water based ink to use? I used Speedball black,brown >and red. Speed ball is junk and some of it is not permanent..... You can order some of the pigments (colourants) that I use. Go to http://members.home.net/woodblocks/Materials.html They are excellent. >#3) Do you generally use a soft roller or a hard roller? Inking brushes is the norm..... Maru Bake .....see the materials site. > >#4) I will never use red oak again, should I try Poplar or Pine? I think I recall suggesting that before Xmas. Poplar is better...less grain and not as stringy. >Sorry for all these stupid questions, but this is a great opportunity for me >to excavate the minds of the masters instead of my normal trial and error >method. Nothing wrong with trial and error ..... we have all done it..... it's the learning process. ------------------------------ From: Maria Arango Date: Wed, 05 Jan 2000 17:11:06 -0800 Subject: [Baren 7496] Re: Dan's General Questions Dan asked: > #1) As much as I love the look of the grain, how do I get the grain out of > places where I don't want it? i.e. the bottom area of the print I wanted to > look completely black. > > #2) What is the best water based ink to use? I used Speedball black,brown > and red. > > #3) Do you generally use a soft roller or a hard roller? > > #4) I will never use red oak again, should I try Poplar or Pine? > #1) Three ways to go. One, fill grain with wood-filler, sand to taste, carve as usual. Two, remove the offending grainy part and plug with exact match of smoother wood (some assembly required, as well as a dandy good scroll saw). Three, don't use oak unless you can work the grain into the design. Nice job on your print, by the way! #2) Cannot answer on account of ignorance. April Vollmer, one of our certified hanga masters, has recommended to me AquaColors. Go to my website, click on links, find AquaGraphics web site. Someone else can help you on the pigment/paste/brush tradition. #3) I personally use oil inks rolled out with polyurethane or medium rubber brayers or roller. Ink flows better that way. Aqua colors mentioned above can also be rolled. The hanga experts use brushes to put ink on the block. #4) Try birch plywood, shina plywood, cherry, in order of least to most expensive, easiest to hardest to both find and carve, and least to most desirable for fine work. Birch can be found everywhere you can buy a good hammer, shina and cherry from one of the providers listed in my website under Links/Suppliers. Hope this helps. Health to all, Maria ------------------------------ From: szvetecz Date: Wed, 5 Jan 2000 20:27:08 -0600 Subject: [Baren 7498] Help regarding ink (from Margaret) Daniel, Graphic Chemical makes very high quality relief inks, oil-based and water-based. I myself prefer the viscosity of oil-based inks, and like the opaque and semi-opaque coverage they can give. However, because my studio is also my small apartment, I prefer to use water-based inks. If you want a water-based ink that feels like and prints like an oil-based one, they are the company for you. Their web site is: http://www.graphicchemical.com/graphicchemical.store I also loved your new print! Margaret M. Szvetecz ------------------------------ From: Jack Reisland Date: Thu, 06 Jan 2000 05:04:29 -1000 Subject: [Baren 7499] Graham Scholes wrote: > To loose the ferrule...... > Take a match and heat the ferrule .... it will expand and voila. Thanks, that's one of those things that seems like I should have thought of...after hearing it from you. > to tighten the ferrule..... > Stuff a small piece of wood in between furrule and wooden holder. > Do not Glue it. I asked Dave this one once, he mentioned carving the little seat for the ferrule a little lower on the handle, so the ferrule can slide a little lower, and tighten. Also, Graham, in answer to Daniel's question, you mentioned using wax to fill grain on a block. It seems a little risky to put that much wax on something that you will be printing water based pigments from, wouldn't a lacquer or shellac based wood filler be less likely to cause later trouble? Of course, having never tried it, I'm just guessing. Jack ------------------------------ From: Pedrobot@aol.com Date: Wed, 5 Jan 2000 22:29:38 EST Subject: [Baren 7502] Dan's Wood Questions Dan- I, too, am really new to this whole woodblock thing. I don't know if your finances are as limited as mine, but as much as I would love to carve cherry wood with handmade tools, that just isn't realistic for me right now. The one good tool that I've managed to acquire is marvelous, but at this rate I won't be able to complete the set until 2073. Slowly but surely... Obviously, the quality of your work is in many ways limited by the quality of the materials you use. That doesn't mean, however, that you can't create within those limitations. Sometimes limitations are a good thing. The point of this whole post, I suppose, is to say that I use number 2 grade or above pine planks that I buy at Home Depot. Not the best, but for about a buck a foot, my student budget can cope. Pine is soft, which doesn't dull my cheap tools as quickly, which is nice. It splinters and stuff, but that's all part of the fun... I wouldn't recommend poplar. In my experience it has all the disadvantages of regular pine, but it's harder to carve. To me, one of the most interesting things about this whole Baren deal is the differing points of views and ways of doing things. Particularly valuable to me is when I can read someone's post's, and then look up some of their work to see how they apply what they've been talking about. When I see somebody who's work I really dig, it makes me all the more interested in their technique, and vice versa. Just thought I'd throw in my two cents (proverbially only, of course... I need to make my rent payment) - --Pete ------------------------------ End of Baren Digest V10 #847 ****************************