Baren Digest Tuesday, 23 April 2002 Volume 19 : Number 1807 -------------------------------------------------- -------------------- From: G Wohlken Date: Mon, 22 Apr 2002 09:23:17 -0400 Subject: [Baren 17920] Re: Towns and Titles and Welcome Thanks Sharen and Pete for your titles and towns. Remember, if any of you who will be in the Sacred Trees/Endangered Species show have any copies of your print you want to offer for sale (I'm not selling from my private collection of these, of course), please let me know. A few people already have sent a couple extra copies. And, if you are sending copies, I need to know prices, too. Speaking of towns, welcome to Cathryn who is from the town of Tom Price, and I think this is the most interesting named town I've ever heard. I'd love to hear how it got its name. Also, Cathryn, do you have any artwork online we can see. And don't be shy to ask all kinds of questions. Between all of us, someone surely has an answer. Gayle Ohio, USA >Hi, >I'm a new member of Baren. I live in a town called Tom Price in >the Pilbara in the North East of Western Australia. I have been a print >maker on and off for quite a few years. I'm very pleased to join Baren >and be able to call on what is obviously years of experience from >amongst other members. >Please feel free to write to me, always open to >new (and old) ideas in print making. >Regards >Cathryn > ------------------------------ From: Lezle Williams Date: Mon, 22 Apr 2002 08:58:15 -0500 Subject: [Baren 17921] Re: Baren Digest V19 #1806 Dear Gayle, I guess that depends... I am currently on the Rosebud Reservation in Mission, South Dakota. As of June - it will be Albuquerque, New Mexico. If the show is going to be up a while, I guess the NM address is the best. The title is simply "Lemurs." Thanks, Lezle www.laughingcrow.org POB 1298 Mission, SD 57555 1127 12th St. Albuquerque, NM 87104 > Looks like I'm guilty of posting twice, but I checked back over my >notes and see I need titles (as well as location) for these two >aforementioned Endangered Species Salon people. > Sharen Linder >Lezle Williams >Gayle >Ohio, USA > ------------------------------ From: ArtfulCarol@aol.com Date: Mon, 22 Apr 2002 10:50:23 EDT Subject: [Baren 17922] Re: drawing transfer - two step tracing In a message dated 4/19/02 1:47:53 PM Eastern Daylight Time, Julio.Rodriguez@walgreens.com writes: Speaking about transferring an image: << It calls for a sheet of carbon paper to fit your drawing. In the first step we place the carbon face up underneath the drawing to create a reverse drawing on the backside of the original as we trace over the original. In the next step we place the carbon face down on the actual block and we turn the original drawing around so we can trace using our "new" reversed drawing and thus create a proper transfer to the block. >> Thank you Julio for another good way to transfer an image to the block. It seems so obvious, but why I didnt think of it? I have been using Saral Transfer paper and it is excellent, not hard to find. I do not think transferring your own original image is "cheating" as someone said.. Cheating is a whole other discussion. Carol ------------------------------ From: "marilynn smih" Date: Mon, 22 Apr 2002 07:57:50 -0700 Subject: [Baren 17923] Re: Baren Digest V19 #1806 I too have drawn directly on mt blocks, but often I like to have a design to start off with. My lines are just a base and usually the piece shifts and changes as i work with it. Where I learned printmaking it was taught as technical skills and the professor seemed not to care where the picture came from. Often it was copied from a book or other source of that type. I have always used my own drawings. I feel that this type of printmaking is more craft and that is one more reason people put down printmakers into a lower category than other arts. Not only can we make multiples, but often they are not of our own drawings, but I have seen oil painters copy as well, so who knows? I have always wondered about the big deal over it being reversed?? I understand when it is lettering and I would suppose there are certain other reasons it mmght be important, but for the most part I don't bother . Thanks for the source for the seral, I often use my watercolors as a basis for my prints. Marilynn ------------------------------ From: Mike Lyon Date: Mon, 22 Apr 2002 10:21:59 -0500 Subject: [Baren 17924] Re: Introduction Welcome, Cathryn! Good to have you with us... Have you been making woodcuts? Do you have a web site where we can find you? In any event, welcome and don't feel shy about contributing! Mike ------------------------------ From: "Bea Gold" Date: Mon, 22 Apr 2002 09:11:25 -0700 Subject: [Baren 17925] Re: Baren Digest V18 #1800 " If you can, take April's class - do! Congratulations to my favorite moku hanga lady from a student admirer with an April birthday. Fondly, Bea Gold ------------------------------ From: Daniel Dew Date: Mon, 22 Apr 2002 13:48:48 -0400 Subject: [Baren 17926] Instant Messenger Just a curious question: How many of the members have an instant messenger account with AOL? Dan Dew ------------------------------ From: "PHARE-CAMP,PATTI (HP-USA,ex1)" Date: Mon, 22 Apr 2002 10:47:43 -0700 Subject: [Baren 17927] RE: Baren Digest V19 #1805 I make my own transfer paper. WHAT YOU NEED: A screen hand sifter/strainer A charcoal or pastel chalk of your prefered color (conte works best) A small dish Rubbing Alcohol Cotton Ball Tracing paper or vellum cut to size of blocks) PROCEDURE: Rub chalk on the screen allowing the powder to drift into the dish, about 1 or 2 teaspoons should more than suffice. Dampen cotton ball with rubbing alcohol then dip into chalk powder. Rub the pigmented cotton ball onto the tracing paper, the pigment will transfer the tracing paper allow it to dry and you will now have a sheet of tracing paper that can be used again and again. If you still have powder left repeat the process. You can apply the powder as thick or thin as you want. Thicker pigment application allows you to use the transfer sheet more often. You can use the above method on the back of a traced drawing (remember to reverse the original drawing) but this transfer paper can be used so many times that you may want to keep it available for more than one project. You can also make a transfer sheet for each color your going to print! ------------------------------ From: Aqua4tis@aol.com Date: Mon, 22 Apr 2002 14:58:44 EDT Subject: [Baren 17928] Re: Instant Messenger i think i have instant messengter dan (but im not positive i have to ask my son) georga ------------------------------ From: Printmaker Date: Tue, 23 Apr 2002 07:57:56 +1000 Subject: [Baren 17929] transferring images Gillyin wrote "with the advent of cameras an artist need not even BE ABLE to draw anymore since one can take the pic ,print it out, slap it on the block and carve it I think there is an immediacy to drawing on the block that makes me more excited about my own work I find transfering laborious and boring not to mention an occasion to spend money if the left/ right of the scene is important - - -such as a well known location I draw looking at my picture in the mirror....." The not being able to draw at all factor is the one that has me worried. Wooden, traced unoriginal imagery, - not my thing at all. Someone commented that the gesture is also in the carving. I agree, the drawing direct on the block has gestural qualities, the carving that takes places drawn from the drawing, also has its own gestural qualities. So you get a double gestural effect. Plus in the carving you have to solve all those border questions of where and how the black and white intersect. I refer to the mirror from time to time, both when executing the original drawing and when carving. But I'm also finding it less necessary as my experinece in reading reversed images develops. Josephine Print Australia http://www.acay.com.au/~severn ------------------------------ From: "Jeanne N. Chase" Date: Mon, 22 Apr 2002 19:44:37 -0400 Subject: [Baren 17930] New Studio Hooray Today I officially moved into my new studio. I am sooooo happy now. It will take some time to get used to a new place after 25 years in the = old place.=20 Next week the old studio goes under the demolition demon. I will not = want to even go near it now, too many memories. Anyway, tonight we are celebrating! This should be on After Five, but had to let off some happy steam!!!!!! Luv to you all Jeanne N. ------------------------------ From: "Cathryn BACKER" Date: Tue, 23 Apr 2002 08:40:44 +0800 Subject: [Baren 17931] Tracing Hi, Thanks for the welcome, very nice. Gayle, Ohio: Tom Price is an interesting town and a terrific place to live. Very active, talented bunch of artists here doing wonderful work, have only met one other print maker in the six months I've lived here. T.P. got its name from a Mr. Thomas Price, who explored for minerals here earlier in the last century. He found iron ore which is what is mined here now. Have a look at: www.soa@ashburton.wa.gov.au for a history of a beautiful, area that's too big to write about here. Mike Lyon: No, I dont have a web site yet. But it will happen eventually. I have been making woodcuts for a while now, majored in print making at University. I am primarily an art teacher: all ages, mixed media. But now that I live up here I will have more time for my own work (I hope!). I became very involved in etching (copper plate), and lino. Love lino. But wood is calling me. And I feel a need to get back to basics with my work. My new motto: KISS: Keep It Simple Stupid! And that brings me to tracing. This has been a fascinating discussion. I sometimes trace letters for any written bits but normally I draw straight onto the block. Sometimes that doesnt even happen. If I have a picture in my mind I just cut! But the thought of painting on the block! Never occurred to me. Nobody ever mentioned it before. Regards, Cathryn ------------------------------ From: Cucamongie@aol.com Date: Mon, 22 Apr 2002 21:09:36 -0400 Subject: [Baren 17932] solarplate Sorry about the off-topic and excuse me if I have posted about this before, but the time is getting close for this workshop and there is still room if some people are interested: For those in the NYC area: There will be a solarplate workshop taught by master printer Dan Welden on Saturday and Sunday, May 4-5 in Long Island City. The class size is limited to 12, and there are still some places left in the class. The cost for the 2-day workshop will be $150 (plus tax), if you decide you want to do it, you need to mail me a $50 deposit in the form of a check or money order made out to Hampton Editions, Ltd. (Dan Welden's company name) to hold your place in the workshop. Dan's having me coordinate the workshop and collect the deposits. Those interested in participating can contact me (Sarah Hauser) at Cucamongie@aol.com for address to send the check to. The hours of the workshop will be 9:30-4pm both days. SOLARPLATE ETCHING Solarplate etching is a recent alternative etching process that uses sunlight and water instead of the traditional acids and grounds. Developed by master printmaker, Dan Welden this innovative approach is spontaneous and easy, yet produces results which have attained the level of professionalism by several artists to be accepted by the Metropolitan Museum of Art. Since the Solarplate is a light sensitized polymer, it accepts all kinds of images. Artists may create with various forms of drawings and paintings on acetate, photocopy or computer printouts on transparent film, with photographs as positive transparencies, or they may consider painting directly on the plate. Once the plates are prepared and developed, they are ideal for editioning. Numbers of impressions may vary according to the artwork and the person printing. Supplies Depending on the manner of working, each artist should bring certain materials. For those working with either computer printouts, or film transparencies, it is best to have the acetate with a fine tooth. Non-tooth surfaces are slick and contain an invisible film which sometimes causes imperfections on the Solarplate. Cotton rags are best for wiping edges of plates and cleaning up. Phone book pages are free and are handy plate wiping materials. Baby oil, mineral oil or vegetable oils are used as cleaning agents rather than the more toxic turpentines and petroleum based products. Paper towels an old toothbrush scratching tools, knives, blades, needles or anything sharp a mat knife drawing acetate, like duralar or prepared acetate India ink watercolor and or bristle brushes (dependent on your manner of working) stabilo 8046 drawing pencils a hand pencil sharpener rubber gloves baby powder cotton swabs hand cleaner and/or conditioner a newsprint pad is a good storage unit for wet prints a portfolio for transport If you are planning on using a photographic image, you may wish to prepare ahead of time with a positive transparency. You can get a photocopy simply done but the quality may not be the best. For better transparencies, create them by scanning and printing, or in the darkroom on Lith film. Plates will be available for purchase at 25% off the list price; paper may be brought or purchased at the workshop. Hannemuhle 300 gram paper will be available for $2.00/sheet. Size of available plates will be 7X10 inches unless other sizes are ordered in advance. For ordering different size plates contact solarplate2@aol.com and tell Dawn you are doing a workshop with Dan Welden and you will receive 25% discount Here are directions to the workshop. Dan also has a website at www.solarplate.com, and his email address is solarplate@aol.com. Here are directions from LIC, copied from an email from Karen: "I am at 31-29 12th Street, 3rd Floor. That is on the corner of 12th Street and 31st Drive: one block EAST of Socrates Sculpture Park, one block North of Broadway. My phone number at the studio is 718 728-2562. Take the N train into Queens. Get off at the Broadway stop. Walk downstairs and proceed West on Broadway: all the numbers should be decreasing. (E.g., cross 30th Street, then 29th St., etc.) (It is a 12 minute walk to the studio.) The streets are not consecutive: at 12th St., turn right. Walk 1 block to 31-29 12th St. (It is on the right hand side of the Street, 3 doors North of 31st Drive.) It is the only 3 story commercial building on the block -the entrance is a big grey door. Look for the "Metalmen" banner outside. Driving: Via the 59th St. Bridge: stay in the left lane coming into Queens. Follow signs for Northern Blvd. Once you are on Northern, turn a soft left ("Y" intersection) at 31st Street. You should be underneath the elevated train, and follow the train above to Broadway. Turn left and go to 12th St. Turn right and go 1 block. Park. 31-29 12th St. is 3 doors North of 31st Drive. Via the Triboro Bridge: Exit at 31st Street: the first exit off the Triboro bridge in Queens. Turn right underneath the Elevated subway: this is 31st Street. Go down to Broadway, turn right. Drive to 12th St., turn right again. Drive one block and park. 31-29 12th St. is the 3rd door North of 31st Drive. Via the Midtown Tunnel: Stay in the far right-hand lane. Immediately out of the toll booth, turn right: this is a HARD right: you will essentially be pointed back West, driving on Borden Ave. Proceed to Vernon Blvd. Turn right at the stop light on to Vernon Blvd. Go north for a long way. (!) You will go past the East River Tennis club, underneath the 59th St. Bridge and past the entrance to Roosevelt Island. Keep going to 31st Drive, one block North of Broadway. (Socrates Sculpture Park is on your left, immediately after Cosco.) Turn right onto 31st Drive. Go one block and park. 31-29 12th St. is 3 doors north of 31st Drive." ------------------------------ End of Baren Digest V19 #1807 *****************************