Baren Digest Tuesday, 23 October 2001 Volume 17 : Number 1595 ---------------------------------------------------------------------- From: Cucamongie@aol.com Date: Mon, 22 Oct 2001 09:49:10 EDT Subject: [Baren 16012] Lynita's show Hey, Lynita, can you email me offline, I lost your email address. For those in the Connecticut area, Lynita has her beautiful woodcuts up in a solo show at Quinebaug Valley Community College, 742 Upper Maple Street, Danielson, CT, Gallery hours Mon-Fri 8:30 am-9pm and Sat 8:30am to 3pm, show is up til Nov. 1st. best wishes Sarah ------------------------------ From: ArtfulCarol@aol.com Date: Mon, 22 Oct 2001 10:45:49 EDT Subject: [Baren 16013] Re: Baren Digest V17 #1594 Hi John, Firemens Benefit project woodblocks are in the printing stage. This is to remind those involved: We are signed up for a Firemen's Benefit Exhibit Feb 12 for 2 weeks at the Irvington Library Display Room. Prints due in January. As of now to be sent to JOHN. Set-up is excellent for using push pins SIZE---10"x15 (or 15"x 10") More details later. Carol ------------------------------ From: "April Vollmer" Date: Mon, 22 Oct 2001 13:10:15 -0400 Subject: [Baren 16014] Woodcuts in NYC I just got a notice for this show, should be a good one! "Off the Street" in New York City Exhibit of color woodblock prints by NH printmaker Matt Brown and NYC printmaker Bill Paden Sunday, October 21 - Monday, October 29 Open hours: 2 - 8 pm each day (or by appointment: 603-359-1867 (NYC cell phone), or e-mail, matt@ooloopress.com), during these hours Matt will be set up printing . . . see how it's done! Opening: "Tea-time" Sunday, October 21, 2 - 5 Closing: "Party" Saturday, October 27, 5 - 8 "The Kheel Tower" # 21C, 315 7th Ave., NYC SE corner of 28th & 7th Ave. (five minute walk from Penn Station) visit http://www.ooloopress.com for more info ------------------------------ From: "Carole Baker" Date: Mon, 22 Oct 2001 11:26:56 -0800 Subject: [Baren 16015] edition numbering I introduced myself a few months ago, ready to start printing again after not doing so for a while. A week later I got asked to be in a show on Oct. 3rd so I switched back to painting mode until that was hung. Now I'm back in printing mode.My prints for the salon des refuse flora exchange are dry and ready to number. And I have some questions. After the first days printing (hanga), I decided I'd rather go with another color for part of the print...from a dark blue to yellow in the background. I scrubbed and washed the block, but in printing, I got various shades of green to yellow, all of which were pleasing. I have l4 that are enough alike that I could feel OK about numbering them as an edition. However, the others aren't so bad, took a long time to print (the differing block being the last of 5 blocks with more than one printing on all of them) I'd like to keep them and number them also, and possibly try yet another color scheme. Looking back at the baren archives, I found that putting "var." after the number would be a way to number the edition. And another way would be to make 2 or 3 editions, I think. How would I indicate that when I number each edition? Once before, I purposely printed each print differently, and was advised by another printmaker to number the edition as CP 1/17-CP17-17 (CP standing for color proof). Could each in such a printing be called a monoprint and each numbered 1/1? I have mentioned 4 possible ways of numbering these variant prints. Yet another option to my dilemna would be to not number them at all. Or I could avoid keeping the variants and make consistency more of a goal. Some interesting dialog on these subjects in the archives. I think for the edition I just did, I will go with deciding how many I plan to make and call them variants. The only very obvious difference in the prints is the color, but it is a big difference. Any advise or opinions to this will be appreciated. I need to get these in the mail and back to work on my #11 baren exchange flora print, as I got moved up from the waiting list a few weeks ago. And while I"m on the subject: A couple of years ago I cut blocks, printed several and sold a few of an edition , planning to print more later. Now , I see that;I could improve it a bit by some slight changes in one of the blocks. Could I do this ethically, as the first few prints I sold do not indicate that they are different than what might be the rest of the edition. Carole ------------------------------ From: Graham Date: Mon, 22 Oct 2001 13:46:21 -0700 Subject: [Baren 16016] Re: edition numbering Carole wrote..... > After the first days printing (hanga), I decided I'd rather go with another color for part of the print...from a dark >blue to yellow in the background. I scrubbed and washed the block, but in printing, I got various shades of green to yellow, >all of which were pleasing. I have l4 that are enough alike that I could feel OK about numbering them as an edition. >However, the others aren't so bad, took a long time to print (the differing block being the last of 5 blocks with more than >one printing on all of them), and I'd like to keep them and number them also, and possibly try yet another color scheme. >Looking back at the baren archives, I found that putting "var." after the number would be a way to number the edition. You can call them State I, State II and so on. You then number them in the usual manner. These could have the variations to which you refer. > And another way would be to make 2 or 3 editions, I think. How would I indicate that when I number each edition? >Once before, I purposely printed each print differently, and was advised by another printmaker to number the edition >as CP 1/17-CP17-17 (CP standing for color proof). Could each in such a printing be called a monoprint and each numbered 1/1? I think they would have to be quite different to call them a monoprint. I am not sure that colour difference alone is enough to consider them as monoprints. >Yet another option to my dilemna would be to not number them at all. If they are stand alone in their differences then yes. Monoprint becomes applicable and the 1/1. >Or I could avoid keeping the variants and make consistency more of a goal. You might have to call yourself a printmaker if you did that.... (<: My objective is to strive for consistency... yet.... have a variance, subtle in nature, so as they fit the original print statement we are legitimately able to use. >I think for the edition I just did, i will go with deciding how many I plan to make and call them variants. The only >very obvious difference in the prints is the color, but it is a big difference. Any advise or opinions to this will be appreciated ? You can call them what ever suit your intent. Your decision should reflect to the buyer what they actually are, and not to use any smoke and mirrors. You can get burnt doing that. Maybe not today or tomorrow but down the road when you are firmly established. Robert Bateman is a prime example. >And while I"m on the subject: A couple of years ago, I cut blocks, printed several and sold a few of an edition , >planning to print more later. Now , I see that I could improve it a bit by some slight changes in one of the blocks. >Could I do this ethically, as the first few prints I sold do not indicate that they are different than what might be the rest of the edition. Ah ha.... this is where State II comes into play. Hope this helps. Graham Just so you know.... You can fool some of the people some of the time. But only once. ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Mon, 22 Oct 2001 16:45:32 -0500 Subject: [Baren 16017] Re: Last Call !!!!! 10/22/2001 04:45:34 PM Absolutely the very last call for your contributions to this month's issue of Barensuji (The Baren Newsletter). Articles, ads, coming exhibits, get-togethers, for-sale, wanted.................all welcome. Please send me info off-list. Past issues: http://barenforum.org/newsletter/index.html thanks...Julio Rodriguez (Skokie, Illinois) ------------------------------ From: "marilynn" Date: Mon, 22 Oct 2001 16:20:24 -0700 Subject: [Baren 16018] Re: Baren Digest V17 #1594 General printers question. I am running this series. I had the paper cut to size. I am finding that because I bought it at 2 different stores and had 2 different people cut it that the sizes are off a bit. I am now trimming them before i run. But The deckle edge is the one that is longer. If I leave a deckle on a series should I leave it on each piece or does it matter? I would think if the paper is the same and the sizes are quality are consistent that would be all that woudl matter. opinion? Marilynn ------------------------------ From: Graham Date: Mon, 22 Oct 2001 16:50:44 -0700 Subject: [Baren 16019] Re: Baren Digest V17 #1594 >General printers question. I am running this series. I had the paper cut >to size. I am finding that because I bought it at 2 different stores and >had 2 different people cut it that the sizes are off a bit. I am now >trimming them before i run. But The deckle edge is the one that is longer. >If I leave a deckle on a series should I leave it on each piece or does it >matter? I would think if the paper is the same and the sizes are quality >are consistent that would be all that woudl matter. opinion? >Marilynn What size is the paper? How big is the size difference? If it is about 1/4" I would not be concerned. My Hosho paper sometime varies that much or more. Graham/Sidney BC An Island in the Pacific Home of the Boot Camp ------------------------------ From: Brian Lockyear Date: Mon, 22 Oct 2001 17:00:00 -0700 Subject: [Baren 16020] Re: To deckle or not to deckle Unless you are doing a print wherein the paper is intended to be mounted free floating so that the edges can be seen, I think the deckle is a special extra neat thing that you get on some of the prints and not in others depending on where the paper was torn or cut from the larger sheet. So I leave the deckle wherever I can. I try to cut my kento marks into torn edges instead of deckle edges. And I have been told that it is nicest to leave a deckle on the "bottom" edge of the print. So I cut my kento marks on the top of the board and print upside down. Sometimes I tear off to clean up the kento marks and sometimes I leave them because I can't lose any paper. As far as I'm concerned the kento marks help identify that the print was made by hand in a particular way. But as far as the question of whether to leave or trim deckles on only some of the prints in order to have exactly the same dimensions... I'd leave them. Like the kento marks, they are just one more little sign that a piece of art was handmade. - Brian - ------------------------------ From: FurryPressII@aol.com Date: Mon, 22 Oct 2001 23:29:28 EDT Subject: [Baren 16021] Re: Baren Digest V17 #1594 i went to grad school at columbia collage, chicago center for book and paper arts used to drive the paper makers mad when i cut off the deckles. Most deckles are fake on machine made paper anyway. I cut um off because it makes registration better with out them. You are a printer not a paper maker and western paper for printmaking such as arches or rives is machine made anyway. so cut and print lol John Center ------------------------------ From: "Jean Eger Womack" Date: Mon, 22 Oct 2001 21:56:45 -0700 Subject: [Baren 16022] Re: Baren Digest V17 #1594 I'm sorry I didn't get over to the print show in San Francisco. Maria, how did it go? I'll have to meet you when I am not teaching. I resigned that job and hope to go back into subbing. I said I would stay until they found someone, and they did get someone who had been there before and left. I must say it was great fun to teach art, and to try to figure how to get the best art from the kids and provide them with the art experiences they need. They are terrific kids and I know I will miss them terribly. They were telling me today how much they will miss me and how disappointed they are that I am going. But by the end of the week, they will be used to the new teacher. I told them I'd come back and visit them. Jean Eger Womack ------------------------------ End of Baren Digest V17 #1595 *****************************