[Baren} the mailing list / discussion forum for woodblock printmaking Baren Digest Tuesday, 13 June 2000 Volume 11 : Number1043 ---------------------------------------------------------------------- From: "Jeanne Norman Chase" Date: Mon, 12 Jun 2000 09:11:28 -0400 Subject: [Baren 10044] Re: Nordfelt Prints Greg V and Barbara P. Regarding white line woodblock prints, there is a lengthy article in the Baren pages on techniques that goes into the Provincetown white line woodblock printmakers. According to my research this is where that technique first started in the 1900's. Jeanne N. ------------------------------ From: B Mason Date: Mon, 12 Jun 2000 06:54:12 -0700 Subject: [Baren 10045] white line prints I remember reading about these prints, fast to carve but forever to print as one color is printed with the paper attached to the block, then the next color is inked and printed. I think they inked it with a paintbrush and used watercolors. If you used damp paper and sealed your block a bit, I suspect you could get more than one color printed at a time, but how to keep the paper damp? Work very fast? Make a very simple print? This would be very interesting for an exchange, it would make us all think about the design from the printing end alone, how to get it simple enough to be interesting and yet simple enough to print. Has anyone on the list done these besides Barbara P? What information can you give if you have? Couldn't you register with the kento system and keep the paper damp by putting it under plastic while inking the next color? This sounds like a challenge for us, if not for an ecxhange, maybe for swap shop. I have always liked images in compartments, sort of like a quilt! Baarbara M ------------------------------ From: B Mason Date: Mon, 12 Jun 2000 07:02:47 -0700 Subject: [Baren 10046] Jacob Lawrence Gregory, I too think of Jacob Lawrence as a printmaker, although he did a lot of paintings. He had a show at the Gilkey Center at the Portland Art Museum about 6 years ago and was here for the opening with his wife. He was a charming man and his work was wonderful. When I heard the struggles of his life and his dedication to be an artist in spite of the financial hardships he endured it made me ashamed I ever complained about any troubles I have had. He was very lucky at times and got into some good collections, but as you know those exciting sales are not consistent and you have to eat and support your family as well as buy those art supplies. Barbara M ------------------------------ From: Cucamongie@aol.com Date: Mon, 12 Jun 2000 10:18:10 EDT Subject: [Baren 10047] rubbings Hi all, thanks everyone for the info on how to sign the rubbings. This is such a wonderful forum! Best wishes Sarah Hauser in (cooling off) NYC Cucamongie@aol.com ------------------------------ From: "Gregory D. Valentine" Date: Mon, 12 Jun 2000 07:39:54 -0700 (PDT) Subject: [Baren 10048] Re: white line prints > I remember reading about these prints, fast to carve but forever to > print as one color is printed with the paper attached to the block, then I haven't tried this method, but I don't see why it would take any longer to print than by using separate blocks. If you use the kento system, there is no need to finish one print completely before going to the next; it should work just like a hanga print: ink part of the block, print, put it back in wraps to stay damp, and get the next sheet. --Greg Valentine ------------------------------ From: "Philip Smith" Date: Mon, 12 Jun 2000 07:49:43 -0700 Subject: [Baren 10049] Re: white line prints Hello Barbara,....you know I saw a show of these prints one time,....I think all of the colors are inked and then printed at one time,...re -inked if the colors are not strong enough,..and you just tape your sheet in place until finished,....but as I recall it's all watercolor and hand printed. Philip ------------------------------ From: ArtfulCarol@aol.com Date: Mon, 12 Jun 2000 10:50:56 EDT Subject: [Baren 10050] Re: Baren Digest V11 #1042 Sarah, I 've seen what you describe marked as "Variants" and that is what I do. Good Luck in PA. CarolLyons Irvington, NY USA ------------------------------ From: "Rudolf Stalder" Date: Mon, 12 Jun 2000 10:54:25 -0700 Subject: [Baren 10051] preserving wood blocks >Wanted to ask how you typically recommend preserving your wood blocks Depending on their properties and your storage facilities wood blocks can easily be distorted by humidity and/or heat. Using clamps to keep them flat is something to consider. Rudolf Stalder (www.rst-art.com) ------------------------------ From: B Mason Date: Mon, 12 Jun 2000 08:13:00 -0700 Subject: [Baren 10052] white line prints Phillip, That is what I thought, that the original ones were printed one color at a time with the paper attached on one side. I think Gregory is right, why wouldn't a kento system work? You could print all the yellow, then all the red, etc. Seems easier to me, I'll bet akua Kolor ink would be great for this as it dries slowly, you could print on only slightly damp paper or even dry paper (my poor arm) and could get all the colors on the block at once.You could probably do this with any pigment if you used damp paper. Let's do this, sounds like a very fun project. What do other's think, any enthusiasm for doing this as an exchange? If so, please post, if not please also post! Seems to me if you used transparent colors, some could be printed over others to get a third, hummmmm. Barbara M ------------------------------ From: "Jeanne Norman Chase" Date: Mon, 12 Jun 2000 11:39:07 -0400 Subject: [Baren 10053] Re: white line prints Barbara There is a page devoted to white line woodcuts in the Baren. It is under techniques. Pictures and all. Jeanne N. Sorry we will not be seeing you in PA!!!!! ------------------------------ From: gcarter@gsaix2.cc.gasou.edu (Greg Carter) Date: Mon, 12 Jun 2000 12:11:48 -0400 Subject: [Baren 10054] Re:PP >>Also, was asked the other day what "pp" meant on a print. It was written When I printed at Rutgers Center for Inovative Printmaking(now Print and Paper) when I was in graduate school, I was given a print signed PP as a printers proof for printing someone elses edition. Gregt Carter ------------------------------ From: "Daniel L. Dew" Date: Mon, 12 Jun 2000 12:37:17 -0400 Subject: [Baren 10055] Quickie where's the best place to find a brief article on the history of woodblock printing? dan dew ------------------------------ From: Bella1yopp@aol.com Date: Mon, 12 Jun 2000 13:14:23 EDT Subject: [Baren 10056] Re: out of print books Pete, Thanks for that address (ABE) I have been on search for this obscure book I found in a small town library in upstate NY. When I was on search for gradschools I went a little out of my way and stoped to see everyone at the Women's Studio Workshop and the library. The book was still there and the librarian suggested I try online to find another copy (even though only 3 people have checked out that book ever there and I was the last one about 3 years ago). I think I found it, I will see when I get it. - -Amanda ------------------------------ From: James G Mundie Date: Mon, 12 Jun 2000 13:31:09 -0400 Subject: [Baren 10057] workshops Hey, folks. I just received this information in the mail via the Print Club of Albany and thought some of you might be interested. A little out-dated on the second one, but perhaps they will run something in the future. Judy or April may be able to tell us more about the last one: White Line Woodblock with Pia Oste-Alexander at the Woodstock School of Art, 7 to 9 August 2000 2470 Route 212, P.O. Box 338, Woodstock NY 12498 (914.679.2388) Japanese Woodblock Printing with Elizabeth Forest at Open Studio, Monday or Tuesday nights 1 May to 26 June 2000 468 King Street West, Toronto, Canada M5V 1L8 (416.504.8238) Woodcuts: A Painter's Approach/Printing 'Wet on Wet' at Manhattan Graphics Center, Saturday and Sunday 24 & 25 June 2000 481 Washington Street, New York NY 10013 (212.219.8783) *** James Mundie Philadelphia USA ------------------------------ From: Studio Dalwood Date: Tue, 13 Jun 2000 08:54:46 +1000 Subject: [Baren 10059] Australian Printmaking "CONTEMPORARY AUSTRALIAN PRINTMAKING - An Interpretive History. Sasha Grishin. New South Wales: Craftsman House, 1994" I believe this is an early edition. I think there's an expanded 98 or 99 version out now. An essential reference book, though he does state somewhere that's its not meant to be a comprehensive survey, that he has used only those works that illustrate the text. ***************** I'm just adding the websites of those people who mailed me, this morning, they should be findable on Print Australia later today, all being well. Sorry all for being so quiet, usual problem. I'll be back with you as soon as possible. Josephine ------------------------------ From: Studio Dalwood Date: Tue, 13 Jun 2000 09:22:24 +1000 Subject: [Baren 10060] TREES dont panic >I'm a little concerned that I may have missed a post or two! >Josephine,...have you sent an address where the tree prints are to be I've been offline for health reasons (as usual). Nothing I can do about it but apologise, I'll be with you as soon as I can. Search the archives at http://www.egroups.com/group/PrintAustralia The info's there. Or you can mail Christina Blank, she's co-ordinating. I'll forward info in due course. Josephine ------------------------------ From: Studio Dalwood Date: Tue, 13 Jun 2000 09:23:39 +1000 Subject: [Baren 10061] experimental printmaking >section of a tractor tyre print printed with "cow shit"....we were all >very grateful that it didn't win the aquisition prize!!!!" They must have been watching Maria! There's a printmaker up Lismore way who did a lot of work using cows and manure. The Norco milk and butter people are based there, so it was topical. She added manure to her hand made paper and then printed cow related stuff on it (from memory). I know her work has been reviewed in Imprint and Periphery journals, if you are interested. Sometimes it seems its always been 'done before'. How often do we get a great idea for a work only to find someone else has already 'done' it? Josephine ------------------------------ From: ArtfulCarol@aol.com Date: Mon, 12 Jun 2000 19:30:44 EDT Subject: [Baren 10062] Re: white line prints I do something similar to what you are referring to Barbara M and Phillip: For me the kento system doesn't work well for hand printing several watercolors, one at a time without removing the paper from the block. What is needed is to clip the paper to one side of the block; then the paper can be flipped over while still attached and additional colors applied without disturbing the register. My paper is very thin. I clamp the paper and have the block protruding a little beyond the table. This makes using the clips easier. CarolLyons Irvington, NY USA ------------------------------ From: "Maria Arango" Date: Mon, 12 Jun 2000 18:55:59 -0700 Subject: [Baren 10064] Re: experimental printmaking > Sometimes it seems its always been 'done before'. How often do we get a > great idea for a work only to find someone else has already 'done' it? Very interesting point indeed! Personally, if I think of something and then find out that, say, Picasso or Dali already came up with it, I say: "hey! I think like those guys!" The "been-done-before" syndrome used to attack the 101 students in drawing, however, resulting in them getting very discouraged. So it's all how you look at it I guess is my point. On the same note, I have heard it say that "if a new artist comes up with something that looks like good art, it's probably been done before." Maria <><><><><><><><><><><><> Maria Arango, Printmaker Las Vegas Nevada USA http://www.printmakingstudio.com maria@mariarango.com mariten@lvcm.com <><><><><><><><><><><><> ------------------------------ From: Graham Scholes Date: Mon, 12 Jun 2000 22:32:11 -0700 Subject: [Baren 10066] Re: FAQ Did I ever get this all mixed up.....! This is the url to stick in your bookmark. http://www.shogungallery.com/wwwboard/wwwboard.html Sorry. Graham Out of my mind. Back in five minutes. >We have enough youth, how about a fountain of Smart? ------------------------------ From: "Jean Eger" Date: Tue, 13 Jun 2000 16:16:54 +0900 Subject: [Baren 10067] Date: Mon, 12 Jun 2000 00:14:05 -0700 I saw Gayle and her husband Jim today in San Francisco. It was a quite wonderful meeting between two Bareners. We toured the beautiful San Francisco Museum of Art, (saw the Magritte show), ate lunch in an outdoor cafe, then visited Aurobora press to see their William Wiley monoprints. Gayle is even more charming than her messages, if you can imagine that. Bea, Gayle said to tell you that she made it to San Francisco safely. Jean Eger ------------------------------ End of Baren Digest V11 #1043 *****************************