Today's postings
- [Baren 26971] tribute to David Bull's Hanga Treasure Chest (Mike Lyon)
- [Baren 26972] Re: what Maria did this winter ("Diane Cutter")
- [Baren 26973] Explain the process ("Connie Lambert")
- [Baren 26974] it's your face print (sunsetbrew)
- [Baren 26975] Re: Explain the process ("Matt Laine")
- [Baren 26976] Re: it's your face print (Mike Lyon)
Message 1
From: Mike Lyon
Date: Tue, 01 Feb 2005 12:21:11 -0600
Subject: [Baren 26971] tribute to David Bull's Hanga Treasure Chest
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All I can say is "WOW" and try to express my admiration for David Bull's
Hanga Treasure Chest and the first print of the series which arrived
yesterday...
First, you can find Dave's web pages about the project here:
http://www.woodblock.com/box/index.html
Unfortunately though, the web pages don't BEGIN to illustrate the beauty
(and cleverness) of his wonderful presentation box -- it's really glorious
beyond words... Just totally functional, beautiful, SLICK! Dave's project
is this -- about every two weeks to produce and send out a small,
corner-mounted (you can easily slip the print out to admire both sides)
postcard-size woodblock print to his lucky subscribers (and I definitely
feel SO LUCKY today!) -- until the entire set of 24 prints has been
completed... The bottom of the box has a compartment to hold all the
prints, and the top folds into a wonderful little display easel with the
print of the week matted behind plexi... It's really just too cool!
But what left me speechless last night when I opened the package was the
PRINT! Very humbling experience to see this little gem of Mt. Fuji with
fantastic blind embossing in the foreground cherry blossoms and yellow
foliage... his carving is just exquisite throughout, but it's the PRINTING
of the thing which floored me! SOOOOoooo smooth -- no dark 'squeeze-out'
around the edges, no granularity in the color, absolutely PERFECT bokashi
in the subtle blue at the base of fuji -- wonderful metallic gold line
(beautifully modulated line) defining the mountain... This one print is
such a treasure! The illustration on Dave's site does not resemble the
thing which arrived last night in any way other than that it's an image if
a mountain and cherry branch -- the web image was apparently designed to
show the embossing, and the color is very deep and contrasty and
unappealing (to me) -- but the print in person is SUBTLE to perfection --
and pale and evocative and, well, just really, REALLY WONDERFUL. I feel
like a bit of a THIEF to have received this jewel of art and craftsmanship
for less than $20 (the entire set including the box for under $500 which,
now that I write it, does sound like a big investment -- unless you have
the thing in front of you -- then it seems so totally unworthy a price for
what, I assure you, is genuinely a masterwork...
Thank you SO much, Dave! I really had NO idea when I placed my order some
long time ago what a wondrous object you would send! My wife and I enjoyed
it together arm in arm for a long time last night and it made us feel very
happy! Especially those delicate spring blossoms peeking out while we're
still locked under a few inches of snow here in February!
Any downside? Well, honestly -- the QUALITY of this first print is damned
intimidating to me!
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Hanga Treasure Chest and the first print of the series which arrived
yesterday...
First, you can find Dave's web pages about the project here:
http://www.woodblock.com/box/index.html
Unfortunately though, the web pages don't BEGIN to illustrate the beauty
(and cleverness) of his wonderful presentation box -- it's really glorious
beyond words... Just totally functional, beautiful, SLICK! Dave's project
is this -- about every two weeks to produce and send out a small,
corner-mounted (you can easily slip the print out to admire both sides)
postcard-size woodblock print to his lucky subscribers (and I definitely
feel SO LUCKY today!) -- until the entire set of 24 prints has been
completed... The bottom of the box has a compartment to hold all the
prints, and the top folds into a wonderful little display easel with the
print of the week matted behind plexi... It's really just too cool!
But what left me speechless last night when I opened the package was the
PRINT! Very humbling experience to see this little gem of Mt. Fuji with
fantastic blind embossing in the foreground cherry blossoms and yellow
foliage... his carving is just exquisite throughout, but it's the PRINTING
of the thing which floored me! SOOOOoooo smooth -- no dark 'squeeze-out'
around the edges, no granularity in the color, absolutely PERFECT bokashi
in the subtle blue at the base of fuji -- wonderful metallic gold line
(beautifully modulated line) defining the mountain... This one print is
such a treasure! The illustration on Dave's site does not resemble the
thing which arrived last night in any way other than that it's an image if
a mountain and cherry branch -- the web image was apparently designed to
show the embossing, and the color is very deep and contrasty and
unappealing (to me) -- but the print in person is SUBTLE to perfection --
and pale and evocative and, well, just really, REALLY WONDERFUL. I feel
like a bit of a THIEF to have received this jewel of art and craftsmanship
for less than $20 (the entire set including the box for under $500 which,
now that I write it, does sound like a big investment -- unless you have
the thing in front of you -- then it seems so totally unworthy a price for
what, I assure you, is genuinely a masterwork...
Thank you SO much, Dave! I really had NO idea when I placed my order some
long time ago what a wondrous object you would send! My wife and I enjoyed
it together arm in arm for a long time last night and it made us feel very
happy! Especially those delicate spring blossoms peeking out while we're
still locked under a few inches of snow here in February!
Any downside? Well, honestly -- the QUALITY of this first print is damned
intimidating to me!
-- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 2
From: "Diane Cutter"
Date: Tue, 1 Feb 2005 18:46:08 -0500
Subject: [Baren 26972] Re: what Maria did this winter
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Maria...
I am most impressed. You certainly deserved to horn toot. It's a wonderful
opus. I really appreciate your documentation of the entire process. It's
such an education. Please alert us when (and if) you have photos of your
printing of these marvelous woodcuts...
Diane...
www.dianecutter.com -- New oil paintings (calla lilies and abstracts)
www.WetCanvas.com - internet artist community
I am most impressed. You certainly deserved to horn toot. It's a wonderful
opus. I really appreciate your documentation of the entire process. It's
such an education. Please alert us when (and if) you have photos of your
printing of these marvelous woodcuts...
Diane...
www.dianecutter.com -- New oil paintings (calla lilies and abstracts)
www.WetCanvas.com - internet artist community
Message 3
From: "Connie Lambert"
Date: Tue, 1 Feb 2005 22:15:28 -0600
Subject: [Baren 26973] Explain the process
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Juan Guererro wrote:
>Connie:
>I love your images!! Can you explain a little about the technique please?
Hi Juan,
After looking at your website and your work I can see why you'd be
interested in the processes I use. I really enjoyed seeing your prints. Even
though it was late, they inspired me to go back downstairs to my studio to
start something new. I'm so glad I joined the forum. (Even though I'm not
primarily a woodcutter). Thanks for not discriminating against me, ha.
Anyway, for the collagraphs I use a 1/8 to 1/4 inch thick plastic sheet that
comes 4ft. by 8ft.
It can be cut with a utility knife or jigsaw. I purchase it from a Plastic
place here in town. But you might be able to locate some at a local sign
shop. It might be known as Komatex or Sintra.
I make marks in the plastic with just about anything I find, pens, nails,
etching tools, Dremel tools, even woodcutting tools. But it's harder to
control the cut than when using wood. I add to the surface as well. The
painterly looking areas are places that have a gel medium painted on. It
doesn't have to be thick. Any difference in surface or texture will give you
a mark or tone. I add carborundum in varying grits to get different values.
The grittier the surface/texture the more ink it holds the darker the value.
Similar principal as the aquatint in etchings.
I do glue things to the plate (not metal, it will tear the press blankets).
Keep in mind when it gets too thick it won't go through the press. I've used
tissue paper, scraps of textured rice papers, some wallpaper, leaves, bugs,
hole punched holes. I guess you could say I'm a scavenger and a collector of
textured stuff.
The finished plate can either be intaglio wiped or relief rolled. Which
means you can get two different images from each plate. I mix and match the
plates as well as different processes. And add layer upon layer. Sometimes
masking out areas with simple cut outs.
For fear of rambling, I'll stop. If I've failed to explain it write me back.
I can elaborate more.
If you'd be interested in a personal trade, email me at connie@thecave.com
Thanks, Connie
>Connie:
>I love your images!! Can you explain a little about the technique please?
Hi Juan,
After looking at your website and your work I can see why you'd be
interested in the processes I use. I really enjoyed seeing your prints. Even
though it was late, they inspired me to go back downstairs to my studio to
start something new. I'm so glad I joined the forum. (Even though I'm not
primarily a woodcutter). Thanks for not discriminating against me, ha.
Anyway, for the collagraphs I use a 1/8 to 1/4 inch thick plastic sheet that
comes 4ft. by 8ft.
It can be cut with a utility knife or jigsaw. I purchase it from a Plastic
place here in town. But you might be able to locate some at a local sign
shop. It might be known as Komatex or Sintra.
I make marks in the plastic with just about anything I find, pens, nails,
etching tools, Dremel tools, even woodcutting tools. But it's harder to
control the cut than when using wood. I add to the surface as well. The
painterly looking areas are places that have a gel medium painted on. It
doesn't have to be thick. Any difference in surface or texture will give you
a mark or tone. I add carborundum in varying grits to get different values.
The grittier the surface/texture the more ink it holds the darker the value.
Similar principal as the aquatint in etchings.
I do glue things to the plate (not metal, it will tear the press blankets).
Keep in mind when it gets too thick it won't go through the press. I've used
tissue paper, scraps of textured rice papers, some wallpaper, leaves, bugs,
hole punched holes. I guess you could say I'm a scavenger and a collector of
textured stuff.
The finished plate can either be intaglio wiped or relief rolled. Which
means you can get two different images from each plate. I mix and match the
plates as well as different processes. And add layer upon layer. Sometimes
masking out areas with simple cut outs.
For fear of rambling, I'll stop. If I've failed to explain it write me back.
I can elaborate more.
If you'd be interested in a personal trade, email me at connie@thecave.com
Thanks, Connie
Message 4
From: sunsetbrew
Date: Wed, 2 Feb 2005 02:34:07 -0500
Subject: [Baren 26974] it's your face print
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This is a new variant on a wood block I carved a couple months ago.
Last time i used speed ball inks and did the image in color.
This time I used sume-i paint (inspired by mike) and hand brushed the
block. Each print took 9 block impressions to reach this state. It is
printed on Yamaguchi paper (which is so nice to work with).
http://img32.exs.cx/my.php?loc=img32&image=itsyourface29xjpg1od.jpg
Thomas
Last time i used speed ball inks and did the image in color.
This time I used sume-i paint (inspired by mike) and hand brushed the
block. Each print took 9 block impressions to reach this state. It is
printed on Yamaguchi paper (which is so nice to work with).
http://img32.exs.cx/my.php?loc=img32&image=itsyourface29xjpg1od.jpg
Thomas
Message 5
From: "Matt Laine"
Date: Wed, 2 Feb 2005 06:00:59 -0500
Subject: [Baren 26975] Re: Explain the process
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Connie, would the collagraphs print using a baren?
Message 6
From: Mike Lyon
Date: Wed, 02 Feb 2005 07:01:07 -0600
Subject: [Baren 26976] Re: it's your face print
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Thomas wrote:
>This is a new variant on a wood block I carved a couple months ago. Last
>time i used speed ball inks and did the image in color.
>
>This time I used sume-i paint (inspired by mike) and hand brushed the
>block. Each print took 9 block impressions to reach this state. It is
>printed on Yamaguchi paper (which is so nice to work with).
>
>http://img32.exs.cx/my.php?loc=img32&image=itsyourface29xjpg1od.jpg
Hey -- way to go, Thomas! Interesting effect -- NINE impressions?!? Try
it again with the paper just a bit drier, maybe, and use the sumi
full-strength but brushed out rapidly and thinly without adding paste to it
-- maybe you can get something interesting in one or two passes? In any
case, good job -- I applaud your willingness to experiment! Keep it up!
- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>This is a new variant on a wood block I carved a couple months ago. Last
>time i used speed ball inks and did the image in color.
>
>This time I used sume-i paint (inspired by mike) and hand brushed the
>block. Each print took 9 block impressions to reach this state. It is
>printed on Yamaguchi paper (which is so nice to work with).
>
>http://img32.exs.cx/my.php?loc=img32&image=itsyourface29xjpg1od.jpg
Hey -- way to go, Thomas! Interesting effect -- NINE impressions?!? Try
it again with the paper just a bit drier, maybe, and use the sumi
full-strength but brushed out rapidly and thinly without adding paste to it
-- maybe you can get something interesting in one or two passes? In any
case, good job -- I applaud your willingness to experiment! Keep it up!
- Mike
Mike Lyon
Kansas City, Missouri
http://mlyon.com