Baren Digest Tuesday, 17 September 2002 Volume 20 : Number 1961 ---------------------------------------------------------------------- From: "Eva Pietzcker" Date: Tue, 17 Sep 2002 02:03:13 +0900 (JST) Subject: [Baren 19202] Date: Mon, 16 Sep 2002 Hallo Pete, if you should come to Berlin, feel free to visit us at our studio. We are two printmakers concentrating on non-toxic intaglio and wood block. We can also help you to contact some other people if you should be interested.=20 You can visit us now at our website www.druckstelle.info. Greetings from Eva Eva Pietzcker ---------------------------- From: "Lee and Barbara Mason" Date: Mon, 16 Sep 2002 11:29:21 -0700 Subject: [Baren 19203] Re: fireman prints William, One of the nicest things about this list is the people on it are all so willing to promote printmaking. Tyrus Clutter received his own portfolio after he received mine and is sending one complete set on to the Spencer for our archives as soon as his exhibit is complete. so thanks again Tyrus! best to all, Barbara > The Spencer Museum is a fine collection with lots of fine and rare books. > I'd encourage the gift. > ------------------------------ From: Aqua4tis#aol.com Date: Mon, 16 Sep 2002 14:45:55 EDT Subject: [Baren 19204] Re: fireman prints this is wonderful news thanks tyrus ------------------------------ From: Sharri LaPierre Date: Mon, 16 Sep 2002 12:50:34 -0700 Subject: [Baren 19205] Re: Baren Digest V20 #1959 Carol, May I add my congratulations on a job well done to the others you are receiving. I have ultimate respect for Roberta Waddell. She is a very lovely person and a true connoisseur of prints. The Northwest Print Council had the honor of her presence at a major show of our work at the Oregon Historical Society a few years ago. She was our judge and juror. The New York Public Library is the perfect home for the Fireman's Portfolio, and I am so honored to be both a member of this fabulous forum, and of course to now have a work in the NY Library. Watch out Smithsonian, here we come! On the sadder note, I'm so sorry for the problem with the recent posts. In my humble opinion, it would take a real non-thinker ( which we of course, do not have any in this group) to not have seen that these were coming from a disturbed soul. After the first couple of sentences I just passed over her posts and mentally deleted them, and send my most sincere wishes to her that she gets whatever she needs and returns to health soon. She is a very talented printmaker and an asset to the group when she is well. Enuf said. Wonderful, wonderful news from Carol - it makes my day! I am dancing around the studio, and that is quite the sight, believe me! Happy printing - Sharri ------------------------------ From: Wanda Date: Mon, 16 Sep 2002 15:32:54 -0700 Subject: [Baren 19206] Re: Fwd: Firemen's Art Benefit: The Prints What a truly great letter, Carol! Thanks for sending it to baren forum for all of us to read. I was not able to contribute to the Fireman's Benefit print collection, but I certainly salute all of you who put out the talent and effort to produce those wonderful prints. Congrats to all of you! They are a collection to be proud of! Wanda ------------------------------ From: "Maria Arango" Date: Mon, 16 Sep 2002 17:10:01 -0700 Subject: [Baren 19207] new stuff Completed 3 new prints of late: An engraving, http://www.1000woodcuts.com/fullsize/timberlinetraveler.html And two puzzle woodcuts, http://www.1000woodcuts.com/fullsize/bebiendolaluna.html http://www.1000woodcuts.com/fullsize/bajolasombra.html These puzzle things are a lot of fun to make. Although the preparation involved is a bit like a brain-teaser, when you pull a multi-color print in one pass, the fun begins! Enjoy, Maria <><><><><><><><><><><><><><> Maria Arango Las Vegas, Nevada, USA http://www.1000woodcuts.com maria#mariarango.com <><><><><><><><><><><><><><> ------------------------------ From: Mike Lyon Date: Mon, 16 Sep 2002 19:23:56 -0500 Subject: [Baren 19208] Re: new stuff Gee, Maria -- you just keep getting better and better! Personally, I liked "timberline traveler" best, but I like the puzzle prints, too -- "bajo la sombra" is two pieces, one with a split fountain? The "bebiendo la luna" is two pieces? How did you do the figure's shadow? Thanks for putting these up for us! So... You gonna take the BIG risk and enter the 'All-Hanga' exchange -- it'll be available for sign-up October 1 !!!! Mike At 05:10 PM 9/16/2002 -0700, you wrote: >Completed 3 new prints of late: >An engraving, >http://www.1000woodcuts.com/fullsize/timberlinetraveler.html >And two puzzle woodcuts, >http://www.1000woodcuts.com/fullsize/bebiendolaluna.html >http://www.1000woodcuts.com/fullsize/bajolasombra.html > >These puzzle things are a lot of fun to make. Although the preparation >involved is a bit like a brain-teaser, when you pull a multi-color print in >one pass, the fun begins! > >Enjoy, >Maria Mike Lyon mailto:mikelyon#mlyon.com http://www.mlyon.com ------------------------------ From: Cucamongie#aol.com Date: Mon, 16 Sep 2002 20:29:46 -0400 Subject: [Baren 19209] congrats Mike Hey Mike, I read the interview, etc - congrats! It was fun to learn more about you and see more of your work - best wishes Sarah ------------------------------ From: "Maria Arango" Date: Mon, 16 Sep 2002 18:01:05 -0700 Subject: [Baren 19210] RE: split fountains Timberline Traveler will be yours upon receipt of #14. > -- "bajo la > sombra" is two pieces, one with a split fountain? The "bebiendo la luna" > is two pieces? How did you do the figure's shadow? Bajo la Sombra is indeed two pieces, both with a split fountain (rainbow roll). The bush (co-incidentally, a cat claw acacia!) is deep-green/process-blue toward the figure and oxide-yellow toward the top. The very top of the bush is touched up "a la poupee" with gold metallic ink. I used wonderful leather daubers from Graphic Chemical. The gal (figure) is a split fountain umber/sienna to sienna/copper metallic. As soon as the poor gal finishes her yoga pose and tries to stand up she will find out why they call those bushes cat-claws (ouch!). Bebiendo la Luna is three pieces, one for the back mountains and sky, subtle split fountain blue/black to blue. The middle piece encompasses the figures and the river-like wash lit by moonlight; a double split fountain deep-red/umber to bright red (middle) to deep-red/umber again. The front piece is all umber/red/black. The shadows again were inked a la poupee with daubers in the darker sky color. It takes about 15-20 minutes to ink each print, but the result is a nice blending of color and toward the end of the edition you can almost say the prints actually look alike :-) Just kidding, it's actually easier to do than to explain. There is probably no time savings when compared to doing multiple colors from multiple blocks, except in the carving. There are no registration problems, of course. I also think the resulting block is a mighty nice piece. Now, cleaning up 5 or 6 different color inks from slabs spread all over the studio...well, that's why some artists hire assistants. No such luxury here. > Thanks for putting these up for us! So... You gonna take the > BIG risk and > enter the 'All-Hanga' exchange -- it'll be available for sign-up > October 1 !!!! As long as nobody laughs at my prints! Yes I think I will. With winter coming, I should be able to keep the paper damp. Thanks, Maria <><><><><><><><><><><><><><> Maria Arango Las Vegas, Nevada, USA http://www.1000woodcuts.com maria#mariarango.com <><><><><><><><><><><><><><> ------------------------------ From: jimandkatemundie#juno.com Date: Mon, 16 Sep 2002 23:41:53 -0500 Subject: [Baren 19211] Re: large prints by Munakata Myron wrote: > My Munakata volume arrived from the Philadelphia Museum of Art a few days > ago. A few questions came up as I was looking through the prints. > > 1. Many years ago I saw a Munakata show here at the Winnipeg Art Gallery > and the only larger prints they showed were the male figures (from "Two > Bodhisattva and Ten Great Disciples"), which are all 40 inches high and > were printed from single blocks on single sheets of paper. I was wondering > whether anyone knows how the monumental prints were printed. The one > celebrating Beethoven's 9th was printed from 36 blocks: were these printed > on 36 separate sheets and then pasted together? Or on a single sheet from > a roll, in which the blocks were laid side by side? Or a combination of the > two? In the very large pieces, such as the one you mention, full size sheets were joined together. My feeling is that each sheet was printed separately and then joined to the next, but I'll have to go back and take a closer look. Some of the prints in the exhibition are so large I found myself staring in wonder. While I'm not quite certain exactly how Munakata managed to print such large blocks so smoothly, I think it was simply a matter overprinting to achieve the proper density. He must have had arms of steel to print some of those blocks! > 2. Does anyone know how the screens are constructed? Are the prints >glued to a backing? Do they hang freely? In some screens the prints look as >though they might be treated as though matted. Are the prints covered by, >say, mylar, or thin sheets of plexi? Everything looks nice and flat in the > photographs, but it's unlikely that such large sheets would be so > absolutely flat unless handled in some special manner. Of course it could > just be excellent lighting which eliminates any shadows which > irregularities in the paper might cast. The screens are of the typical - though high quality - Japanese design, the same sort on which I'm sure you've seen large sumi paintings mounted upon silk. Several of Munakata's prints were grouped thematically and mounted directly onto the silk substrate (I assume there is wood beneath?). The 'matted' effect you're seeing is just a subtle arrangement of another decorative silk motif to offset the print. Everything is nice and flat, but the paper is open to the elements - no Plexiglass or other glazing. *** Kudos to Carol for approaching the New York Public Library as a fitting repository for the 9-11 print project, and many thanks to Ms. Waddell for accepting it. This is just too cool! Regards, James Mundie http://www.missioncreep.com/mundie/index.htm ------------------------------ From: Aqua4tis#aol.com Date: Tue, 17 Sep 2002 01:35:40 EDT Subject: [Baren 19212] Re: new stuff > http://www.1000woodcuts.com/fullsize/bajolasombra.html > maria these are wonderful!!! i especially like "bajo la sombra" you said you cut the block into 3 pieces can you elaborate? im assuming you cut around the figure but where else did you cut? what kind of saw do you need to do this? you are amazing!!! georga ps im going to do my second small festival this saturday ------------------------------ From: Myron Turner Date: Tue, 17 Sep 2002 07:39:42 -0500 Subject: [Baren 19213] Re: large prints by Munakata James, Thank you so very much for your detailed reply to my questions. From what you report, these large prints have a relatively uniform density, so as to insure that the many pieces fit together visually as a single unit. But from what I can recall and what I've seen in reproductions, this seems to be unlike many of his smaller prints. Whereas we often admire black blacks, Munakata's designs seem to transcend (or reject) uniformity of color and impression. The emphasis is on the image and not on the printing, or not on the mechanical quality of the printing. Sometimes the lack of uniformity of surface seems to be a result of printing from a rough block. The irregularities of printing surface are no doubt intentional since the prints are so beautiful. I recall an earlier discussion on the baren--we were talking about Munsch--and someone remarked that he was known as a very poor printer of his own prints. But of course his prints have transcended the printing--or, rather, they are what they are. Thanks again, Myron ------------------------------ End of Baren Digest V20 #1961 *****************************