Delivery-Agent: @(#)$Id: local.c,v 1.54 1998/10/30 06:30:53 akira1 Exp $ on jetstar Received: by j.xx.or.jp (ATSON-1) ; 13 Feb 2000 22:03:02 +0900 Return-Path: Received: from lancer.xx.or.jp (lancer.xx.or.jp [202.224.39.3]) by trantula.xx.or.jp (8.8.8/3.7W) with ESMTP id WAA08329 for ; Sun, 13 Feb 2000 22:03:01 +0900 (JST) Received: from ml.xx.or.jp (ml.xx.or.jp [202.224.39.111]) by lancer.xx.or.jp (Postfix) with ESMTP id 4B4FD48B2 for ; Sun, 13 Feb 2000 22:03:01 +0900 (JST) Received: from localhost (daemon@localhost) by ml.xx.or.jp (8.8.8/3.7W) with SMTP id WAA20980; Sun, 13 Feb 2000 22:00:11 +0900 Received: by ml.xx.or.jp; Sun, 13 Feb 2000 22:00:11 +0900 Received: (from ml@localhost) by ml.xx.or.jp (8.8.8/3.7W) id WAA33570 for baren-digest-outgoing; Sun, 13 Feb 2000 22:00:10 +0900 Date: Sun, 13 Feb 2000 22:00:10 +0900 Message-Id: <200002131300.WAA33570@ml.xx.or.jp> From: owner-baren@ml.xx.or.jp To: baren@ml.xx.or.jp Subject: Baren Digest V10 #902 Reply-To: baren@ml.xx.or.jp Errors-To: owner-baren@ml.xx.or.jp Precedence: bulk [Baren]: The mailing list / discussion forum for woodblock printmaking. Sender: owner-baren-digest@ml.xx.or.jp X-Mozilla-Status: 0000 Baren Digest Sunday, 13 February 2000 Volume 10 : Number 902 ---------------------------------------------------------------------- From: "John Ryrie" Date: Sun, 13 Feb 2000 11:26:45 +1100 Subject: [Baren 8373] wood engraving charset="iso-8859-1" Barbara Said: > OK, you engravers, I have a question. Can you print a wood engraving > like an etching? Can you wipe ink into the lines and then wipe the plate > clean on top? Yes you can, I have not done this my self but it is a common method of printing. The book of the complete prints of Eric Gill shows many examples of wood engravings that he has printed in both relief and intaglio. You will not be able to wipe back as cleanly as you can with a copper engraving, the texture of the end grain will be visible. I think this is a characteristic of the medium rather than a drawback. John Melbourne Australia ------------------------------ From: David Bull Date: Sun, 13 Feb 2000 09:42:47 +0900 Subject: [Baren 8374] Re: A Fine Line Barbara wrote: > If this works, I will use this block as the key block in oil > and do the rest in Hanga, or water based. Have you heard of > this working, or will I have a problem with the paper stretching Mixing things up like this is not uncommon here (at least not nowadays). I've watched Seki-san do a background impression with oil-based ink (so that he could lay gold leaf on top), and then do the rest of the colours with traditional water pigments. As for the stretching, that sounds like it _would_ be a problem of course. Once the blocks are all cut, and distortion of the paper would be nothing but trouble. Maybe the press impression could come _last_, after all the others are done? *** Gary wrote: > I noticed in your last surimono print a few things I had questions about. The print Gary is referring to in these questions is at: http://w.com/surimono/1999/1-10/enlargement.html > The mist or clouds which seem to be rising from the lake are done in the > finest of striated lines of white, almost as fine as hair. The 'white' that you see there is of course just the paper itself, peeking between the carved-out areas of the water block. > Did you use a different type of wood block for this? It's a normal cherrywood block ... http://w.com/surimono/images/process2/block_h.jpg > Also, I imagine the grain direction of the wood is also a key factor, as it > may tend to pull your knife into it if the direction of grain is only > slightly at a tangent to the lines you are carving. Slightly tangenital lines are a huge problem for my kind of work. Delicate lines carved _across_ the grain, like those on this block, are easy to get straight, but of course because they are 'cross-grain' they tend to chip extremely easily. Lines that are _along_ the grain don't chip, but are very difficult to keep straight. And those that are slightly tangenital are the most difficult of all. The lines in this particular block weren't such a problem ... > Can/do you orient > your block for this particular type of carving? If so, does it want to > expand in a direction not in line with the other blocks when it is wet for > printing? You got it. Fooling around with blocks oriented in various directions is a recipe for disaster (I learned this through bitter experience ...). They expand in different directions, and the registration becomes hopeless ... > When carving out the white "lines", how do you maintain them in parallel, > particularly when there are many of them and they are so close together? On a block like this, it's all freehand, and if you look at the print closely you will see that the lines aren't all that straight - they waver and wobble slightly all over the place. This actually gives a more natural look. On something like the wall of a building though, whenever there are a bunch of parallel lines to carve, we do those with a ruler, as the wavery look doesn't look natural in that case. > Some special technique, or fierce concentration? I think it would be easy > to hiccup here and end up having to throw the block out and start over. There are two 'plugs' in the blocks for this print. One each in: http://w.com/surimono/images/process2/block_c.jpg http://w.com/surimono/images/process2/block_h.jpg ... shouldn't be too hard to find! > Is the red seal in the lower left something that is printed from a block > also, or is it "stamped" onto the print? The red seal is just another carved woodblock, with the paper being rubbed from the back in the normal fashion. Nearly all the chops and seals that you see on traditional prints were done in this way - and certainly all the stuff on Edo-era prints (censor's seals, etc.) You've asked before about the 'Watanabe' seal on Hasui prints, and this one I'm not sure of. The mere fact that it is in slightly different places on each copy of the prints doesn't mean that it must be stamped on from the front. A seal like that, in which the _same_ design is needed for many different print designs, is carved on a totally separate block, which is kept on the shelf and then brought out whenever it is needed. It is temporarily mounted on a separate board, and a quick kento is then cut in approximately the correct place. It is printed in the normal fashion, and then stuck back up on the shelf. Next time it is pulled out to be used, the kento is prepared again, perhaps in a different location ... My own embossed seal in the corner of the surimono prints I send out is done in just this way, and it will thus vary in location from copy to copy ... *** My apologies for everyone for screwing up the 'announcement' message that went out a short time ago. I tried to forge a 'spam' message from a news service, but mistyped one command (by _one_ stupid extra letter!), and ended up with all the 'junk' that you saw at the head of the message ... Anyway, I certainly hope you take the time to go and check the details of these new programs, and I _most certainly_ hope that the new SwapShop program will encourage a whole lot more [Baren] members to participate in the group activities. Dave ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Sat, 12 Feb 2000 18:51:05 -0600 Subject: [Baren 8375] re: hidden value One of the things I find so interesting about older prints like the one recently discussed is the hidden secrets waiting to be discovered. Because of the creative process involved in old Japan we are not just dealing with one man's output but rather with the combined work of many masters. What can we learn from the artist/designer ? What about the master carver ? And the master printer ? I think a print like that brings together the experience and excellence of craftmans like no one person can equal in today's world .......where artist/carver/printer are one and the same.... Julio ------------------------------ From: BHearn2001@aol.com Date: Sat, 12 Feb 2000 20:47:19 EST Subject: [Baren 8376] Re: Baren Digest V10 #901 In a message dated 2/12/0 11:32:29 PM, owner-baren@ml.xx.or.jp writes: << bemason@concentric.net >> Yes, I dream in prints, solve print problems while dreaming, create print problems I really have no reason to posess, create frustrations beyond your wildess imagination. But the process doesn't seem to harm me in any way. Better than laying on an evening of drinking, sleeping around, overeating and it doesn't even interfere with my sleep! I wonder what sane people dream of? Call me as obsessed as the rest of us. Yes you can in engravings or woodcuts and ink them by running them through a press but as someone else pointed out blankets needed. Also lines should not be to wide Study an image that has been deep etched. bhearn ------------------------------ From: Aqua4tis@aol.com Date: Sat, 12 Feb 2000 23:00:13 EST Subject: [Baren 8377] Re: A Fine Line In a message dated 02/12/2000 4:52:12 PM Pacific Standard Time, davebull@w.com writes: > > Mixing things up like this is not uncommon here (at least not nowadays). > I've watched Seki-san do a background impression with oil-based ink (so > that he could lay gold leaf on top), and then do the rest of the colours > with traditional water pigments. > dave im very interested in using gold leaf did Seki-san use any adhesive or was the ink used to attach the gold leaf? was the gold leaf applied while the ink was stiil wet? thanks for all the info georga ------------------------------ From: "Ittai Altshuler" Date: Mon, 31 Jan 2000 02:02:53 +0200 Subject: [Baren 8378] Re: other print rooms Printmaking Links at MTSU boundary="----=_NextPart_000_0005_01BF6B8F.48F25680" This is a multi-part message in MIME format. - ------=_NextPart_000_0005_01BF6B8F.48F25680 Content-Type: multipart/alternative; boundary="----=_NextPart_001_0006_01BF6B8F.48F25680" - ------=_NextPart_001_0006_01BF6B8F.48F25680 Content-Type: text/plain; charset="windows-1255" Content-Transfer-Encoding: quoted-printable Hello=20 try this one there is a room dealing with all type of printing. ittai http://www.mtsu.edu/~art/printmaking/print_links.html - ------=_NextPart_001_0006_01BF6B8F.48F25680 Content-Type: text/html; charset="windows-1255" Content-Transfer-Encoding: quoted-printable
Hello
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there is a room = dealing with all=20 type of printing.
 
 
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 http://www= .mtsu.edu/~art/printmaking/print_links.html - ------=_NextPart_001_0006_01BF6B8F.48F25680-- - ------=_NextPart_000_0005_01BF6B8F.48F25680 Content-Type: application/octet-stream; name="Printmaking Links at MTSU.url" Content-Transfer-Encoding: quoted-printable Content-Disposition: attachment; filename="Printmaking Links at MTSU.url" [InternetShortcut]=0A= URL=3Dhttp://www.mtsu.edu/~art/printmaking/print_links.html=0A= - ------=_NextPart_000_0005_01BF6B8F.48F25680-- ------------------------------ End of Baren Digest V10 #902 ****************************