[Baren} the mailing list / discussion forum for woodblock printmaking Baren Digest Friday, 14 July 2000 Volume 12 : Number1075 ---------------------------------------------------------------------- From: Greg and Trish Carter Date: Thu, 13 Jul 2000 11:00:34 -0400 Subject: [Baren 10423] Re: Juma art issue ... When it really comes down to it, I do think any of it really matters. I went to juma, I saw a lot of dull predictble art that I did not want to look at.(there could of been somthing good but I did not want to look further) I could go to baren right now and see some good art that I want to look at( and own , thats why I am looking forward to the next exchange). I would not worry about the duped, I would just continue to make good art and persue any avenue to get it out to people to see and the rest will take care of itself. Greg Carter ------------------------------ From: Gayle Wohlken Date: Thu, 13 Jul 2000 11:06:12 -0400 Subject: [Baren 10424] Re: Baren Digest V12 #1074 In response to making art for money. Not every one does that. I love making multiples because I just love doing it. Now that we have exchanges I have an excuse to do it. Also, I love the look of woodcuts and woodblock prints. I just like making them and looking at them. I like other people to see them too, and when our Exchanges get into shows, that's even frosting on the already nicely iced cake. It's probably weird to people who do this for a living to think someone would do it for any other reason. I never think about the money and I know I've mentioned this before, I'm just glad I don't have to do this on order for anyone. That would take everything I like about it down a path I'm not the least at home on--sales receipts, taxes, math, advertising. Eeek. As for themes. I think people will make images of what interests them. I like to do people and I like dark themes for black and white--it's exciting to me, for the same reason I enjoy walking through the graveyard at night under the moon. There's something so romantic about it. It's the poetics in our imagination that create the images. So if a theme shows in our work, it's because of that. Congratulations to Sarah and to Marco. Gayle ------------------------------ From: "Rudolf Stalder" Date: Thu, 13 Jul 2000 11:05:23 -0700 Subject: [Baren 10425] wood engraving Maria : "I really suck at getting wood engravings online, if anyone has any tips on scanning or taking pics with the digital camera I really would appreciate it." I use the SONY digital MAVICA (about $ 600). Its main advantage over other cameras - I was told - is its good zoom. http://www.rst-art.com/wspe06.htm is what you can get. You may also look at some of the mosaics, such as (http://www.rst-art.com/mm52.htm) Rudolf Stalder (http://www.rst-art.com) ------------------------------ From: Cucamongie@aol.com Date: Thu, 13 Jul 2000 11:57:29 EDT Subject: [Baren 10426] hanshita, etc Hi all, CONGRATULATIONS Marco! I have a question for those who work in the Japanese method and use hanshita as a transfer method: any tips on what paper is best for this? I've been trying different types of paper, basically the cheaper drawing paper or paper I bought on sale, some works better than others. Is there a particular type of Japanese paper that works best for this - hopefully not too expensive as it gets destroyed. I showed Carol Lyons how to transfer using this method but I wasn't sure of the best paper to recommend. Thanks a lot Sarah in NYC Cucamongie@aol.com ------------------------------ From: Salsbury Date: Thu, 13 Jul 2000 11:17:07 -0700 Subject: [Baren 10427] Rules? Rules? We have Rules? Please don't tell me I can't do something, that only triggers something in side me that says "YES I CAN! I'LL PROVE IT TO YOU TOO!". And besides it seems that when someone says you can't do that someone else comes along and is doing it beautifully. That's one of the best parts about art, you can do what you want, in any way you want to express and idea. I realize that there may be accepted ideas or parameters on a given subject but then isn't braking the rules and pushing to the limits what makes artist's tick? Enjoyed the comments on the original vs reproductions. How about another go? How do you feel about photographs being sold as art? Have you or would you buy one? Sue ------------------------------ From: Greg and Trish Carter Date: Thu, 13 Jul 2000 12:34:18 -0400 Subject: [Baren 10428] Re: Juma art issue ... >When it really comes down to it, I do think any of it really matters. I >went to juma, I saw a lot of dull predictble art that I did not want to It may of been a freudian slip but I really ment to say I do "not" think any of it really matters Sorry Greg Carter >Greg Carter ------------------------------ From: ArtfulCarol@aol.com Date: Thu, 13 Jul 2000 13:06:39 EDT Subject: [Baren 10429] Re: hanshita, etc Sarah, after I left you I remembered this method of transferring an image from a carved block to another. I never tried it, but it sounds easy: Make a print and with the ink still wet print it on the other block. What do you think? Carol Lyons Irvington, NY USA ------------------------------ From: ArtfulCarol@aol.com Date: Thu, 13 Jul 2000 13:19:31 EDT Subject: [Baren 10430] Re: Juma art issue ... This is another thought about reproductions: Tiffany's sells diamond jewelry for thousands of dollars. Down the street one can buy the zircon, exct look-alike for a fraction of the price. No one cares. The only one who knows is the person who is wearing the jewelry. As far as reproductions of art work, the public really doesn't understand. I think it is a rip-off to charge high prices for reproductions. Buyer beware! (Then again, what are high prices is subjective.) Carol L. ------------------------------ From: Graham Scholes Date: Thu, 13 Jul 2000 10:14:44 -0700 Subject: [Baren 10431] Motivated by greed??? I was not going to respond to Gary's posting, however for those who know me they can see that much of what Gary has written is supposition. For those that don't know me them maybe this will set the record straight. First and formost I do not do art to make money. I have been well below the poverty level for 23 years. If you have visited my wife site, to see the home we live in, it was realized before I quite the business world. If you want to look to someone that makes money..... focus on Dave Bull. He told me his net figure and it blew me away. >Greed was mentioned. Not a good choice of words for the input below >In a word, isn't that what all of us are doing by >making multiples? If true art is our strict ethic, then why make Beautifull ! You have just effectively insulted all of the baren members.... Printmakers do multilple pieces. It is the nature of the sport Gary, it is what print making is ..... making multiples. How could one be called a printmaker if you don't make prints. It has nothing to do with greed. Offering an image to more people, yes. Make a living, yes. The challenge of doing multilples, yes >Get as much mileage out of it as possible. >Graham for example sells prints, plain prints, matted prints, framed >prints, just about any way you like em, he'll sell them that way. I can't take credit for selling art in the formats that satisfy the customers needs. It is a marketing technique. >He limits the edition to further "enhance" the value of the print. You make it sound disreputable...... you have been listening to Dave to much. Ya, ... it's something I do and nobody else does, so I have a corner on the market... Oh, and I have a copy write on the idea. For a small fee you can get written permission and franchise the method so to speak and make tons of money and live like the Rich and Famous. (<: >Then he >takes the blocks from which he made the print and creates "matched sets" >which he also sells at a higher price. Higher than what? There is value in the item. What's the problem..... >Graham has learned to get as much >mileage out of his work as is possible, because that's how you survive as >an artist. Yep 24 years of bump and grind..... Now, I am on Canada pension and have a regular pay check every month. There is draw backs to this..... I now have to pay income taxes. >And if you can't sell enough work, give workshops on how >others can make it for themselves and make a few bucks there. "You do >what you gotta do" Well for 9 years up to 13years ago I did a lot of workshops. It was the form of teaching that I preferred. Free spirit and Marn and I are our own boss...... opps... Marns' the Boss. Now with a pension and a Senior citizen, doing workshops has come down more to a point of helping people ...... The energy level is such that we only do them in my studio. I turn down all invitations to go hither and skither around the country. Been there, done that and have a draw full of T-shirts, which if times get tough again we will sell them. Gayle defined it beautifully. Graham ------------------------------ From: Graham Scholes Date: Thu, 13 Jul 2000 09:47:03 -0700 Subject: [Baren 10432] Breaking rules >Now on to breaking rules.... you aren't supposed to get a grainy >effect??? OOPS! Have been printing by hand (back of wooden spoon) Barbara P. Rules can be broken. There are no rules when it comes to achieving the image with regards to grainy or as I call it ... texture. It is the statement that you make that dictates how the pigment is laid and printed. I personally find the smooth even application (all be it that this is the "standard" by the Japanese artisans.) looks like paint by number ..... The texture allows the image to take on vibrants and interest. The exhibition of the Master Printmaker Kiyoshi Saito on exhibition here in Victoria is a wonderful example of textures. It is up to the artist and their creation to determine what she/he wants to achieve. Graham ps. My art prof stated...... Life Drawing is a masters discipline. ------------------------------ From: "Jeanne Norman Chase" Date: Thu, 13 Jul 2000 13:49:21 -0400 Subject: [Baren 10433] Exchange # 7 All of you people who signed up for Exchange # 7........... You now have only 111 days to the dreaded deadline for this exchange "The Comedy of Life". Due November 1, 2000 Chu-ban size; 22 x 27cm or 8 l/2" x 10 1/2" Dan Dew and Jeanne Norman Chase will be coordinating this exchange and you will find the information re; Exchange 7 at http://woodblock.com/forum/exchange_7/exchange_7.html Please have a gander at this page so you know what is expected. Thanks Jeanne N. ------------------------------ From: "Jeanne Norman Chase" Date: Thu, 13 Jul 2000 14:04:12 -0400 Subject: [Baren 10434] OOOps Sorry, forgot a dash in the Exchange 7 number. http://woodblock.com/forum/exchange/exchange_7/exchange_7.html Hope I got that right! Jeanne N. ------------------------------ From: Wanda Date: Thu, 13 Jul 2000 11:13:11 -0700 Subject: [Baren 10435] Re: hanshita, etc Yes, congrats to all of you getting into those prestigious juried shows! Cool! Sarah, I have been also experimenting with the hanshita method of transfering my key block image to my bare blocks. I'm using that "Sumi" paper tablet that you can get in all the hobby/art stores. Quite inexpensive. Inking up the key block after it's carved (great for the not so exact or changing of the mind type of carver-like me;) & pasting those imprints down right away on the blank blocks with plain old gum arabic. Just smear a layer of gum arabic around on the block & smooth the sumi paper (face down) onto the block. The paper is thin enough that the image shows through without any rubbing off of fibres on the back. Let dry, carve the blocks & dampen the blocks & off it comes! It works really well for me. Wanda ------------------------------ From: Artsmadis@aol.com Date: Thu, 13 Jul 2000 14:49:45 EDT Subject: [Baren 10436] Re: movin' on, breaking rules In a message dated 7/12/00 11:59:29 PM Central Daylight Time, maria@mariarango.com writes: > You might try scanning at a higher dots per inch--125 to 150 or so instead of 72, then adjust your compression to make the image of a reasonable file size. This image is only 20,000 bytes and 96 dpi. http://members.aol.com/a rtsmadis/seatedopt.jpg Darrell ------------------------------ From: "Philip Smith" Date: Thu, 13 Jul 2000 14:43:20 -0700 Subject: [Baren 10437] Re: Baren Digest V12 #1074 I think it's grand when people don't have to make a dollar with their art work. ...And they can approach their pictures from an intellectual point of view, doing what ever and how ever the mood strikes them! There are a few of us in the group that have to pay bills and come up with rent money every month,...so the necessity of working for a living is always there! Selling ones pictures is of primary importance! Let me say that I envy the the non-working class and their ability to not having to sell their pictures. What a delightful way to go through life. ------------------------------ From: David Bull Date: Fri, 14 Jul 2000 07:51:20 +0900 Subject: [Baren 10438] Re: hanshita, etc Sarah asked: > I have a question for those who work in the Japanese method and use hanshita > as a transfer method: any tips on what paper is best for this? I've been 'Hanshita as a transfer method' ... The word 'hanshita' refers to that copy of the original image on very thin paper that is pasted face down on the first piece of wood to create the key block. The type of paper traditionally used for this job is 'gampi'. My own modification of this technique is illustrated here: http://woodblock.com/encyclopedia/entries/019_01/019_01.html When it comes time to transfer the carved key image to the blank colour blocks, a slightly heavier paper is used to produce these 'kyogo', as the transfer copies are known. I use a paper called 'hodomura', but actually any stable not too thick paper can be used, as long as it can be 'peeled' from the back (once pasted in place) to allow the image to be seen clearly. Here is an outline of the process ... http://woodblock.com/encyclopedia/entries/005_02/005_02.html *** Wanda earlier wrote: > a new page added to Matsumura's online catalogue: > http://www.woodlike.co.jp/gallery_top.html > Judging from the amount of dragons - I assume the > first page is New Year's cards. This part of his website does indeed contain the New Year cards he received this year - sorted 'alphabetically' into sections ... (Don't quite know why he left mine out ...) Dave ------------------------------ From: "George Sutton" Date: Thu, 13 Jul 2000 19:05:04 -0400 Subject: [Baren 10439] Re: Motivated by greed??? Graham I have been following baren for several months. Also, am the owner of one of your excellent watercolor books. There is no need for you to explain nor defend youself. Just keep on truckin' George Sutton ------------------------------ From: Studio Dalwood Date: Fri, 14 Jul 2000 13:13:22 +1000 Subject: [Baren 10440] Mystery is solved The Marias said "Jeanne, you caught me--er, us! Actually, we are triplets. Maria Maria Maria" Dont beleive it! She has a time suspension device in the studio. No matter how long she is in there only minutes have passed in real time. She just wont tell me where she bought it! Drat! May be if we staked her out in the desert for a while.... ;-) Josephine ------------------------------ From: barbara patera Date: Thu, 13 Jul 100 20:03:22 Pacific Daylight Time Subject: [Baren 10441] Repos again Maria wrote: "You can tell the oil isn't really an oil because it is flat, that is, brushstrokes are represented but not "tactile." I could tell the woodcut because, hey! I'm a printmaker, but to someone that doesn't know what it is supposed to look like...no difference. The watercolor people I feel really sorry for, because this Iris stuff is incredible. Perfect washes, perfect reproduction on...." Many years ago, when we lived in Anchorage, I did"Brushstroking"..... I'd paint over copies, mostly of Sidney Laurence's " Mt Mckinley", using one of the poly mediums.... Thus creating that tactile raised oil paint look and feel. Don't know how many hundreds/thousands I covered with liquitex clear products.... I still chuckle when I think of all those "brushstroked paintings" hanging in all of those living rooms and offices.... of course all who have them know what they are... in fact paid me to do the dirty deed. However, should this technique be re- discovered it would be pretty hard to tell the real oil from the ersatz. Barbara P. P.S. created last years Xmas card on the computer...running late as usual.... and did it in the manner of a linocut. Unfortunately, no one could tell the difference between that and all my other cards that I had labored long and hard over. ------------------------------ From: Graham Scholes Date: Thu, 13 Jul 2000 19:49:21 -0700 Subject: [Baren 10443] Re: Exchange #7 nailed down ... >That fact of the matter though, is there doesn't really seem to be any >need to mess with our system at the moment. We've had a good response to >the sign-up, with our set number of thirty being reached with no >problem, but have not had the kind of large over-run that would justify >the kind of 'double' exchange that has been proposed. As [Baren] grows >larger, that sort of system may indeed become necessary, but it seems >that we are not yet at that point. > You do have an over-run with a waiting list of 6 people, making a total of 36 persons. We only need 4 more to make the 20/20 suggestion work..... and could very well be filled given a little push. This 20 print idea is something that is well worth trying as it is less of a burden 1. financially, 2. workload. Since it has not been given a fair chance to work..... I cast my vote that it be given a chance by actually making it available rather than tail ending it on an exchange that has already been called and set up. Hey if I am off base on this bareners tell me to move over..... Regards Graham There are 3 kinds of people: those who can count & those who can't. ------------------------------ From: Studio Dalwood Date: Fri, 14 Jul 2000 13:24:36 +1000 Subject: [Baren 10444] about themes Julio asked "But how do you embark on such a journey ? Do you make one good "successful" print about fruits and then decide that you are going to print fruits while the pickings are good ?" Pun alert! Seriously Julio, its partially about recognising a predisposition to a particular subject, and its partly about setting yourself a challenge. For example, I never seem to do figurative work, so I recently set myself a challenge to do a series based around the figure. In this case, trying to extend myself. More important is the situation where you recognise that its relatively easy to make one print on a subject, but its really pushing it to do ten or twenty, having to come up with new and orginal ways of treating the same subject. That's why they do that to you at art school. Hands up all those who never ever want to draw another still life with bottles. Then again, look what Morandi did with just that subject. On the other hand, if its an easy subject that you can knock out in your sleep, time after time, then maybe it means you are in a rut. Not you personally, of course, I'm speaking generally here. just rambling away here Josephine ------------------------------ End of Baren Digest V12 #1075 *****************************