Baren Digest Monday, 21 May 2001 Volume 15 : Number 1426 ---------------------------------------------------------------------- From: Cucamongie@aol.com Date: Sun, 20 May 2001 10:19:08 EDT Subject: [Baren 14495] rice paste Jeanne, go ahead and dilute the rice paste with some water, that's fine to do. I put my rice paste in a little plastic squeeze bottle and dilute it til it's the thickness I like, then I squeeze a few dabs out onto the block - I find for hanga this is better than brushing it on, as it doesn't inadvertently pick up color from the block as you go - also find it useful for when I'm glueing things, as I already have it diluted. Sarah ------------------------------ From: Sunnffunn@aol.com Date: Sun, 20 May 2001 13:01:57 EDT Subject: [Baren 14496] Re: Baren Digest v15 #1421 I disagree that it is a sin not to be archival. The work is what counts and some non archival papers will last some good time. If the paper works for my project, I use it. I prefer archival , but it is not a sin not to be. I have run prints on all sorts of things and in history many artists have drawn or painted on surfaces that did not last forever. Even archival will with time begin to slide away. I guess my experimenter nature is showing here as I will use anything that makes the piece work well for me. marilynn ------------------------------ From: slinder@mediaone.net Date: Sun, 20 May 2001 12:05:36 -0500 Subject: [Baren 14497] Vandercook proof press... There is a (tabletop) Vandercook Proof Press available today on ebay. Anyone near Dallas/Fort Worth needing one? It will print type high blocks (as in linoleum mounted on wood, or wood engraving block height) on a 15"x42" bed. Thus far the bidding is $2.76. Transportation seems to be it's challenge. Mine was heavy but not big...easy fit into the back of a van or SUV. Sharen ------------------------------ From: "Jean Eger" Date: Sun, 20 May 2001 10:09:34 -0700 Subject: [Baren 14498] UKansas acceptance of Baren portfolio charset="iso-8859-1" Dave, this really is very good news. Thanks very much Stephen, for taking the Baren collection. It is possibly the first internet print exchange ever. No doubt it is the first internet wood block print exchange! It certainly looks into the future of international communication and friendship, not to mention promoting wood block printmaking, Japanese style. I remember encountering Mr. Goddard at 2 am on the internet, in 1995, when the World Wide Web was first being colonized. He sent me a message and I wrote back, what are you doing awake at this time in the morning? We were trying to get our web sites up and running. I was incredibly excited at what the web would do for art education. I used the Baren folios in my presentation of hanga printmaking at San Francisco State University last week. The art department chair was totally pleased and wanted to see more of the prints. Thanks again, Stephen Goddard, for your acceptance of the Baren prints! Jean Eger Womack http://www.jeaneger.com ------------------------------ From: FurryPressII@aol.com Date: Sun, 20 May 2001 14:57:06 EDT Subject: [Baren 14499] Re: Vandercook proof press... If you live where this press is snap it up. It is the perfect tool for printing western method relief prints. It will work for other printing methods as well. Works great for the oil based method of zerox transfer (if you want more info on that e-mail me) will work for paper & plate litho as well. As i have an etching press i have not tried it for that but i think it would work on a small etching as well. It would be a good buy for the price of moveing it. Rember a very small prof. quality etching press new cost 1200$ and my vandercook proofing press will print block 14 by 18" and if i take off the gripper bar i can print blocks that are longer than that if i run it through the press twice (has worked for 14" by 36". Back to editioning of prints. Editioning of prints as we know it is a modern idea. There is a printmaking organization that defined the terms and generally accepted meanings (i have forgoten its name but i could look it up if necessary) Letterpress printing (wood cuts & woodengraving) and Japanese relief printing both grew in the commerical printing of there time and not as an art form the idea of editioning prints came to them both at amuch later time of there development,. Thomas Buick the inventer and/or popularizer of wood engraved illustations had been told he would only make 100 copies of one of his blocks he would ROFL (roll on the floor laughing) a block he cut for an english newspaper head was printed for over 250,000 times. And the Japanese publishers printed as many as they though they could sell. Some wood engraved blocks were sterotyped and printed in houndreds of places at the same time. And another aspect of the idea behind editioned prints was the concept of origanality vs. reproductivty both of which were not as important as viewed today. The majority of prints before the modern period were reproductions of another image with or without the approval of the origanal artist. A famouse case of this was Durer case agaist Mantaga at the time Albrect could sue over his signature "AD" and not the use of his image. As wood blocks have a long and well known history one could enter them at any time you would like and it would be historiclly accurate but mono prints (types) came in as a modernist activity. they can be of two different types one uses a matrix (such as a wood block) and the other uses a plain plate of some kind. The kind using a matrix can be reproduced as an edition but it may not be this being at the descrition of the printer or artist. The type using a plain plate will at most give you two copies the first darker copie and its goast usually a lighter copie. It would be imposible to make more exact copies. On editioning intaligo prints the generally accepted practice is to make them the same in an eddition. A beginner should get the same image each time or give it to another printer and get the same image. In the past the artist would make the plate and make a final proof give that and the plate to the printer and expect to get the plate printed as it was given to the printer. At this time engraved plates were generally commerical products. Only after you know how to pull an edition is it a good idea if you want to make "custom" wipes the issue here is the control needed. If you are not getting the same image each time and that was not your intent (see mono-printa) it could be a number of factors (pressure, inking, wiping or different paper) with practice and more practice you will get these undercontrol. These prints should not be put in an edition if they are too differnt (don't want to define these terms) If i define these these too narrow i might get an argument. john of the furry press ------------------------------ From: Sunnffunn@aol.com Date: Sun, 20 May 2001 17:56:33 EDT Subject: [Baren 14500] Re: A question of ethics Tell everyone you know you are an artist. That is marketing, that is how i got a gallery. Do not be shy say I am a pro and mean it. I have a degree and I have ribbons first place ones and I have sold so I am all pro! It is not unethical to spread the word, lying is unethical. You are merely blowing your horn and for me that is hard because i am shy about being big headed and not wanting to sound too bold, but you can never have enough nice things said about you nor tell too many about your work. I put my heart into what I do so why should I not tell others about my work, that is all you are doing, telling others about your work. Good luck! Marilynn ------------------------------ From: Mike Lyon Date: Sun, 20 May 2001 18:57:57 -0500 Subject: [Baren 14501] Re: Baren Digest v15 #1425 At 10:00 PM 05/20/2001 +0900, you wrote: >I am doing chine colle' on some prints and my rice paste is getting very >stiff and gluey. Is it possible to loosen it up with some water or would >that be thinning it down so much that it would lose the glue quality? The >rice paste is Nishikinori from McClain's. > >Jeanne N Just add water -- it won't change a thing except the consistency -- it gets thick from evaporation, and you need to add the water back... Mike mikelyon@mlyon.com http://www.mlyon.com ------------------------------ From: Wanda Date: Sun, 20 May 2001 17:23:47 -0700 Subject: [Baren 14502] Re: Rice Paste Hi Jeanne, I think you should feel free to do some (or a lot) of thinning of the rice paste. It dries out while your using it so fast that it is really thick after a while. Almost to the point of being unusable. Wanda ------------------------------ From: Legreenart@cs.com Date: Mon, 21 May 2001 01:32:34 EDT Subject: [Baren 14503] Re: Baren Digest v15 #1424 More about invitations... I wrote Gayle off list, then it seemed really incomplete when I reread Gayle's message.. Dear Gayle, Start by contacting the gallery and asking them if they are doing a press release. IF yes, Tell them you want to write one for your local paper that features your participation, because you know that they will be more likely to print one about a local resident. Ask them to send you a copy of the one they are sending. Start the media release with a paragrah about you, then Include the information the gallery had in its p.r.. It is a good ideas to include the names of the others in the show, because their friends could still buy your work, and you get networking points. IF no, write one, In general same as above, but send it to the Cleveland press as well. Invitations... Do the same thing basically. You should make it clear it is a group show, but lead with one of you images and a line that says Featuring Gayle Wohlken. Be sure to include the City in the gallery's address. end of original note Write a version for each town if that will get a copy, if you like. Combine with the artist if you like. I would call the other artist... They may be a media wiz,,, Or they may need the help... you don't want anyone feeling left out and making the opening a downer. P. S. Anyone who wants me to send a copy of a media release from Stonemetal Press as a template, tell me off-group to send one. Yours, Le Green Stonemetal Press Email: legreenart@cs.com ------------------------------ From: "Patricia" Date: Mon, 21 May 2001 19:36:50 +1000 Subject: [Baren 14504] Re: Baren Digest v15 #1421 If not working with archival paper is a sin I am in big trouble. When I first went to art school everyone used to go on about archival = paper and mounts, I just wanted my work to last until the end of the = semester when it would be marked. I now try to work on Khadi paper.=20 I have scanned a whole lot of watercolours into my computer and print = them out on watercolour paper. I frame them and give them for presents. = Will the paper outlive the image? I don't know but they look great. Patricia ------------------------------ End of Baren Digest v15 #1426 *****************************