Baren Digest Wednesday, 13 March 2002 Volume 18 : Number 1760 ---------------------------------------------------------------------- From: Cucamongie@aol.com Date: Tue, 12 Mar 2002 09:30:04 EST Subject: [Baren 17473] rice paste Charles, there is no need to make rice paste from scratch if you can buy it already made! I forget where you're located, but they do sell rice paste through McClain's. I also purchase it at a much cheaper price either at Sunshine market, a Japanese market in New York City, or there's a Japanese book store in NY called Kinokuniya Bookstore 10 West 49th Street New York, NY 10020Tel: (212) 765-7766 Fax: (212) 541-9335 e-mail: kinokuniya@kinokuniya.com- They probably will do mail order. my 2 cents Sarah ------------------------------ From: Graham Date: Tue, 12 Mar 2002 06:46:39 -0800 Subject: [Baren 17474] Re: rice paste Charles you don't have to go south.... as much as it is a grand idea with all this rotten weather we are having... to get the rice paste. If you can wait for a while I will be getting my supply for the Boot Camp. Graham Buy Canadian.... well Japanese Canadian at least.... >Charles, there is no need to make rice paste from scratch if you can >buy it already made! I forget where you're located, but they do >sell rice paste through McClain's. I also purchase it at a much >cheaper price either at Sunshine market, a Japanese market in New >York City, or there's a Japanese book store in NY called >Kinokuniya Bookstore > >10 West 49th Street >New York, NY 10020Tel: (212) 765-7766 >Fax: (212) 541-9335 >e-mail: kinokuniya@kinokuniya.com- > >They probably will do mail order. >my 2 cents >Sarah ------------------------------ From: John and Jan Telfer Date: Tue, 12 Mar 02 23:01:47 -0000 Subject: [Baren 17475] Re: Oil Printing Techniques Sirima, >The series of blocks that I'm working on are all about 25" x 37". >http://www.hwy1studios.com/Portfolio/ss_art/trees/ >Usually proof on dry mulberry or masa (50-70 gm2) 27" x 40" using Daniel >Smith's water soluble trad relief ink (oil) and a wooden spoon on a >cool,foggy days. (I live by the ocean). The proofs come out great but I'm >not happy with the paper for editioning. >SO..I edition on dry Rives Light Weight (115-117gm2) 26" x 40" using D Smith >or Graphic Chemical traditional relief ink (oil) Here are some suggestions that I have been using now for several years: 1. Paper - Fabriano (French) hotpress 200gsm I find is best, BFK Rives 200gsm or less for the heavy duty papers. Kozo - good quality is also excellent even for big sizes like you are doing and less pressure is needed. 2. Ink - Graphic Chemical is OK. Our tubed GC is more supple than the tins. I haven't used the other one you mentioned. You can always add a little Extender to give it more flexibility without altering the opaqueness. 3. Baren - > Maria's message about her "wonderful little baren" I think you do need to get one of the bamboo covered barens and a 4" to 6" size one and not a smaller size. Baren Mall have several you can choose from...Japanese twisted or John Root's corded interior ones.. both covered with bamboo "leaves" both very good. Be careful when using the Ball Bearing Baren with a lot of pressure that it tends to curl the heavy papers and when you return to a section that you have previously put pressure through that it doesn't register incorrectly. 4. The weather - That is a personal choice. By the ocean shouldn't make that much difference, but if you get too hot have a fan running in the studio and drink plenty of water. The ink is more flexible on hotter days but it dries in a day or two. Cooler weather and the ink is stiffer and will take longer to dry but it is certainly more pleasureable to work in. 5. If you have tendenitis, (is that in your shoulders or your elbows or wrists) you may have your printing table too high. Stand up to print. Use a table that is lower so that you can use your arms straight but without having to bend our back more than just to put your body weight through your straight arms to the table. Stand with your feet slightly apart. >25" x 37". This is a big print size for someone who has tendonitis, Sirima. You may have to think about doing smaller size prints if you want to continue doing them by hand or otherwise use the Japanese Kozo type papers...they are very strong and will last longer than our machine made papers. They are very much easier to use with a baren. You can almost see how well the print is taking on the paper from the back of the paper, too. If you are doing such big sizes, it is advisable to check sections of your print by carefully lifting up each corner to check to see if you need more pressure on an area, but be careful not to move the paper...keep your other hand just beyond where you are flipping up the corners. I would also suggest with these heavy papers that you have a "charged" smaller roller with your printing ink near to your printing table so that you can reroll sections of your block if you think it is too light. But, be warned, you have to be very careful doing this that (a) you don't move your paper and (b) you don't catch the roller's edge also on the paper....believe me I have done both on some big prints and have ruined them, but I learnt very quickly to be careful. You may find that the flat black areas are the areas that are giving you the most trouble with inking consistency. That is when you definitely need the little "stand-by" roller and extra working time on that area to get it consistant. It is also the area that will stand out if it is not a consistant colour. Be careful when you are cutting your blocks if they are laminated blocks that the wood joins do not come within the totally black areas too. One of my blocks had that problem and it didn't matter how well I printed the image I could still see that join that was virtually undetectable on the wood. Don't do the whole edition in one day!!! Break your printing into two or three days with a day in between and make sure that you exercise and relax your shoulders, elbows and wrist...take a relaxing bath to ease the tension and tired muscles or get your partner or friend to massage your muscles gently....with hands not with their feet...too harsh! >Does anyone print their blocks on a rotary or litho press? I would rather print by hand, even my sizes that are the same as yours....I have more control over the pressure and it doesn't warp my printing blocks. You are talking to an Ergonomic Occupational Therapist here!!! This is my "pet" subject!!! Take time to rest, and don't expect to do too many in a day. I could only do 8 to 10 in a good day at that size and I usually take a day inbetween too. Happy printing. Jan Western Australia. ------------------------------ From: GraphChem@aol.com Date: Tue, 12 Mar 2002 10:38:35 EST Subject: [Baren 17476] Re: Need advice for printing on heavyweight paper Some possible options - without recommendations. I don't know some of these sheets, but they'll fit your criteria. Asairi 25 x 37 30 gsm Chinzei Black 25 x 38" 40 gsm Chiri Heavy Speckles 25 x 38" 37 gsm Chiri Light Speckles 23 x 35.5" 37 gsm Gasenshi Echizen 17.5 x 25.5" 35 gsm Goyu 21 x 29" 50 gsm Hosokawa-Oban 25 x 38" 23 gsm Kinwashi 24 x 36" 30 gsm Kitakata 16 x 20" 30 gsm Kizukishi 25 x 36.5" 18 gsm Masa 21 x 31" 77 gsm Misu 25 x 38" 20 gsm Mulberry 25 x 38" 45 gsm 25 x 33.5" 45 gsm Natsume 4002 24 x 36" 80 gsm Natsume 4007 24 x 36" 75 gsm Okawara Machinemade 38 x 73" 60 gsm Okawara Handmade 14 x 35" 60 gsm Okawara Student 18 x 25" 40 gsm Sanwa Silk Unryu 25 x 37.5" 70 gsm Sekishu 24 x 39" 30 gsm Sekishu Kozogami Mare 21 x 29" 26 gsm Sekishu Kozogami Tsuru 21 x 29" 26 gsm Sekishu Torinoko Gampi 21 x 29" 20 gsm Shi Shi Mai 25 x 37" 50 gsm Tanabata 21 x 31" 80 gsm Thai Kozo 25 x 37" 35 gsm Thai Unryu 25 x 37" 25 gsm Thai Unryu Kozo Tissue 25 x 37" 15 gsm Tosa Tengujo 21 x 31" 13 gsm Uda Thin 13 x 19" 20 gsm Unryu 24 x 39" 37 gsm There are numerous other sheets, but these are theoretically readily available from one of my sources. Samples can be arranged, but probably not full sheet samples unless we stock the paper. Dean Clark Graphic Chemical & Ink ------------------------------ From: G Wohlken Date: Tue, 12 Mar 2002 11:10:05 -0500 Subject: [Baren 17477] Re: Baren Digest V18 #1759 Bareners who were in the Endangered Species exchange, this is for you. I am currently working on the upcoming (July/August) combined Sacred Trees/Endangered Species exhibit. If you have extra copies of your Endangered Species print that you would like to sell at this show, please get in touch with me at blueman@pantek.com. Josephine is sending some of the extras from the Sacred Trees Exhibit at Print Australia, but since we didn't have extra sets of the Endangered Species prints, it would be up to those interested, to send me an extra copy (or two) and also the price you are asking. The Donald C. Meyer's (nature) Center gallery is where the show will take place. 20 percent will have to be added to the price of the prints and will go toward the support of the Park District (which is non profit). Here is their website, if you are interested: http://www.co.geauga.oh.us/departments/park_district.htm If you click on "Big Creek Park" (after scrolling down), you will be taken to the webpage of the particula park where the Meyer's Center is located. I need to get working on this soon, so please let me know if you intend to send an extra print or two and price. Gayle Wohlken Ohio, USA ------------------------------ From: "Bill H Ritchie Jr" Date: Tue, 12 Mar 2002 10:24:52 -0800 Subject: [Baren 17478] Re: Dave Bull's live web cam is on I think Dave Bull's project with Web cam is what I'd like to do, but I'll let him perfect the process and be grateful. Meanwhile, I'm tossing in my two bits for what it's worth. I'm experimenting with the "artist, live" idea to add to peoples' understanding of how printmaking works, and how artists' hand made prints are special, partly because of how they're made and partly because it's a creative art form, not only a way of reproducing many copies. So part of the time I'm making my print for #13, I'm turning on a vintage camera and making one to two minute short videos. It's quite a challenge, and slows me down to a crawl sometimes as far as carving. But it is live, and a true document. It also offers a way of reflecting on the past weeks. For me, printmaking is the one art form that records its own history (trial proofs, etc.) and thus affords an artist, if he or she is inclined, to look back and think about the path they're on. I would rather not know where the path leads, and build my path as I travel. But the videos will, if they play elsewhere such as on the Web (like Dave's) or on home-burned PC/DVDs (as I do) show other people what ONE guy did, his two bits, for what it's worth. Hey, I wonder if I could get two bits for two minute videos? Hmm. Do I see dollar signs? Bill H. Ritchie, Jr ------------------------------ From: Graham Date: Tue, 12 Mar 2002 14:38:04 -0800 Subject: [Baren 17479] VHS and DVD's for education. I have looked in on (once) Dave's web cam out of curiousity to see if it has any merit as a teaching aid. Doug my son set up a video cam at a public gallery exhibition 4 years ago and shot imagery as he worked and had it all attached to the web site of the Gallery. I don't know the tech end of it but is was much better streaming than what I see from Japan. I liken the feed to watching the grass grow, however from the acorn grows the tree. I have just agreed to take on a project of creating a loop video of our sport, printmaking, for an Public Gallery in Ontario. It is to run continuously for 2 months at my exhibition at the MacLaren Art Centre just north of Toronto. This exhibition has been in the making for 5 years and Marnie and I are thrilled to be considered and very honoured by the invite. It is interesting Bill that you are shooting your own stuff. Hard to do eh.... I tried, and came to the conclusion that I could not carve, print and shoot video at the same time. I liken it to patting your head as you rub your tummy. I started 9 years ago by having a professional come to the studio or attend important exhibitions to shoot footage. Now I have all this lovely material that requires editing and made ready for a vhs tape. Boy when you say it fast it seems easy. I know that I have a huge learning curve to understand the use of Final Cut Pro. I have no intentions of doing the fine tuning with this editing program... just a story board approach and then it goes to a professional lab to have it made ready for TV quality. I cheer you on with the project of DVD's and material for educational purposes. We should keep in touch on our projects. Cheers, Graham/Sidney BC ------------------------------ From: Ray Hudson Date: Tue, 12 Mar 2002 20:51:05 -0500 Subject: [Baren 17480] woodblock help I have found Baren to be such a fine resource, such a splendid forum for sharing information and supporting each other that I am truly saddened when I begin (once again) to see unpleasantness. I am determined to remain a member but I am also determined to exercise the delete button with a rapidity that will astound even myself. Whatever we do, be it beginning hanga or advanced, be it lino work or work with oil inks, be it webcams of a Speilberg perfection or something I might crank out, is worth supporting if it's done to further woodblock printing, our love of it, our practice. I am a perpetual beginner, as I think Roethke--among others--claimed to be. I'll be in two shows here in Vermont in April at the Vermont State Craft Center at Frog Hollow. I'll be the featured artist for April and also in a show called "Block and Tile"--woodblocks and painted tiles. Am madly carving a large print (for me--13 inches by 2 feet) of a waterfall. Moving water is incredible to try to capture. Luckily, I print with watercolors on very damp Chinese paper so part of the image occurs quite naturally. Then on to the Music Exchange block or blocks! Ray Hudson Middlebury, Vermont ------------------------------ From: Myron Turner Date: Tue, 12 Mar 2002 20:42:45 -0600 Subject: [Baren 17481] Re: woodblock help I was a student of Roethke's in the once long ago. Myron T. At 08:51 PM 12/03/2002 -0500, you wrote: > I am a perpetual beginner, as I think Roethke--among >others--claimed to be. > >Ray Hudson >Middlebury, Vermont ------------------------------ From: ArtfulCarol@aol.com Date: Tue, 12 Mar 2002 22:17:09 EST Subject: [Baren 17482] Re: Cathy Caraccio Cathy Caraccio is in my files as a recommended woodblock print teacher: 208 W. 39 St. Room. 309 212-594-9662 I have no direct experience to report. Carol ------------------------------ From: Bette Wappner Date: Tue, 12 Mar 2002 22:20:39 -0500 Subject: [Baren 17483] Introducing myself! Hi Everyone My name is Bette Norcross Wappner from northern Kentucky, (the greater Cincinnati, Ohio area), USA. I've been a lurker for quite some time here and have really appreciated everyones kindness in sharing their knowledge and beautiful art. I'm new to printmaking and woodblock carving. Newbie all the way 'round. My background consists of graphic design and art direction with advertising agencies in Des Moines, IA and Myrtle Beach, SC. I grew up in Iowa. After our two children came along, I gave up my career to be a stay at home mom. I'd love to go back to college (like Art Academy of Cinti. - Dan Dew says "yeah!") to major in printmaking, but that won't be for awhile since the kids are still young - ages 8 and 12. I find time for my art while they're at school and since I'm a night owl, I'm in my basement studio til wee hours of the morning. I've been a calligrapher since 1980, am a member of the Greater Cincinnati Calligraphers Guild, the Cincinnati Book Arts Society, and the Letterpress gang from Art Academy of Cinct. I try to fit in all the workshops that I can manage. I'd like to take my art to higher and more satifying levels with woodblock printmaking. I've done lino carving and loved it, but new immediately that my heart would be *one* only with wood. I've purchased a pretty nice set of Japanese carving knives and a plank of basswood to practice on. Am already looking forward to trying cherry woods, etc. But I will have to admit....that Moku Hanga is calling me! I write Haiku and have prayed for the day that I can include it in a unique, beautiful, traditional art technique. I think Hanga is it. After seeing tiny letter characters being carved, I think I have a challenge ahead of me to do my calligraphy and finding the right style of lettering to fit my Haiku will be fun. I can see simple, elegant illustrations to carve along with each Haiku. But we'll see what the future will have in store for Bette. Well, it took awhile for me to introduce myself and now I hope I haven't bored you too much. I truly enjoy communicating with fellow artists who share such a nice kindred spirit. Its important to all of our souls. I'd like to go to the Hanga Intensive next year. I hope to have some carvings and prints under my belt by then. All for the love of carving and printmaking, Bette Wappner ------------------------------ From: "marilynn smih" Date: Tue, 12 Mar 2002 19:42:52 -0800 Subject: [Baren 17484] Re: Baren Digest V18 #1759 Regarding the rice flour, wheat flour for paste, well they put in so many addiives. I am going to see if i can't bring back a bag of rice flour from here in mexico. They do not put so much stuff in their food here. Marilynn ------------------------------ From: "Jean Eger Womack" Date: Tue, 12 Mar 2002 19:52:21 -0800 Subject: [Baren 17485] Rice Flour Paste Here's my recipe for rice flour paste that works pretty well: For each 1 cup of water, use 1 rounded Tablespoon of rice flour. In top of double boiler, or just an ordinary pot, mix the rice flour with a Tablespoon or so of water so that it becomes creamy or milky. Then boil the water and pour the water in All At Once. That's the main secret--the all at once. Mix and continue mixing for about 5 minutes. It should be translucent and all cooked. You can double the recipe. You can vary the proportions to get the results you want. Put some rice flour paste on the block and next to it put some pigment mixed with water and/or gum arabic. Then mix it on the block with your nice Japanese brush. It works best if the block is shiny, but not globby in the crevices. You have to print at least twice to get a flat color. Jean e-mail: jeaneger@jeaneger.com http://www.jeaneger.com ------------------------------ From: Graham Date: Tue, 12 Mar 2002 19:56:02 -0800 Subject: [Baren 17486] Re: Baren Digest V18 #1759 >Regarding the rice flour, wheat flour for paste, well they put in so many >addiives. I am going to see if i can't bring back a bag of rice flour from >here in mexico. They do not put so much stuff in their food here. >Marilynn Good Marilynn, Please smuggle a small (3 or 4 tablespoons) to boot camp. I would like to try it. By the way the wheat flour I could not recall in yesterdays post was chinese wheat starch and was brought to last years Boot Camp... Have no recollection who it was. I will have some here this year if I can find it. Graham/Sidney BC An Island in the Pacific Home of the Boot Camp http://woodblock.info/bootcamp ------------------------------ From: Graham Date: Tue, 12 Mar 2002 20:00:12 -0800 Subject: [Baren 17487] Re: Introducing myself! >My name is Bette Norcross Wappner from northern Kentucky, (the greater >Cincinnati, Ohio area), USA. Welcome a board... in particular Basswood.... You will indeed have fun and if the craving for wood and printing is there then it will be a fun time. Regards ------------------------------ From: "Lee and Barbara Mason" Date: Tue, 12 Mar 2002 21:46:59 -0800 Subject: [Baren 17488] Re: Introducing myself! Welcome to the baren Bette. We will look forward to meeting you in 2003! This is a great group of people and they collectively have an enormous amount of knowledge. Read all the one point lessons in the encyclopedia. It is amazing. Best to you, Barbara Aloha OR > My name is Bette Norcross Wappner from northern Kentucky, (the greater > Cincinnati, Ohio area), USA. > ------------------------------ End of Baren Digest V18 #1760 *****************************