Baren Digest Sunday, 9 June 2002 Volume 19 : Number 1855 ---------------------------------------------------------------------- From: G Wohlken Date: Sat, 08 Jun 2002 09:51:06 -0400 Subject: [Baren 18256] Re: Baren Digest V19 #1854 Lots of responses to the V-tool query. Thanks! It seems there are as many ways of carving the outlines as there are people carving. We probably find ourselves grabbing the tool that gives the control our particular hand needs. I know when I tried using the Toh at Boot Camp I found it awkward in my hand, but working with it more often helped. I still am not at home with it compared to the razor blade. I like the V tool for lines. Sharpening it, though, is not a procedure I enjoy, and probably still don't do it right. I do use the honing boards as touted by Eli Griggs and find them the most helpful in keeping all the rest of my tools sharp. Sharen thanks for the report on the Firemen prints. Having the opportunity( thanks to you and Julio when Jim and I were in Chicago) to see Lezle's print up close, I found its poetic, celestial quality lifts the viewer out of the realm of sorrow and into a sort of phoenix heart of hope. The embossed towers in pristine white were not just the ghosts of what WAS, but suggested in an indelible imprint the nobility of an undying courage. Gayle Ohio, USA ------------------------------ From: jimandkatemundie@juno.com Date: Sat, 8 Jun 2002 13:45:32 -0500 Subject: [Baren 18257] to 'V', or not to 'V' On the topic of the V-gouge, or veiner, I find it interesting how all of the recent postings give an insight into each person's working habits/methods. Truly, we are all mostly self-taught when it comes to woodblock carving and a method that works for one is completely abhorred by another. Nevertheless, I shall throw my opinions into the pot for picking over... I don't even own a V-gouge. Why? Many years ago when I was just beginning to carve woodblocks I tried a veiner and didn't like it. Simple as that. I suppose I didn't like the idea of cutting two edges simultaneously. It felt out of control -- too quick. I prefer to devote attention to one side off a cut and then the other. My style is such that there really isn't any room to use a V-gouge, so I don't. I am simply in love with my U-gouges, but those are used strictly as clearing, not drawing tools. I cut with single-edge razor blades, as Gayle said, and clear in between lines with U-gouges of various dimensions and profiles and find that ideal for my needs. Perhaps I would like a nice toh, but I'd probably be too lazy to sharpen the darn thing! James Mundie, Philadelphia USA http://missioncreep.com/mundie/index.htm ------------------------------ From: "Lezle Williams" Date: Fri, 7 Jun 2002 14:53:44 -0500 Subject: [Baren 18258] Re: Firefighter's prints...chatty off-topic! Dear Sharen, I have been up to my neck in packing boxes and cleaning for my move to New Mexico (in 4 days) and have had no time for artwork for weeks. (I am so looking forward to getting there and getting things set up again) So, thanks for taking the time to write - it made my day! Lezle Williams www.laughingcrow.org > > She took Lezle William's moving print (the one with the blind > printing of the image of the Twin Towers) to be framed, and > everyone in the shop gathered around to see it. They loved it > and suggested ways to frame it--and did a beautiful job!) The > framer who did the work commented that he cried every time that > he saw the print, and wanted information on the prints. ------------------------------ From: =?iso-8859-1?Q?Hor=E1cio_Soares?= Date: Sat, 8 Jun 2002 18:27:23 -0300 Subject: [Baren 18259] Re: v-gouges I believe I do the same as Maria. I make my prints as a two-step drawing process. 1st - I draw the image with a BLACK pencil directly on the wood. I don't transfer previous drawings to the block. Obviously, I erase a lot. 2nd - I draw in WHITE with the V (mainly) and U gauges. In other words, I draw with the gauges during the cutting stage. I don't suppose I clear the block, I just draw in white. That is why I like printmaking. Hope you understand. Thanks Hor‡cio / Rio Brazil. - ----- Original Message ----- From: "Maria Arango" To: "Baren" Sent: Friday, June 07, 2002 5:55 PM Subject: [Baren 18251] v-gouges > Hmmm, > I'm with the V-gouge crowd and almost never use my toh for anything except > kento marks if I use them. I almost never use kentos carved on the block > either, but prefer to use the entire block for the image and use a kento jig >to register. I'll trade someone two tohs for two v-gouges? I do have v and u > gauges of every size, from large clearing tools all the way down to 1 mm. > Interesting the different views on using or not using the v-gouge. Here are > a few questions for discussion. Is the use of the toh more geared toward > water-based woodblock as it leaves sharper edges? Are cuts done with toh > deeper than with the v-gouge? If neither of those are true, what is the main > advantage of using the toh? Sharper curves? Inquiring minds want to know! > Dan, I also do detail work, but my understanding is that you can probably > get more detail using the toh than not, as attested by some traditional > Japanese works or Dave's and Jim's work. My reasoning for using v and u > gouges directly is that I tend to "draw" with my tools with less and less > preparatory drawing on the blocks. I also tend to like the tool marks as > well, using the typical gouge-like marks in many a design. > Hey, in Kansas 2003 perhaps I can learn to use my toh properly with some > guidance. Are we planning a toh-intensive workshop? > > Maria, toh-less in Vegas > > <><><><><><><><><><><><><><> > Maria Arango > Las Vegas, Nevada, USA > http://www.1000woodcuts.com > maria@mariarango.com > <><><><><><><><><><><><><><> > ------------------------------ From: "Rebecca Reynolds" Date: Sat, 08 Jun 2002 16:59:23 -0500 Subject: [Baren 18260] Re: v-gouges I do the same as Hor‡cio and Maria. I'm still pretty new to printmaking though, and i just started woodcuts in january. i only use the v and u guages.the v. for fine detail. I just love how it feels carving with them, especially the u. here is an example of one of my prints- http://www.dork.com/tapedshut/anotherwinter.jpg Becca ------------------------------ From: "April Vollmer" Date: Sat, 8 Jun 2002 19:05:49 -0400 Subject: [Baren 18261] Inquiring minds Maria, if you have good toh's I'll trade you for some good v-gouges! I never use v's because the toh gives more control. For narrow gouges the toh is better for waterbase printing because it makes cuts at the bottom that hold more water, keeping the block moist. The Japanese sequence of cutting is pretty slick, the toh for outlining, then the shallow u-gouge for clearing, starting a quarter inch AWAY from the printing area. Then large u-gouges for all the deep clearing, and finally the aisuki (fan-beveled chisel) for clearing that quarter inch up to the initial toh line. I am sure you can't get as accurate outlines with a V-gouge! I only use it for getting textures. But maybe the reason I am most averse to the V-gouge is the difficulty of sharpening them...UGH! I just wanted to let you all know how little I thought about woodcut for the last three weeks. I have been in Italy thinking about the architecture of Borromini, the painting of Veronese, and the sculpture of Cellini. The subject of woodcut only came up twice! We saw the Last Supper, but I missed Coleen Corrado. No time to visit her in Pescara! Did anything important happen while I was gone? April www.aprilvollmer.com ------------------------------ From: "nancy osadchuk" Date: Sat, 08 Jun 2002 17:42:31 -0600 Subject: [Baren 18262] Cutting while 'on the road' For Maria or anyone else who carves while travelling........ how light do you travel? Do you take a bench hook to use, or carve (carefully) on your lap? Just curious as to how many tools and 'stuff' you take with you? Do you bother with kentos or do you carve the whole block and use another system of registration?  Any  suggestions would be helpful, I am used to painting plein-air and think I'd like to try the woodcut as well...Nancy O. ------------------------------ From: Lynita Shimizu Date: Sat, 08 Jun 2002 19:48:15 -0400 Subject: [Baren 18263] Re:some hanga printing problems Carole, I've had some problems with the consistency of the Yamaguchi paper's sizing and am guessing that may be part of your problem, too. I think what we have to do is out-smart the paper because we don't always receive the perfect batch. If I'm doing several layers of strong color, I now place paper towels between the paper when things start to get relatively wet. Sometimes I'll cut the paper towels to the size of just the printed area because I don't want the border of the paper (or lightly printed areas) to dry out. By doing this, I don't need to worry about paper bleeding from the back. (I never use newspaper since the ink on most American papers will bleed; I think Japanese newspapers are of a better quality and don't present the same problems.) Sometimes I'll use dampened paper towels or plain newsprint ... it all depends on the challenge of each particular print. Sometimes I find a combination of paper towels and patience works. I may have to re-dampen the edges of my large top and bottom blotter to keep the paper edges damp ... and sometimes I play with everything and wait a few hours or even overnight until I feel the paper is evenly dampened and ready to print the next layer. No matter what, when those edges bleed you feel just sick ... I've requested my next order from Yamaguchi's to have slightly more dosa (sizing). My very first order had too much so I'm keeping my fingers crossed. Good luck! Lynita ------------------------------ From: michael schneider Date: Sun, 09 Jun 2002 02:15:57 +0200 Subject: [Baren 18264] Re:some hanga printing problems Dear Carole, as I understand it, you are not doing the dosa by yourself. I think you should try it. I am not sure if there is an instruction in the encyclopedia. Others who use the encyclopedia more frequent will know about. If not I am willing to share the way I prepare and apply dosa on the paper before printing. michael, vienna ------------------------------ From: "Maria Arango" Date: Sat, 8 Jun 2002 17:47:31 -0700 Subject: [Baren 18266] RE: Cutting while 'on the road' Nancy O. wrote: >>>>>For Maria or anyone else who carves while travelling........how light do you travel? Do you take a bench hook to use, or carve (carefully) on your lap? Just curious as to how many tools and 'stuff' you take with you? Do you bother with kentos or do you carve the whole block and use another system of registration? Any suggestions would be helpful, I am used to painting plein-air and think I'd like to try the woodcut as well...Nancy O.<<<<< Light! I take blocks, usually smaller ones, and a set of Japanese knives in a canvas holder. Inside the canvas holder, in addition to a selection of about 8 tools, I take a small arkansas fine stone for honing, a pencil and a sharpie marker. A piece of raw leather about the size of my head (I was going to mention another body part) completes my set. I use the leather on my lap, my little table, my knees, or whatever I happen to be leaning on while I carve. I also use that very leather to hone the tools, and the edge of the leather to hone the inside of gouges. A tiny bottle of baby oil also makes it into my backpack, for oiling the stone, the blocks, any knicks on my fingers... I used to take a bit of ink, putty knife, foamboard ink slab, roller, baren and some paper and pull prints on the spot, but I rarely do that anymore. Everything fits into my backpack easily amongst the power bars. As far as registration, just go here for my personal method: http://www.1000woodcuts.com/Studionotes/registration/ resgister1.html (yes, register is misspelled). I carve to the edges of the block. Funny thing about taking stuff on the road. I am always so busy prior to going to a festival that I neglect preparing a block with a drawing. I have now gotten used to the routine of grabbing some reference material right before I get on the road (sometimes literally). At the festival, after setting up my booth, I calmly sit and draw before the crowds show up. If I am doing a nature print, I often take hikes with blocks in my backpack, not only do I get in better shape that way, but also retain that plein air fresh feel to the images. My creative juices are now accustommed to those routines and I am able to come up with new images in a small window of time. Hope this helps, Maria <><><><><><><><><><><><><><> Maria Arango Las Vegas, Nevada, USA http://www.1000woodcuts.com maria@mariarango.com <><><><><><><><><><><><><><> ------------------------------ From: John Amoss Date: Sat, 08 Jun 2002 20:55:10 -0700 Subject: [Baren 18267] Re: Some hanga printing problems on 6/7/02 9:22 PM, Carole Baker at caroleterrybaker@hotmail.com wrote: >I am having a big problem with the pigments bleeding... Carole- Do you know which specific colors are acting up? I have had problems with some very dense pigments- particularly with sumis and phthalos. In my opinion, I would try to avoid watercolor tubes as most contain wetting agents like ox gall which works against you. They also don't usually achieve as much color saturation as hand-mixed color from dry pigments and are generally more expensive. In addition, allowing the pigment and moisture time to settle into the paper after printing is another consideration. Introducing localized water without letting it rest can play push/pull thoughout the paper sheet. Also, I personally wouldn't soak the paper as it can weaken the sizing. The way I moisten paper is to use a wide goathair or sponge brush and lay enough water on the surface of the paper to give it a 'brief' shiny surface before it soaks in. I test the paper's water conent by touching the back of my hand to it. If it feels cool (enough moisture content to conduct heat) without being limp or blotchy, then it's ready. To make the stack consistent, I freeze it the night before and each night to ward off mold. Good luck, - -John Amoss ------------------------------ From: FurryPressII@aol.com Date: Sat, 8 Jun 2002 22:26:27 EDT Subject: [Baren 18268] Re: Cutting while 'on the road' I always work on the bus and train. i love going by amtrak on vaction because i can cut a block on the train. I cut on the commuter train all the time. One time i was doing a wood cut of the back of the one dollar bill and had seven people staring over my shoulder. I print with oil based ink so i don't have to cut so deep as Japanese printing i guse I love my one m. viener have cut whole blocks with it. With the right wood (i like hard maple) i can get as much detail as a wood engraving. I would love to see how one of my blocks printed japanese method to see the diffence in inking method. And what the different inking makes in the image. John of the furry press ------------------------------ End of Baren Digest V19 #1855 *****************************