Baren Digest Tuesday, 6 February 2001 Volume 14 : Number 1310 ---------------------------------------------------------------------- From: "Vollmer/Yamaguchi" Date: Mon, 5 Feb 2001 08:16:19 -0500 Subject: [Baren 13266] Munakata in NY charset="iso-8859-1" I have that Munakata book, too! He is great, and brought hanga woodcut printing into the 20th century with his personal expressionist approach. His work looks quite different from the ukiyo-e masters because he cut and printed his own blocks in a crude, immediate way, and used mostly black and white. The back printing he does makes it all very physical, color bleeding through the washi paper. There is a continuity with the past, though. February 20 I will have the pleasure of giving a class on hanga woodcut in a room with a 6 foot Munakata woodcut! I will be teaching hanga woodcut to a group of 20 teachers at Japan Society in NYC. And, best of all, Sarah Hauser will help me ;-)The mandate of Japan Society is to promote an understanding of Japanese culture, so teachers who will use the information in the classroom are invited to call. It is an inexpensive week long class, and includes manga and animee as well. ------------------------------ From: GraphChem@aol.com Date: Mon, 5 Feb 2001 09:32:27 EST Subject: [Baren 13267] Re: toxics in workshop I generally sit back and observe, but I cannot let an obvious mistatement go unchallenged. In a previous posting there was a reference to "twenty years exposure to ink and solvent fumes" or words to that effect. I am constantly amazed that printmakers associate odor with some sort of toxic fumes. I'm speaking specifically of the inks that you use. I am unaware of any normally used printmaking ink (certainly none that we make) that expose you to toxicity whether it be by inhalation, contact or ingestion. These inks (and here I'm talking about oil based) are linseed and soy based vehicles! All of our inks and those of any reputable manufacturer are reviewed by a toxicologist for both chronic and acute toxicity problems. What you choose to clean up with is another story. Mineral Spirits, while better than Kerosene and Gasoline, is still problematic. With so many non-toxic cleaners on the market, why would you ever use aromatic solvents to clean your plates, hands and studio? Dean Clark Graphic Chemical & Ink ------------------------------ From: Cucamongie@aol.com Date: Mon, 5 Feb 2001 10:19:43 EST Subject: [Baren 13268] Help!? Hi folks, I need to ship a large framed print, which when framed will be about 30" x 40", and I can't locate boxes this large. How do you folks who ship large work deal with this? Any suggestions as to where to buy appropriate packing materials, etc? Please reply to me off list at Cucamongie@aol.com. Thanks a million, Sarah ------------------------------ From: B E Mason Date: Mon, 05 Feb 2001 07:33:27 -0800 Subject: [Baren 13269] toxic stuff Dean, Thanks for the good word on ink. I knew it was good for us! And of course you are right, the smell has nothing to do with the danger. I understand Gamblin has a solvent out that is supposed to be extremely safe for replacement of mineral spirits. It is called Gamsol and many of my artist friends who are painters use it. I understand the molecule is "large" so it is hard to absorbe through your skin, although if you sprayed it in the air it would still go into your lungs. So if anyone uses solvent, this is a safer than most solvent to use. I have been doing a lot of demos with watersoluble inks and have been wearing my red Graphic Chemical apron, I am trying to keep it clean for going out in public and so far it looks pretty good for an apron nearly a year old. Hanga is by far the safest method, being all water soluble. Many manufacturers are working on good waterbased inks and solvents, 20 years from now it will probably be hard to find the oil based inks. I have a release agent invented by a friend of mine that will allow you to print on damp paper using a rolling pin and any rewetting pigment and get great results without a press. By rewetting I mean any pigment that will become totally dry and then dissolve in water again if wet (watercolor, speedball watersoluble ink, watersoluble crayons and pencils or hanga pigment). If anyone wants some to try, email me off list and I will send directions and a sample. It is pretty cool, I have been demonstrating its use for several years and our local art store is finally going to carry it. So the moral is, learn hanga for your own safety!!! Or something like that! I admit, I love lithography ink. I was thinking yesterday about ordering a can of chrome yellow from Graphic Chemical, it is truly the most beautiful color. Barbara ------------------------------ From: "Maria Arango" Date: Mon, 5 Feb 2001 08:03:34 -0800 Subject: [Baren 13270] RE: Help!? charset="iso-8859-1" > Hi folks, I need to ship a large framed print, which when framed will be > about 30" x 40", and I can't locate boxes this large. How do you > folks who > ship large work deal with this? Any suggestions as to where to buy > appropriate packing materials, etc? Please reply to me off list at > Cucamongie@aol.com. > Thanks a million, > Sarah Well, I think this might be of interest to the list, but if I'm wrong, please send your insulting messages to: mariayouareanidiot@mariarango.com :-) Two ways to go, one is to use a suppliers (Dan Smith, Graphic Chem, etc.) box for 30" x 41" paper with padding. Alternatively, use 1/2" bubble wrap. Also helps to use those cardboard corners for frames. Tape the "bubbled" print, plexi side down, to a piece of hardboard or plywood slightly larger than the frame. This will save the corners. Shipping supplies: http://www.uline.com Frame corners: http://www.lightimpressionsdirect.com The other way is to build a lightweight crate. You will need 1/8" plywood or hardboard slightly bigger than your frame, some 1" x 4" lumber for your sides, padding and a screw gun or drill with attachment. OH yeah, a handful of 1 x 6 wood screws. It really is very easy to put a box together with those materials and inexpensive when you figure your hard work goes in there. It will weigh more than the cardboard box, but will be more protected. Ideally, padding should be a sheet of white foam, or the flexible black foam used for insulation and padding of air conditioner units. Take the time to glue the padding to all sides of the inside of the box so nothing will shift. Remember you will re-use that box, demand that they ship it back. Now for specific instrucions on HOW to build the box, you can email me off line. Happy carpentry! Maria <><><><><><><><><><><><><><> Maria Arango Las Vegas, Nevada, USA http://www.1000woodcuts.com maria@mariarango.com <><><><><><><><><><><><><><> ------------------------------ From: "Walters, Stephanie J. (Nevada Color)" Date: Mon, 5 Feb 2001 11:13:11 -0600 Subject: [Baren 13271] Re: toxics in workshop Yeah, I was told by one of my teachers once that I could eat my inks if I wanted to. I would never go to that extreme, but it was good to know that they were safe. ------------------------------ From: Claude Villeneuve Date: Mon, 05 Feb 2001 12:43:11 -0500 Subject: [Baren 13272] Re: Munakata Shiko Hello Kwee Horng! Glad you like Munakata too. What is the title of the book you ordered? I've tried printing (with oilbase colors on rice paper and coloring them from behind and the results are fantastic! Claude AimŽe ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Mon, 5 Feb 2001 11:56:29 -0600 Subject: [Baren 13273] Re: Munakata Shiko 02/05/2001 11:56:27 AM Last year while shopping at Aiko's (Chicago) for supplies, Ray the store owner and I had a chanced to discuss hanga, printmaking and Baren. He said he had something he wanted to show me and a few minutes later came back with a carved woodblock neatly packaged in a box. The woodblock was carved & printed by Munakata back in the 1960's while doing a demo in Chicago. I think Aiko's had sponsored the artist's visit. It was quite an experience to stand there holding this block in my hands....to closely admire the shiny black inked surface...Munakata's rough cuts and "expressionistic" style....after a while I knew I had to put it back..... Julio Rodriguez (Skokie, Illinois) ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Mon, 5 Feb 2001 12:14:48 -0600 Subject: [Baren 13274] Re: Israel Exhibit 02/05/2001 12:14:36 PM This came in during the weekend from Arye Saar regarding the current exhibit of Baren Exchange prints in Tiberias, Israel. "Hi Julio, Thanx for asking - its=A0 could be expected: many people are visiting but, like in Beit Gavriel, due to the political situation, not as much visitors as was expected in regular times. Couldn't take photos because the=A0place =A0was too crowded for shooting pic's. But it's very nice hall,=A0some columns are 'scattered around to hang some of the prints on. One wall with windows - every window is a kind of in the end of a small 'cave', which gives the place a mysterious atmosphere. Will try to take pictures, if=A0there will be a chance. Arye" ------------------------------ From: BBlitstein@netscape.net (Bonnie Blitstein) Date: Mon, 05 Feb 2001 18:03:57 -0500 Subject: [Baren 13275] Re: toxics in workshop Righty-O Its not the ink its the solvent fumes and certainly with email one must be as accurate as possible the fingers type faster than the thoughts not I was not really referring to the ink but the solvents involved in the cleanup....Certainly there is wonderful information "out there" so to speak that refers accurately to toxicity in the studio environment...so yeah and yeah again its the solvents for cleanup not the ink....now do you know anything about what mineral oil or baby oil does to rubber brayers or lino blocks in cleanup I was always told that it degrades rubber because it is a petrol based product ....???? Any information...I beg anyone's pardon for including ink the toxicity commentary baren@ml.asahi-net.or.jp wrote: ------------------------------ From: "Daniel L. Dew" Date: Mon, 05 Feb 2001 18:14:45 -0500 Subject: [Baren 13276] Sssssnake Time Had a neat idea I thought I'd share. I wanted a way to store all my slithery friends, so I went to my local Pottery Barn and asked if they happened to have a 4" x 7" picture frame box I could have (box is actually 6.5" x 8.5" x 1.25"). They gave me two because I am soooo sweet. I then created my own display box with a little cut and paste. Looks decent enough. dan dew ------------------------------ From: slinder@mediaone.net Date: Mon, 05 Feb 2001 18:50:56 -0600 Subject: [Baren 13277] Re: Help!? Sarah, These are beautifully made, well designed, and work well....and are reusable over and over: They are built near here and are wonderful! Sharen ------------------------------ From: Sunnffunn@aol.com Date: Mon, 5 Feb 2001 22:57:56 EST Subject: [Baren 13278] Re: toxics in workshop good grief if it smells horrible and it is hard to breathe in, is that not enough to say this is horrible and toxic? do we have to have documentation to know it is awful to breathe. Is not a sore lung and a cough enough to know this is awful come on use common sense here. M. in portland oregon where the air is clear ------------------------------ From: "Garth Hammond" Date: Mon, 5 Feb 2001 21:14:29 -0700 Subject: [Baren 13279] Re: toxics in workshop RE:I generally sit back and observe, but I cannot let an obvious = mistatement go=20 unchallenged. In a previous posting there was a reference to "twenty = years=20 exposure to ink and solvent fumes" or words to that effect. I am = constantly=20 amazed that printmakers associate odor with some sort of toxic fumes.=20 Now Dan! don't confuse us with the facts! so why are you hanging out and = not spreading the wealth of info you have. Some Yang is good to have = around. Garth ------------------------------ From: Legreenart@cs.com Date: Tue, 6 Feb 2001 00:41:21 EST Subject: [Baren 13280] Re: Snakes and Dragons There was another opening of The Baren Snake and Dragon show last Friday. This time they filled the gallery. I am putting up each newcomer as it arrives. I though I would have mine in the mail last week, but first I had to do a plate repair to correct a carving mistake last week. Then I keep thinking, "one more color!" The two color print I planned will be four, but I am feeling satisfied with the idea of sharing it. Trying not to become too intimidated by the thought of sending my print to some of the makers of the masterly prints I have received. Thanks for making the opening exhibit of Stonemetal Press, tenth anniversary year one to be very proud of. Yours, Le Green Stonemetal Press Email: legreenart@cs.com Website: www.stonemetalpress.homepage.com ------------------------------ End of Baren Digest v14 #1310 *****************************