Baren Digest             Tuesday, 12 November 2002     Volume 21 : Number 2025


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From: Louise Cass <lcass#primus.ca>
Date: Mon, 11 Nov 2002 09:29:44 -0500
Subject: [Baren 19806] Re:Map....Fun & Games update 

I think you missed me (from Toronto) - Is there space? 
I can get on to the fun and game links but wasn't successful posting
onto the map
Louise Cass

At 06:31 PM 11/10/02 -0600, you wrote:

>
>About the map...
>
>I have added the following people to the map...Elizabeth Atwood & Gillyin
>Gatto in Maine, David Stones in Japan, Jan Telfer in Australia, Patsy
>Glicas in Colorado. If you emailed me and I missed you please let me
>know...I think I missed someone from Toronto ?
>
>There is only room for 100 people on the map and we are up to 61... I would
>like to make it a nice round...100...come on an post!!!!!
>
>Not sure why it does not work for some, it's not my service but a freebie
>by Bravenet....some macs are ok and some ibms PC are ok...other not...I am
>sure it has to do with your personal configurations or machine
>limitations...I will write to Bravenet and ask for help....in the meantime
>if you have problems get a look at a friends PC or at the public library.
>
>thanks for playing along......Julio Rodriguez (Skokie, Illinois)
>
>
>
>

http://www.LCassArt.com

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

From: "April Vollmer" <april#aprilvollmer.com>
Date: Mon, 11 Nov 2002 12:21:23 -0500
Subject: [Baren 19807] RE: Baren Digest V21 #2024 

Dear Barbara,

All color needs a binder, in watercolor it's gum arabic. (The glycerin keeps
it from getting brittle when the gum arabic dries.) It glues the paint to
the paper the way linseed oil sticks pigment to canvas. With moku hanga the
wet pigment is forced deep into the fibers of the paper, so that is extra
insurance, but I still like to add binder.

The paste is a conditioner, not sticky enough to hold pigment down. It
breaks up the surface tension so you can print a smooth tsubushi. If you
don't add paste you get the speckly texture of goma zuri. I use methyl
cellulose instead of rice paste because it keeps better. Some printers
prefer rice paste.

best,

April
www.aprilvollmer.com


>April,
>Why do you use the binder? Wouldn't the pigment and paste be enough?

Does this binder of gum arabic and glycerine give you smoother more streak
free color?
Or does it just keep the pigment in suspension better?
Why methyl celluose rather than rice paste? Does it keep better or does it
work better?
Does it have anything to do with humidity or temperature in NY City?????
Just curious...interested printmakers want to know these things....
Best to you,
Barbara


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

From: "kent kirkpatrick" <kirk_star#hotmail.com>
Date: Mon, 11 Nov 2002 09:23:15 -0800
Subject: [Baren 19808] Re: Baren Digest V21 #2023 

Hello,

>Barbara Mason wrote
>They are working on Christmas cards, very simple designs, two blocks. I am 
>working on #15 and have settled on a picture of Multnomah Falls, an 
>enormously long falls we have here in the Columbia Gorge that drops several 
>hundred feet to a pool and then again about 100 feet to the second pool and 
>then runs off to the Columbia River. Quite a magnificent picture with a 
>bridge above the upper pool where visitors can get wet with the spray and 
>marvel at the power and magnificence of nature. I have many pictures of it 
>and see the same trees in old photos from the 20's....I am currently getting 
>out all my waterfall pictures from the masters and looking carefully at 
>rocks and water......If I pull this off they will think I am amazing and I 
>may even surprise myself. I am taking every minute of the time to do this 
>one.....It will be my only carving and printing project until it is done. 
>Dave, you will be proud of me

Barbara-you stole my idea! Okay just kidding but I am working on Multnomah falls 
piece as well.  I have a printing project I am working on so the falls 
piece will take a long time to germinate as design is becoming very elabotrate
but I needed something newto work on.The challenge I see is that it 
is one of the most photographed places in Oregon so it has to be something unique.
I went out there and found a place off the beaten path (probably broke some park rules) 
twice, and sketched it out in colored pencils, then took some photos.
Better that way for me rather than let some photog tell me about two dimensional reality.
 
Better for me to sketch it first. Better to let that light change and gather and even 
fade than see it once in a photog but that's a whole other subject. I will be 
very interested to see what you come up with.  It sounds like you are very excited 
about your piece and the process.
  
Kent Kirkpatrick

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

From: "Lee and Barbara Mason" <lbmason71#attbi.com>
Date: Mon, 11 Nov 2002 09:51:30 -0800
Subject: [Baren 19809] Multnomah Falls 

OK Kent,
Send over those sketches and photos.......

I have visited the falls pretty often as it is on the way to Pendleton. 
I just resigned from the board of Crow's Shadow Art Institute...it hurt 
my heart but I think the duties of the new print council position will 
take up all my time in the next year. So guess I will need to make a 
special trip to see the falls now. It is amazing in every season. I 
wonder if it will ever run out of water.....it has been falling for 
hundreds of years.

Actually I am using the whole thing as a sample for my class, showing 
them how I am taking this very intricate drawing of the falls, done from 
photos (sorry) and simplifying it enough to make it reasonably easy to 
do in 3 or 4 blocks. I just visited David's Surimono albums again for 
inspiration, those 14 colors are daunting for me. He has the patience of 
a saint. I am also getting out every waterfall print I have copies of, 
looking at how they are done. If anyone has any  brilliant ideas, I am 
open for suggestion here.
I would like to keep it to 4 blocks if I can, so simple is the key here. 
Although I do plan to print them more than 4 impressions as an example 
of how to do so.

April, wish you were closer so I could pick your brain in person!

Best to all,
Barbara
 

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

From: "Lee and Barbara Mason" <lbmason71#attbi.com>
Date: Mon, 11 Nov 2002 10:20:32 -0800
Subject: [Baren 19810] paste again 

April,

Both of these things, the binder and methyl cellulose are personal choice
from your own experience then. This is what I wanted to know as I am not
using the binder. You think the binder keeps the pigment on the paper better
than without one....

Is there any difference in the look or the way it prints? I will give it a
try here. Gum arabic is pretty easy to find in any studio...I am off to the
drug store to find glycerine....what about propylene glycol? More stuff to
look at...hummmmm. I know propylene glycol is used as a binder for some
waterbased pigments.
Barbara




> Dear Barbara,
>
> All color needs a binder, in watercolor it's gum arabic. (The glycerin

keeps

> it from getting brittle when the gum arabic dries.) It glues the paint to
> the paper the way linseed oil sticks pigment to canvas. With moku hanga

the

> wet pigment is forced deep into the fibers of the paper, so that is extra
> insurance, but I still like to add binder.
>
> The paste is a conditioner, not sticky enough to hold pigment down. It
> breaks up the surface tension so you can print a smooth tsubushi. If you
> don't add paste you get the speckly texture of goma zuri. I use methyl
> cellulose instead of rice paste because it keeps better. Some printers
> prefer rice paste.
>
> best,
>
> April
> www.aprilvollmer.com






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

From: Mary Jane Bohlen <mjbohlen#crosslink.net>
Date: Mon, 11 Nov 2002 18:36:54 -0500
Subject: [Baren 19811] Re:Map....Fun & Games update 

Dear Julio,
My name is Mary Jane Bohlen and I live in King George, VA Just recently found
this site and hope to get more involved soon. I teach K-8 Art and in my "spare"
time I make paper, print and create blank journals which I sell.
Mary Jane

Julio.Rodriguez#walgreens.com wrote:


> About the map...
>
> I have added the following people to the map...Elizabeth Atwood & Gillyin
> Gatto in Maine, David Stones in Japan, Jan Telfer in Australia, Patsy
> Glicas in Colorado. If you emailed me and I missed you please let me
> know...I think I missed someone from Toronto ?
>
> There is only room for 100 people on the map and we are up to 61... I would
> like to make it a nice round...100...come on an post!!!!!
>
> Not sure why it does not work for some, it's not my service but a freebie
> by Bravenet....some macs are ok and some ibms PC are ok...other not...I am
> sure it has to do with your personal configurations or machine
> limitations...I will write to Bravenet and ask for help....in the meantime
> if you have problems get a look at a friends PC or at the public library.
>
> thanks for playing along......Julio Rodriguez (Skokie, Illinois)




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

From: FurryPressII#aol.com
Date: Mon, 11 Nov 2002 22:30:16 EST
Subject: [Baren 19812] Re: carving vs printing 

Dave in western print making that would be like printing a mono print       
which is another kettle of fish but today many things are worked together 
that would not have been done in the formschinder printers time.  But like 
the Japanese wood block carver or the formschnider in Europe    both were 
specialized skills.  Many of the skills used in Japanese printing can be done 
in oil based ink.  A rainbow roll or split fountain are very much like the 
color fade in Japanese prints done in different methods but the appearance is 
very similar. 
    Up until the modern period most print making was reproductive so the 
skills were different than the ones used in "modern" printmaking.  
Calaborative skills were used in both western and Japanese print making     
thus the skill could be much higher than are common today.  At one time in 
modernist print making the idea of skill was looked down on luckily we are 
past that period of printmaking. 

john center 

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End of Baren Digest V21 #2025
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