[Baren} the mailing list / discussion forum for woodblock printmaking Baren Digest Thursday, 11 May 2000 Volume 11 : Number1004 ---------------------------------------------------------------------- From: Cucamongie@aol.com Date: Wed, 10 May 2000 09:26:15 EDT Subject: [Baren 9640] nyc, Lynd Ward In a message dated 00-05-10 09:04:20 EDT, Graham wrote: << Does anybody have knowledge of inexpensive places to stay in NY city >> Sorry Graham, that's a tough question these days, and my boyfriend, cat & I can barely fit in our little apartment! April or Judy or anyone else here in NYC, any ideas? Roger, any insights as to Lynd Ward's cutting techniques? It's hard to imagine how he gets some of the subtle effects in his woodblock prints. Best wishes Sarah ------------------------------ From: "Jeanne Norman Chase" Date: Wed, 10 May 2000 09:38:19 -0400 Subject: [Baren 9641] Re: NYC Accommodation Graham Try the Leo House 332 West 23rd st. N.Y.N.Y. 124397 Sorry, do not have the phone # My best friend and I are staying there for one week in June. It is under $100, includes breakfast, very plain. I think it is run by a church group. Several of my friends have stayed there and cannot praise it high enough. It is in the Chelsea district, which is now a gallery area and the buses are easy to take. Jeanne N. ------------------------------ From: B Mason Date: Wed, 10 May 2000 16:20:39 -0700 Subject: [Baren 9642] black OK Baren people, again I have a question. I am thinking of doing a series of prints with a lot of black (shadows) but I really hate black. It appears dead to me and I usually make my darkest darks out of lots of other colors. Can I do this with Hanga? If so what colors should I use? If it were oil based I could just use red, yellow and blue and get a great black. What about water based? Is it the same? If so what color should I print first? Light to dark? Gratefully awaiting answers, Barbara ------------------------------ From: B Mason Date: Wed, 10 May 2000 16:24:24 -0700 Subject: [Baren 9643] seconc question Thought of another one, If I want to do a graduated blend of different colors, would it be a bakaski blend, printed once for each color and if so, how do you blend one color into another and get it to look natural? I have seen great blends, but usually only with one or two colors and it looks like wet on wet, not each color printed sepearately. any ideas? Thanks again, Barbara ------------------------------ From: "Maria Arango" Date: Wed, 10 May 2000 16:44:00 -0700 Subject: [Baren 9644] Re: black > OK Baren people, again I have a question. I am thinking of doing a > series of prints with a lot of black (shadows) but I really hate black. I dunno hanga, but! black is beautiful beautiful beautiful. I tint my blacks with colors, usually I like purple blacks for deep receding shadows, blue blacks for cool depths and green/yellow blacks to add warmth to a black. Also, my favorite is red/black for anything, especially flesh shadows, lines on figures, or desert fire-shadows. Oily Maria ------------------------------ From: "Bill H. Ritchie, Jr" Date: Wed, 10 May 2000 16:55:46 -0700 Subject: [Baren 9645] RE: seconc question Let me try first! For dark colors I used alizeron crimson (sp?) and ultramarine blue--very strong colors and I love them mixed. It will take repeated printings, of course. Second, for the bokashi, I play it safe and print a color that blends into just paste and water (transparent, but ink-like). Then, for the second color meeting it, the same thing, but opposite. Better printers (with more better, bigger brushes, too maybe) could do it in "one printing" (actually one-printing-over-and-over). Hanga - in there, Barbara Mason! ------------------------------ From: baren_member@woodblock.com (Margaret M. Szvetecz) Date: Wed, 10 May 2000 19:55:26 -0400 (EDT) Subject: [Baren 9646] black/dark Message posted by: Margaret M. Szvetecz Barbara, this is sort of an addition to what Maria has said about black, specifically, don't use a flat black. I suggest you think "real dark value" instead of black, and mix a color which could act as black, i.e. a very dark purple, a rich deep brown, a saturated navy--you get the drift. Thus you would be using a color as "black", having the functionality of "black", without actually being "black" (which you hate). Margaret (Szvetecz) szvetecz@alexia.lis.uiuc.edu ------------------------------ From: B Mason Date: Wed, 10 May 2000 17:02:41 -0700 Subject: [Baren 9647] Thanks Bill and Margaret, Thanks for the help. What if I wanted three or four colors, just keep repeating the paste and almost no pigment? Could get pretty sticky with all that paste...hummm. These might be the blocks to take to Graham's and get help from all the master talent that will be there! Still, I would like to try it as the ideas are just hopping out of my head like crazy! Could I put four colors on the block and just brush it sideways? this sounds like a nightmare! I always set myself these impossible tasks! Thanks again, Barbara ------------------------------ From: "Philip Smith" Date: Wed, 10 May 2000 18:06:23 -0700 Subject: [Baren 9648] Re: black Maria, I agree,.....Black alone for me is very exciting. And I do love a flat black!! Check out some of the work by the Expressionists and of course William Nicholson!!!!! Philip ------------------------------ From: B Mason Date: Wed, 10 May 2000 18:33:43 -0700 Subject: [Baren 9649] black is too black Phillip, I wouldn't want you to think I didn't like black at all, I do. But when you add color the black looks too harsh if the color is vibrant. This is my own personal thing, I know. I would like a very dark dark, just not flat black as I think it tends to "kill" very bright colors. I have this idea of these shadow pieces after seeing the sun go down on those very expansive praries. I know I could do it in oil, but would like to know how to do it in Hanga. Just a sucker for punishment, I guess! Barbara ------------------------------ From: "Philip Smith" Date: Thu, 11 May 2000 01:13:23 -0700 Subject: [Baren 9650] Re: black is too black Barbara,.....I think you have to look at some old stained glass, the ones with the black leading. Very powerful stuff. Very beautiful. I guess this why I like some of the less formal Japanese prints too. Philip ------------------------------ End of Baren Digest V11 #1004 *****************************