Today's postings

  1. [Baren 38320] RES: Exchanges Update! ("Maria Regina Pinto Pereira")
  2. [Baren 38321] Re: edition definitions (Sharri LaPierre)
  3. [Baren 38322] Re: edition definitions (Graham Scholes)
  4. [Baren 38323] Indian block printing and Kuniyoshi ("Harry French")
Member image

Message 1
From: "Maria Regina Pinto Pereira"
Date: Tue, 10 Mar 2009 16:18:39 GMT
Subject: [Baren 38320] RES: Exchanges Update!
Send Message: To this poster

Sorry, I had a problem with my Schedule.
Please call the people in the waiting list!
I'm very sad but I'm realizing that I won't manage to send you the prints on

Maria Regina

Member image

Message 2
From: Sharri LaPierre
Date: Tue, 10 Mar 2009 16:46:50 GMT
Subject: [Baren 38321] Re: edition definitions
Send Message: To this poster

Regarding Artist Proofs: the way I learned it, and have taught it, no
more than 10% of an edition should be A/Ps. An Edition, by
definition, means all the works are as near alike as humanly
possible. A Variable Edition (V/E) has slight variations. Immense
variations are Monoprints. And, an Open Edition (O/E) means there is
no limit and I assume they do not have to be alike, but usually are.
The BAT generally has notes written all over it and is not anything
anyone would want to frame, unless it were a Picasso, maybe a Bull or
a Scholes. The BAT and an A/P are usually kept by the Press that did
the printing. I wonder if at some point they don't have to clean
house and have a sale....

And then there are State Prints (a few that are taken along the way to
the final image & labeled as such), State Proofs (S/P), and color
proofs (C/P) and First, Second, etc. Editions. Sometimes it is good
to take a State Edition along the way because one can muck it up and
the S/E can become the Edition. (I wonder how she knows that? Could
Experience have been on the job again??)

I don't know how many are adhering to the "tradition" - it seems fewer
and fewer since the advent of the "giclee" (gag) and the "Unlimited
Edition" of 3 or 4 hundred thousand. Maybe I'm the last tree standing...

Graham, love your Dance Series! How bout a tutorial on how to use
stencils? Or were those dancers blocks?

Cheers ~
Member image

Message 3
From: Graham Scholes
Date: Tue, 10 Mar 2009 17:33:23 GMT
Subject: [Baren 38322] Re: edition definitions
Send Message: To this poster

You know what Sherri.... you are a delight.
Your found knowledge is so pleasantly expressed with soft unassuming

Bat ... you overshot the mark... Picasso - period. Us two guys are
still alive so we are disqualified.

Your explanation of proof and editions is right on the money.
Perfectly in keeping with tradition. I see that you, like me, hate to
see the wheel re-invented.

I will not touch the giclee (gag) thingie.... I am too well known for
my stand on do and undo art stuff.

The dancers in the Concert series (Nutcracker Suite) were achieved
with wooden blocks in the traditional way....

I have been wanting to try the stencil method.... Kappazuri.... It
is a “wonder what if“ objective.

Member image

Message 4
From: "Harry French"
Date: Tue, 10 Mar 2009 17:35:30 GMT
Subject: [Baren 38323] Indian block printing and Kuniyoshi
Send Message: To this poster

Thanks Many thanks for the links to the Indian textile printers. I have
never seen the process in video. The textiles, particularly the Paisley
motif, have always been popular in England. The old, hand cut wooden blocks
are now freely available in England, sadly as ornaments. I bought a dozen or
so at £4 (about $5) each at a fair trade shop not for their ornamental
value, but as unique blocks to use in fabric printing at our “India Days” at
school; I was an art teacher in the last century!. I suspect some are
antiques. There are similar types of ancient textile block printing
processes in Germany called “Blaudruck” (Blue print). If you Google
“Blaudruck” click on for an Images search…unless you read German or use
Google translate.

UK printmakers don’t forget the Kuniyoshi exhibition coming up at the Royal
Academy, London 21st March to 7th June.

All the best