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Baren Digest             Saturday, 29 January 2000     Volume 10 : Number=
 881


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From: Arafat Alnaim <ar_alnaim@yahoo.com>
Date: Fri, 28 Jan 2000 22:40:26 -0800 (PST)
Subject: [Baren 8035] LILLA  EUROPA 2000=20

I have just received an invitation to participate in
LILLA EUROPA 2000 1st Biennale of small-scale painting
and printmaking Hallsberg & =D6rebro, Sweden.

The purpose of LILLA EUROPA 2000 is to show the best
from the most prominent European artist who make
small-scale pictures.

At the 1st Biennale of LILLA EUROPA 2000 Tow awards
will be given to tow artists
Award of painting 5.000 SEK
 Award of printmaking 5.000 SEK.
For those of you who are interested in this please
contact me on arafat@mail.wowmail.com to send you
address and more information.
Greetings=20
Arafat


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

From: Arafat Alnaim <ar_alnaim@yahoo.com>
Date: Fri, 28 Jan 2000 22:55:53 -0800 (PST)
Subject: [Baren 8036] Organization=20

Dear Dave,
Organization is the best, straight way for progress.=20
Regards
Arafat

__________________________________________________
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Talk to your friends online with Yahoo! Messenger.
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------------------------------

From: Arye Saar <saar1@degania-b.org.il>
Date: Sat, 29 Jan 2000 10:21:23 +0200
Subject: [Baren 8037] Re: wet wood experiment=20

Hi Maria,
One thing does happen to a wooden board when you wet it:
The end grain starts to pop out of the board's face (don't know
if it's correct English, but it's correct). And when you roll the
roller over it some splinters will adhere to it and will be left
in another spot on the inked board. And you know what
happens then. I think i saw this happen in one of your prints.
Don't wet a wooden board if you want it to stay smooth for
printing. To have clear cuts - you have to use sharp tools.
Your work is great.
Arye

Maria Arango wrote:

> Hi all,
> Just a note of interest. A while ago I posted that I was cutting on wet
> wood. I did this out of impatience after I tinted my block with a
> mixture of sumi ink and water in order to see the cuts better. The wood
> cut like butter. Well, I just printed the block and it did just fine an=
d
> dandy, no problems whatsoever. There was no difference between the cuts
> made while the wood was wet and after it dried, even under a magnifying
> glass.
> The wood was 3/4" plank maple, and I print with oil based inks. Also
> keep in mind that in this desert climate the wood dried right away,
> without having time to shrink or warp. It was well dry before printing,
> since registration problems could arise should the wood not have been
> completely dry. In addition, the layer of ink/water was very thin, just
> penetrating the wood slightly to make cutting incredibly easy, but not
> permeating the depth of the block. Before I wet all my wood to cut it,
> though, I am going to experiment further to make sure that problems
> don't arise later.
> Health to all (seems like y'all need a little extra health these days),
> Maria
> --
> <><><><><><><><><><><><><><><><><>
> Maria Arango, All-Wet-Printmaker
> The Printmaking Studio
> http://www.printmakingstudio.com
> <><><><><><><><><><><><><><><><><>


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

From: "John Ryrie" <johnry@hotkey.net.au>
Date: Sat, 29 Jan 2000 23:30:26 +1100
Subject: [Baren 8038] print # charset=3D"iso-8859-1"=20

> > How many proofs do the rest of you manage a day?
> >
> > Andrea Rich

With the Vadercook press I spend a long time setting up and geting the bl=
ock
to print the way I want it to, but after that can easily do 100 prints an
hour.
    I have a job at the moment in a commercial studio editioning etchings
for other artists,  I print about 50 prints a day there.

John
http://www.geocities.com/laddertree


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End of Baren Digest V10 #881
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