Baren Digest             Tuesday, 19 February 2002     Volume 18 : Number 1727


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From: Graham <gscholes@woodblock.info>
Date: Mon, 18 Feb 2002 11:52:44 -0800
Subject: [Baren 17045] Soft?Hard? 

Jack wrote.....

> It doesn't work that we all get to make up our
>own classification systems, unless we keep it to ourselves, to avoid
>confusion.


You have homed in on the matter beautifully.
My concern with this discussion of Mike stating that Basswood was
a hard wood, would cause confusion in the minds of some members,
particularly the ones new to the sport.  A couple personal postings
clearly indicated this to me.

This forum is a learning and educational venue and
to have feed back based on category rather than facts as related to
soft/hard woods can very misguiding to the folks.

Graham

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From: "Jeanne N. Chase" <studiojnc@prodigy.net>
Date: Mon, 18 Feb 2002 16:15:37 -0500
Subject: [Baren 17046] Re: RE; Presses 
Dear Dean

Thanking you for the gift certificate. It is sooo nice of you and the 
Baren folk to think of me.

Since I am working in a teeny tiny garage and have absolutely no space 
except for my new drafting table and a small work table. Is it ok if I 
wait upon the gift certificate until I relocate in a new studio?
 We are trying to persuade the County to give the stamp of approval on 
the rebuilding of my burnt out studio, and that may take awhile.
 The wheels of progress are pretty slow around here.

I am still overwhelmed by all the generosity shown by everyone.
 And I could easily select some supplies now, but have nowhere to put 
them.

Ok, if I order later?

Thanks
Jeanne Norman Chase


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From: GraphChem@aol.com
Date: Mon, 18 Feb 2002 16:36:11 EST
Subject: [Baren 17047] Re: RE; Presses 

Hi Jeanne,
I'm taking the liberty of answering for Dean as he's been out most of the 
day.  You can use the certificate whenever you like.  There's no hurry or 
deadline.

Hope all is coming together for you.  I can't imagine the re-building 
process.  Let us know when you want to do something.

Best regards,
Susan

------------------------------

From: Graham <gscholes@woodblock.info>
Date: Mon, 18 Feb 2002 14:21:04 -0800
Subject: [Baren 17048] Re: Hardwoods/Softwood. 

I am afraid that I won't be much help, as inexpensive and good are kinda at
 the opposite end of the spectrum.

The way I would approach the problem is the give a priority to one factor
 and let the other take a lesser importants.  Let me explain.

If the design/image is critical and detail and fineness is important then
 the best wood for the job is a 3' x 5' piece of Shina plywood usable both
 sides, from Noboru Sawai in Vancouver. Cost ... about $190.00 Can. $110.00
 US+ shipping.  This stuff cuts beautifully and is the best available.

If there is a looseness in the design and some splintering is not going to
 spoil the final appearance and you like sharpening chisels, then there is a
 Baltic birch that come in 5' x 5' in 3/4" or 1/2" and 3/8" (made in Russia
 by the way) that would work fairly good. It is $35.00 Can.... about 23.00
 US (1/2" thickness)

There is another plus with the Birch plywood.... when you get finished=
 carving that size of plate, you will have arms like a gorilla.

I sure hopes this helps. Shout if you have any questions.

Regards

Graham





>Hello Graham - I appreciate your knowledge and sharing so much - I am new
to wood - I've done one with all shina from Mcclain's -=3D it was wee.  A
 printmaking friend of mine just printed a 3 foot X5 foot (2 actually)
 woodcut - monocolor on a french broad(sic) press.  We all pitched in to
 heft these things around.  he printed them face down.  Had to pull 3 images
 before they were really up and alas the bottom third of the prints were
 ricey.  Our professor thinks the french press has been used for so many
 small prints ( it is the graduate press) usually 18X24, that the press bed
 (stainless steel) is warped and won't print all the way on something so
 large - the press is at least 20 years old and been through many a grad.
 There is a point to this and that is that jeff used regular old plywood
 that you get at home depot.  He used expensive Japanese tools and regularly
 sharpened them but had many a "hangnail" if you will with rips along the
 line.  He said that was what he could afford - do you have a reccomendation
 for something inexpensive but that you don't have to fight and repair with
 bondo.  Diane

------------------------------

From: Graham <gscholes@woodblock.info>
Date: Mon, 18 Feb 2002 14:37:34 -0800
Subject: [Baren 17049] Re: RE; Presses 

I have been racking my brains as to what to send you that would be useful and 
yet out of the ordinary. Could I send you the hori dai that I designed.  Sure 
fantastic for ones posture and makes carving
really easy.... well easier.

Go looky lou at http://www.woodblock.info/bootcamp/hori-dai.html

Sincerely,

Graham



>Dear Dean
> 
>Thanking you for the gift certificate. It is sooo nice of you and the Baren folk 
to think of me.
> 
>Since I am working in a teeny tiny garage and have absolutely no space except 
>for my new drafting table and a small work table. Is it ok if I wait upon the 
>gift certificate until I relocate in a new studio? 
> We are trying to persuade the County to give the stamp of approval on the 
rebuilding of my burnt out studio, and that may take awhile.
> The wheels of progress are pretty slow around here.
> 
>I am still overwhelmed by all the generosity shown by everyone.
> And I could easily select some supplies now, but have nowhere to put them.
> 
>Ok, if I order later?
> 
>Thanks
>Jeanne Norman Chase



------------------------------

From: FurryPressII@aol.com
Date: Mon, 18 Feb 2002 18:11:46 EST
Subject: [Baren 17050] Re: Say it loud:  I like pine and I'm proud! 

FORGOT WALNUT   THAT IS FUN TO CARVE AND "PURTY" TOO

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From: Jack Reisland <reislandj001@hawaii.rr.com>
Date: Mon, 18 Feb 2002 14:15:35 -1000
Subject: [Baren 17051] Re: Soft?Hard?  

Unless I am mistaken, Mike stated that basswood is classified as a
"hardwood", not a "hard wood", as you stated. There is a very big
difference, and thus the apparent confusion. "Hard wood" is any wood
that you deem, in any subjective manner, to be "hard". "Hardwood" is a
specifically recognized term in the forestry and lumber industry used to
describe wood from a broad-leafed tree or the tree itself. That little
space between the words, or lack of it, may seem like a trifling matter,
but such is the nature of our language. It may not seem important, but
if we are communicating with people in the wood use vocations, it is
best to use the industry recognized definitions.

Jack

Graham wrote:


> You have homed in on the matter beautifully.
> My concern with this discussion of Mike stating that Basswood was
> a hard wood, would cause confusion in the minds of some members,
> particularly the ones new to the sport.  A couple personal postings
> clearly indicated this to me.



------------------------------

From: "Maria Arango" <maria@mariarango.com>
Date: Mon, 18 Feb 2002 16:35:17 -0800
Subject: [Baren 17052] Re: Soft?Hard?Easy?Best? 

And while we are at it, for those poor confused "new to the sport" babes,
there is no such thing as best or worst. As Jim, Jack and John have stated
(I just like to say J-names) there are preferences. What is easy for some
may be difficult for others. The "best" wood as opined by someone is
practice garbage to another. Experimenting is the key.

I for one fail to see what is so difficult about starting on birch. In my
experience--not influenced by any master printers whose names are
undoubtedly going to be dropped casually into the conversation very
soon--birch is a piece of cake and a bit of honing while carving is all that
is needed to cut painlessly. It is readily available everywhere and cheap.
As for a muscle building exercise, digging a ditch is much better.

Cherry is a bit tougher but again, with sharply honed tools, not out of
bounds even for the beginner. There are no painless woods, they all have
their wonderful little quirks. Plank maple is deliciously easy to carve
despite being a hardwood hard wood ha rd wo od.
Sharp tools (or should I say sharptools?) are a must no matter what w o o d
you choose. I would highly recommend trying out every piece of scrap stuff
mentioned (including non-wood matters) because it's fun and that's what we
do, we carve stuff.

Anyhow, get cuttin'
Maria

<><><><><><><><><><><><><><>
Maria Arango
Las Vegas, Nevada, USA
http://www.1000woodcuts.com
maria@mariarango.com
<><><><><><><><><><><><><><>


------------------------------

From: Jack Reisland <reislandj001@hawaii.rr.com>
Date: Mon, 18 Feb 2002 17:50:52 -1000
Subject: [Baren 17053] Re: Soft?Hard?Easy?Best? 

As usual, Maria has cut to the point. Instead of worrying about different
woods, it is much more worth while to practice sharpening your tools. Once you
know how to sharpen, and can do it quickly, many different woods seem friendly.
If you can't maintain sharp tools, all woods will seem to be working against
you.

Jack R.

Maria Arango wrote:


> And while we are at it, for those poor confused "new to the sport" babes,
> there is no such thing as best or worst.



------------------------------

From: Graham <gscholes@woodblock.info>
Date: Mon, 18 Feb 2002 22:41:25 -0800
Subject: [Baren 17054] Never again.... 

Not really Baren stuff, but I promise it can NEVER be mentioned again.

At 8.02pm on February 20 this year it will be a historic moment in time.
It will not be marked by the ringing of bells, the banging of drums, or
spectacular fireworks displays but at that precise time, on that specific
date, something will happen which has not occurred for 1,001 years and
will never happen again.
As the clock ticks over from 8.01pm to 8.02pm on Wednesday, February 20,
time will, for sixty seconds only, read in perfect symmetry 2002, 2002,2002,

or to be more precise, 20:02, 20/02, 2002.
The last occasion that time read in such a symmetrical pattern was long
before the days of the digital watch and the 24-hour clock.  It was at
10.01am on January 10, 1001. And because the clock only goes up to 23.59,
it is something that will never happen again.


Graham 


------------------------------

From: David Bull <davebull@woodblock.com>
Date: Tue, 19 Feb 2002 16:55:33 +0900
Subject: [Baren 17055] Exchange #11 web pages open ... 

It has taken a few days, but after receiving the images of Exchange #11 
prints from Mike Lyon, I have been able to get the web pages ready ...

Head to:
http://barenforum.org
... and take the link to the 'Exchange Gallery'.

Might be worth reminding everybody again just how those pages work. Each 
print is shown as a relatively small image, but clicking it will bring 
up a popup window with a larger version. _Don't_ close that extra 
window, but keep it open at the side of your desktop. Then click back 
over to the list of names to pick the next person's print to view. Each 
time you click a small image to see an enlargement, it will open into 
that _same_ window, so you don't have to be constantly opening/closing 
browser windows ...

Also please note that when you scroll down below the small image, you 
will see a feedback form. This is a 'direct line' directly from you to 
that artist - whatever you enter on that form will be sent by email to 
the artist, and will not be seen by anybody else. The idea is to 
encourage constructive criticism, but without many of the problems that 
arise with making comments publicly on the forum ...

Sorry that this is all happening so late - the Exchange #12 deadline is 
upon us too; we'll try to get those prints up without so much delay!

Dave


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From: "Wilson Harvey" <Harveys@care4free.net>
Date: Tue, 19 Feb 2002 09:09:49 -0000
Subject: [Baren 17056] smudges & MDF

Hi.  As a newcomer to Baren from the UK (any other Brits in it?), let me
congratulate you on an excellent site.  I recently started woodcuts 
after a lifetime of ink & watercolour painting and have got hooked!     
Having made a mess  of some
pine (a bad choice to start with!) I've had good success with MDF, using 
it with water-based inks with no particular problems with swelling etc.

As far as smudges, fingerprints etc on the print edges, I've found a 
cure that seems to work well for me:  I cut a mat to the size of the paper and a 
cut hole in it the exact size of the wood block.  I then tape the mat to the 
paper (bevel to paper-side), and use this to ensure exact registration onto the 
paper, and it also shields the paper from grubby hands. After printing, 
just remove the mat.

If I've just reinvented the wheel here, please forgive me!

Wil Harvey
N. Yorkshire, UK


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From: Dan Dew <ddew0001@tampabay.rr.com>
Date: Mon, 18 Feb 2002 07:17:21 -0500
Subject: [Baren 17057] Query 

I was asked yesterday by a friend: "How do you know what to carve away"?
After my usual quick and flippant answer, I stopped to think about it.
Sometimes it's technical, sometimes it's a feeling that this is right, but
now I'm curious as to what others would say.
What say the group?

****************************
 
Daniel L. Dew
ddew0001@tampabay.rr.com
ddew@tampabay.rr.com
http://www.dandew.com

****************************


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From: John and Jan Telfer <jtelfer@iinet.net.au>
Date: Tue, 19 Feb 02 20:33:34 -0000
Subject: [Baren 17058] Re:  Cuttlefish bones 

Ld,

re Cuttlefish bones....

>All that talk of smudgy spots on the print margins last week got me to 

>>thinking....
>>A trick my highschool art teacher taught me a gajillion  years ago. 
>>You can rub a good deal of smudging and spots from paper margins with 
>>cuttlefish bone.


I didn't know that.  I am a clean worker anyway, but I can certainly pass 
on that information
to my printmaking collegues.

Western Australian beaches abound in cuttlefish shells...you can be 
really "picky" and leave the broken ones and just pick up the "perfect" 
ones.  The fresher chalk would be more effective than older sundried ones 
to use as an eraser.  I have a big plastic bag full of them in my shed.

Carving the "chalk" makes nice little stamp shapes as well, or moulds for 
pouring silver jewellery shapes. The budgerigars and caged birds love 
them for keeping their beaks shaped. In Australia cuttlefish shells 
abound!

Thanks Ld,

Jan




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End of Baren Digest V18 #1727
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