Today's postings

  1. [Baren 28733] Back again to the studio ("Harry French")
  2. [Baren 28734] Re: Back again to the studio ("Ellen Shipley")
  3. [Baren 28735] Re: Back again to the studio (Bette Norcross Wappner)
  4. [Baren 28736] Re: Back again to the studio (tfl4467 #
  5. [Baren 28737] sketches (Barbara Mason)
  6. [Baren 28738] Jim Dine opening Sept 17 at CCP (Mike Lyon)
  7. [Baren 28739] Re: New Baren Digest (HTML) V32 #3190 (Sep 13, 2005) (Sharri LaPierre)
  8. [Baren 28740] cleaning dried ink from Intaglio plates (Barbara Mason)
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Message 1
From: "Harry French"
Date: Tue, 13 Sep 2005 14:45:15 +0100
Subject: [Baren 28733] Back again to the studio
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Greetings Bareners,
Just off to the studio on my bicycle with new ideas and a book full of recent notes and sketches from Schleswig/Holstein (Northern Germany).
On several occasions this summer I deliberately went out searching for landscapes that suggested the flow of lines and block colours of wood prints.
August and September are the best times to observe this with Holstein's ploughed and undulating landscape.
Bareners seem to like looking at work in progress so I have uploaded these original landscapes direct from nature before cutting the blocks.
Should you think it worthwhile I have uploaded five sketches and will add the prints as they are completed............that's if I don't get distracted on my way to the studio with my own environment!!
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Message 2
From: "Ellen Shipley"
Date: Tue, 13 Sep 2005 09:06:15 -0700
Subject: [Baren 28734] Re: Back again to the studio
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Hi Harry,

These are great. I especially love the Palmhouse fields. Such wonderful lines. These will make terrific woodcuts. Can't wait to see what you do with them.

Ellen Shipley, CA
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Message 3
From: Bette Norcross Wappner
Date: Tue, 13 Sep 2005 12:23:21 -0400
Subject: [Baren 28735] Re: Back again to the studio
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Hi Harry :)
Thank you for sharing your sketches; I always enjoy them. The cropping
of the windmill is very nice and the perspective of the rows in the
field are great in the view from the Palmhouse. Have fun transforming
them into woodblock and keep us updated!

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Message 4
From: tfl4467 #
Date: Tue, 13 Sep 2005 10:30:33 -0600
Subject: [Baren 28736] Re: Back again to the studio
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Hi Harry,
thanks so much for sharing these. I do like the windmill too. Oh but, I think this one is my favorite:
I look forward to seeing these transform!
Mindy Wilson
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Message 5
From: Barbara Mason
Date: Tue, 13 Sep 2005 10:11:24 -0700 (PDT)
Subject: [Baren 28737] sketches
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These are great. I think you have done a great job of simplifying these images for woodblock. I always seem to want too much complication in the work...I think I am famous for trying to make processes do what they won't. But I have discovered a few new things....and of course am now gray haired because of it. I will be very excited to see these when you get them done.
Your block shapes will be perfect.
Best to all,
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Message 6
From: Mike Lyon
Date: Tue, 13 Sep 2005 14:18:10 -0500
Subject: [Baren 28738] Jim Dine opening Sept 17 at CCP
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Jim Dine – A Print Survey

Opening Reception: Saturday, September 17th from 4 – 7pm

An exhibition of prints by Jim Dine, one of American’s most accomplished
artists, will inaugurate the Center for Contemporary Printmaking’s (CCP)
tenth anniversary season. The exhibition highlights not only those familiar
subjects of the exhibition title but also the robes, tools and Venuses that
Dine has revisited time and again, making them iconic motifs in a long and
distinguished career.

The exhibition opens with a reception on Saturday, September 17th from 4 –
7pm with refreshments. The exhibition continues through November 19th.

Over 35 prints will be on view demonstrating Dine’s technical virtuosity
and draftsmanship in etching, lithography, woodcut and silkscreen.

Bill Hall, master printer for Jim Dine, at Pace Prints will present a
gallery talk as part of CCP’s educational programs. Mr. Hall will discuss
his collaboration with Dine on over 100 of his editions and give a first
hand insight into the creative process between the artist and master
printer. Wine and Dine with Bill Hall will be held in the CCP gallery on
Wednesday, September 28th at 7pm. Refreshments will be served. $20.00 for
non-members and $15.00 for members. Call 203.899.7999 for reservations, as
space is limited.

The Center is located in a beautifully renovated 19th century stone
carriage house on the grounds of Lockwood-Mathews Mansion Museum, at 299
West Ave, near Norwalk Harbor and Long Island Sound. Travel time to the
Center is about one hour from New York and a half-hour from New Haven. The
Center is 1/2 mile north of I-95 exit 15 southbound and exit 14 northbound.
Gallery hours are Monday - Saturday 10 –5 pm. For more information please
call 203.899.7999 e-mail: or visit

-- Mike

PS: I'm honored to be teaching a 5-day Japanese Printmaking (moku-hanga)
workshop at CCP Monday through Friday, Sept 19-23 -- hope you might be able
to make the Jim Dine opening the 17th and then join us for the workshop!

Mike Lyon
Kansas City, Missouri
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Message 7
From: Sharri LaPierre
Date: Tue, 13 Sep 2005 12:46:51 -0700
Subject: [Baren 28739] Re: New Baren Digest (HTML) V32 #3190 (Sep 13, 2005)
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I don't know what I did, but all of a sudden my computer is letting
me respond to the Baren list. Yea Dan! So happy your surgery went
well and wishing you a speedy recovery. Your dancing daughter is
wonderful. Annie, I've really enjoyed your blog with the step by step
through your teapot print. I will get back to working on the Summit
soon - we had a wedding in the family last weekend, a reunion this
weekend, and the PAN fundraiser next weekend, and then a watercolor
workshop in the studio the first week of Oct. Right after that I
will get to work on the summit, I promise. The W/C workshop will give
me a good idea of how well we will be able to accommodate a crowd of
people working. They are expecting 18 and will only be using 2 rooms.
Stay tuned for regular up-dates :-)

Happy printing to all,
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Message 8
From: Barbara Mason
Date: Tue, 13 Sep 2005 22:05:01 -0700 (PDT)
Subject: [Baren 28740] cleaning dried ink from Intaglio plates
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This is for oil based printmakers only, so you waterbased people can skip it unless you are dying to know my secrets....

Barbara has exciting printmaking success........

I recently opened an exhibit...on the first. So I last printed my etchings a week before that...count the days, thats right...19 or 20. I was finally cleaning the studio and found a huge solar plate, 25x25" that I had not cleaned, leavning ink in the intaglio image.....if any of you are doing solarplates you know that a plate this size represents about $100 or more. So, being hysterical, I thought, oh well, what have I got to loose? I know thinner will not touch it, oil will not do it, alcohol might but probably not. Hummmmmmm. I gave it a lot of thought and then attacked it with waterless hand cleaner and a surgical scrub brush. I scrubbed and cleaned twice, wiping it off in between. Then I used rubbing alcohol...then another scrubbing of the hand cleaner and a final clean with alcohol. It is called Citra Fresh but think it is probably the same as any citrus is petroleum based. Well, miracle of miracles, I got 95% of the ink out of the plate. It may not be exact
ly as
dark as the first couple of prints, but will be acceptable, I am sure.

Wildly excited and encouraged, I attacked a couple of speeball rollers I use when making my images on the mylar...I rarely clean them so they were ugly with oil based ink. I let them sit in the cleaner for a bit, then took my razor blade scraper and holding the roller firmly on the glass slab, I started pulling towrad and then away from myself being very careful not to cut into the roller. I had the scraper at about a 30 degree angle. I was eventually able to clean both rollers. It is so amazing I had to share it with all of you. Usually I toss these rollers when they get so caked they do not work at all.....not anymore. I will clean them. When I print the plate the next time, I will let you all know if it doesn't print well, but from looking at it, I think it will be just fine.

So, a little printmaking breakthrough. I suppose others have figured this out and I am the last to do do, but I was sick when I saw the error I had made. Almost made me want to switch to waterbased inks! As soon as the black in Akua Kolor is really as dark as oil based ink, I will be there. I use the wasterbased ink for all the colors.
Best to everyone,