Baren Digest Saturday, 28 June 2003 Volume 23 : Number 2278 ---------------------------------------------------------------------- From: G Wohlken Date: Fri, 27 Jun 2003 09:18:52 -0400 Subject: [Baren 21962] Determining if board is warped Barbara, when you say "lay a metal straight edge over the entire block on its side", do you mean the metal ruler is on its side or the block is on its side? I'm assuming you mean the ruler is on its side since later you say "over the surface of the board" which implies the board itself is lying flat and not on its side , but I want to make sure. I have never done this before and it sounds like a good method for determining if the board is warped. You also said "I think heat will raise it" regarding an indented spot. If there is such indention, what is the method for applying heat to one spot? Gayle/Ohio > To tell if your blocks are flat, lay a metal straight edge over > the entire block on its side with a piece of notebook or similar > paper about 2 inches wide under it. The paper should pull evenly > under the straightedge over the surface of the block, holding the > straight edge down with even pressure. If the paper pulls too > easily, the block is low in that spot. Do this all over the > surface and you will see which spots are lower. This technique is > used primarily to see if lithography stones are flat and works > very well. If you have an indented spot, I think heat will raise > it and then resand with very fine sand paper. ------------------------------ From: Barbara Mason Date: Fri, 27 Jun 2003 06:43:24 -0700 (PDT) Subject: [Baren 21963] flat blocks Gayle, I am far from an expert on this... but the block is flat on the table, the straight edge on its side across the block and the piece of paper under the straight edge. Hold the straight edge down with even pressure and try to pull the paper out. If it comes out easily the block is low in that area. I am not sure how important it is to be totally flat, but I am sure that it will help your work. If you had a block that was not totally flat, it might be good to use that block for one you care most of away....seems that would work. I think to apply heat you would take a tea towel, lay it over the block and use an iron....I think heat will raise wood. Seems I have done this in my past but again, it has been a long time, surely someone on the list has more recent knowledge of this. I remember using this when I got a dent in my coffee table and it worked very well, but it was when my kids were young...so long ago. Best to all, Barbara ------------------------------ From: G Wohlken Date: Fri, 27 Jun 2003 09:56:42 -0400 Subject: [Baren 21964] Tom Killion's methods Sorry bareners for posting twice in a day. I found the answer to my own question. If you are interested in how Tom Killion works, here's an url that pretty much explains it. I had a feeling it wasn't what Dave does. Looks like he uses a press and oil based inks, too. http://www.tomkillion.com/technique.html Gayle ------------------------------ From: Myron Turner Date: Fri, 27 Jun 2003 09:04:08 -0500 Subject: [Baren 21965] Re: Tom Killion's methods He's using what appears to be a Vandercook, which makes registering blocks a snap, since it has controls for adjusting the paper. Myron At 08:56 AM 27/06/2003, you wrote: >Sorry bareners for posting twice in a day. I found the answer to my own >question. If you are interested in how Tom Killion works, here's an url >that pretty much explains it. I had a feeling it wasn't what Dave does. >Looks like he uses a press and oil based inks, too. > >http://www.tomkillion.com/technique.html > >Gayle > > ------------------------------ From: "Jean Womack" Date: Fri, 27 Jun 2003 07:45:34 -0700 Subject: [Baren 21966] Re: Baren Digest V23 #2277 Gayle, Tom Killion has been making woodcuts for a long, long time. I saw some for sale in a gift shop near the Moscone Center in San Francisco. There was no doubt in my mind that it was an original, not a reproduction, at an affordable price, also. I think he uses oil-based ink in in his prints. However, I have never seen him do a demo. He shows at Berkeley's Live Oak Park at their annual art festival. So I guess he is traveling the art show circuit, like Maria. I think he had a couple of books of his prints published also. Jean Womack ------------------------------ From: "April Vollmer" Date: Fri, 27 Jun 2003 10:57:00 -0400 Subject: [Baren 21967] Keeping focus I wanted to thank Mike Lyon once again, I just viewed his photos, and 'borrowed' some of myself. It's hard to document your own presentation! (And Mike, great response to Eva on ball bearing barens and soft wood!) I am sure we will never be able to duplicate Kansas, because Mike was such a generous and well-organized host, AND in possession of a beautiful space large enough to accommodate all of us. I would be most interested in future meetings in Chicago, Toronto, Portland, Las Vegas and Winnipeg in that order. I would travel to places with good museums or other opportunities, but doubt if I would be able to find it in my budget to get to Winnipeg, even though it does sound like a cool place. I also think it is important to keep our focus on moku hanga. There are many printmaking organizations out there, but moku hanga is special because it is so under-recognized in the US and Europe. Moku hanga is a great alternative for artists who are looking for a non-toxic technique with historic connections and great flexibility. best, April www.aprilvollmer.com P.S. to Galye: I believe Tom Killion works in oil base woodcut. He is a master book maker as well, I saw a lot of his finely detailed work at the museum in Santa Cruz last year. He is INSPIRED by Japanese woodcut, but uses his own technique. Thanks for the thanks about sharpening. The key is finding your bevel, and keeping it flat to the stone. Cover as much surface as possible (that's why I like a figure 8) and go slow. Keep checking your beveled edge for trueness, making sure the whole surface is in contact with the stone. Also make sure your STONE is flat: rub it against a coarser stone to flatten it. ------------------------------ From: "Jean Womack" Date: Fri, 27 Jun 2003 07:47:39 -0700 Subject: [Baren 21968] Re: Baren Digest V23 #2277 When we use oil based ink to achieve a bokashi effect, we call it a rainbow roll. You put one color ink on one end of the roller, and another color or some tint base on the other end, and roll it on the plate until the two colors blend together in the middle. Then roll up the block. Jean Womack ------------------------------ From: "Jean Womack" Date: Fri, 27 Jun 2003 07:49:05 -0700 Subject: [Baren 21969] Re: Baren Digest V23 #2277 Perhaps Tom Killion is making moku hanga prints now and I was not aware of it. Jean Womack http://www.jeaneger.com ------------------------------ From: Mike Lyon Date: Fri, 27 Jun 2003 10:05:58 -0500 Subject: [Baren 21970] Re: Keeping focus At 10:57 AM 6/27/2003 -0400, April Vollmer wrote: >I also think it is important to keep our focus on moku hanga. There are many >printmaking organizations out there, but moku hanga is special because it is >so under-recognized in the US and Europe. Moku hanga is a great alternative >for artists who are looking for a non-toxic technique with historic >connections and great flexibility. Well said, April! I have done a lot of oil-based printmaking, but http://www.BarenForum.org is important because of its focus on moku-hanga. Maintaining that focus is very important... There are many, MANY sources (and forums) for oily work, but BarenForum seems unique in its mission to promote traditional Japanese woodblock printmaking technique. While still allowing oily block discussion, let's continue to emphasize our original mission: moku-hanga! - -- Mike Mike Lyon mailto:mikelyon#mlyon.com http://www.mlyon.com ------------------------------ From: Chromoxylo#aol.com Date: Fri, 27 Jun 2003 12:13:28 EDT Subject: [Baren 21972] Re: Tom Killion's methods Tom Killion prints from a linoleum key block and shina plywood color blocks mounted to type high on an Asbern cylinder press using oil based inks (from Daniel Smith) in a very western imitation of a Japanese style. He uses the press rollers to get the color fades which are characteristic of his prints. Tom's background is in fine press book printing and illustration and may of his prints were originally created for the books that he has made. Paul Ritscher ------------------------------ From: FurryPressII#aol.com Date: Fri, 27 Jun 2003 12:13:54 EDT Subject: [Baren 21973] Re: Baren Digest V23 #2277 Very little of relief printing is in its pure form now a days Modern Japanese wood block artist seem to mix up both styles of printing. To feel only one way is "correct" sort of misses the point all together. What is right for one may not be right for another. what is unique about baren is the interaction between the two schools of thought. I don't feel one system is better than the other, some effects can be done better in oil and some better in water. Baren is the only really interactive relief printing organization on line. John "furrypress" Center p.s. even David Bull is not doing it exactly like they did in the past he would have been eather a wood cutter or a printer not both.. The artist, wood cutter, printer and publisher were 4 different people with the publisher being the boss. ------------------------------ From: ArtfulCarol#aol.com Date: Fri, 27 Jun 2003 15:27:44 EDT Subject: [Baren 21974] Re: Tom Killion's methods Hi, You can find all the references to anybody for anything if you just type in their name and and. You do not have to know their website. There is a digger who unearths everything buried deep on the computer. But I'm thinking you know this already. That is how I found much info about Tom Killion including his future shows - --all in the SF area. I am for Moku Hanga even though I am f a r from traditional--understatement! Again thank you to all for the wonderful week. Miss you Carol NY ------------------------------ From: Julio.Rodriguez#walgreens.com Date: Fri, 27 Jun 2003 17:17:29 -0500 Subject: [Baren 21975] Re: Exchange #16 I just got done looking thru my set of Exchange #16 prints and there are some real beauties in there, congratulations to everyone. My thanks to all the particpants for another great one and to Sharen Linder for coordinating the exchange, very nice colophon !!! Still catching up on my sleep....first night in KC (Wednesday) I stayed up till 1:30am talking and looking at prints, then the next night till 2:30am, then till 4:00am....is a good thing I was only there for part of the time or else.... {;-) thanks everyone.......Julio Rodriguez (Skokie, Illinois) ------------------------------ From: Jack Reisland Date: Fri, 27 Jun 2003 13:30:48 -1000 Subject: [Baren 21976] Re: flat blocks Barbara Mason wrote: > I think to apply heat you would take a tea towel, lay it over the > block and use an iron....I think heat will raise wood. That would have to be a damp tea towel, as it's the steam driven into the wood surface that causes the wood to expand upward. This will only work if the dent in the wood is because of a blow to the wood (such as children might inflict on a coffee table), causing the wood fibers to compress. No compressed fibers, no expansion with steam. Jack R. ------------------------------ From: "Liz Horton" Date: Fri, 27 Jun 2003 21:04:32 -0400 Subject: [Baren 21977] Re: Keeping focus Mike--What are some of the best discussion groups (a la BarenForum) for oily work? Liz Horton liz.horton#att.net - -----Original Message----- > >.. There are many, >MANY sources (and forums) for oily work, but BarenForum seems unique in its >mission to promote traditional Japanese woodblock printmaking >technique. While still allowing oily block discussion, let's continue to >emphasize our original mission: moku-hanga! > >- -- Mike > > >Mike Lyon >mailto:mikelyon#mlyon.com >http://www.mlyon.com ------------------------------ End of Baren Digest V23 #2278 *****************************