Today's postings

  1. [Baren 42063] moku hanga exchange (Linda Beeman)
  2. [Baren 42064] Re: Moku hanga exchange ("")
  3. [Baren 42065] Moku Hanga exchange (Andy English)
  4. [Baren 42066] Re: Moku Hanga exchange (AEleen Frisch)
  5. [Baren 42067] Re: Opinions (Plannedscapes #
  6. [Baren 42068] Re: Moku hanga exchange ("DePry Clan")
  7. [Baren 42069] RE: Yet more on the Moku hanga exchange ("Maria Arango Diener")
  8. [Baren 42070] Re: Yet more on the Moku hanga exchange ("Terry Peart")
  9. [Baren 42071] Re: Yet more on the Moku hanga exchange ("Bea Gold")
  10. [Baren 42072] more on moku hanga (Barbara Mason)
  11. [Baren 42073] Maria's post ("Jeanne Norman Chase")
  12. [Baren 42074] moku hanga exchange and 9/11 project (Joe Martin)
  13. [Baren 42075] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Linda Beeman
Date: Wed, 29 Sep 2010 13:39:19 GMT
Subject: [Baren 42063] moku hanga exchange
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This exchange has been posted on the website as a moku hanga exchange for the better part of the year. Out of courtesy to the Exchange Coordinator and those of us who have looked forward, yes, FORWARD, to this exchange all year, we should go ahead with it. Any objections should have been raised a long time ago - not when it's supposed to start. Anyone not wanting to do it should not. I don't understand the objection to what season it is right now. The theme is open.

Linda Beeman
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Message 2
From: ""
Date: Wed, 29 Sep 2010 13:56:04 GMT
Subject: [Baren 42064] Re: Moku hanga exchange
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Gosh, there's nothing like promoting an exchange of ideas than taking
cheap shots like "I wish to give you a thirty second golf clap for
that long winded/thinking out loud diatribe. You just insulted
everyone and yourself."

There were a lot of good ideas in Karma's letter, it's unfortunate
that people feel the need to attack them.

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Message 3
From: Andy English
Date: Wed, 29 Sep 2010 14:01:23 GMT
Subject: [Baren 42065] Moku Hanga exchange
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My printmaking is everything that Moku Hanga isn't. It is endgrain, engraved, oily, monochrome and printed in a sturdy Victorian cast iron press. Yet I think that Moku Hanga only exchanges are a great idea and I know that one day (Oh for the time) I will make a real MK print to contribute. I joined a group called BAREN with my eyes open and an understanding that - however generous you are in accepting this oily fingered engraver - there is a "core" of Moku Hanga printmakers here.

I wish I was contributing more. I am illustrating two books back-to-back which is involving quite a few large and very detailed engravings. They are filling my life but I feel that I have never ever done finer work.

My Best Wishes to you All, as always,

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Message 4
From: AEleen Frisch
Date: Wed, 29 Sep 2010 14:13:26 GMT
Subject: [Baren 42066] Re: Moku Hanga exchange
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Congratulations Andy! Hope you'll let us all know when we can see these

AEleen Frisch, Ph.D.

Exponential Consulting
340 Quinnipiac St. Bldg. 40
Wallingford, CT 06492 USA
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Message 5
From: Plannedscapes #
Date: Wed, 29 Sep 2010 14:57:48 GMT
Subject: [Baren 42067] Re: Opinions
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Sorry for any offense tho I think you had to twist my words a bit to take
it. I think I was pretty clear that it was an opinion and thinking this
was a DISCUSSION FORUM and that opinions were welcome, took a chance and sent
it. Won't be making that mistake again. Just pick a rule set for the
exchange and if it appeals to people, they will sign up, if not they won't.
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Message 6
From: "DePry Clan"
Date: Wed, 29 Sep 2010 14:59:23 GMT
Subject: [Baren 42068] Re: Moku hanga exchange
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Sorry your so sensitive to sarcasm; I'll keep it in my pants next time.

Double D
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Message 7
From: "Maria Arango Diener"
Date: Wed, 29 Sep 2010 15:33:59 GMT
Subject: [Baren 42069] RE: Yet more on the Moku hanga exchange
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Just a bit more about this, since I am the original "instigator" of the
technique exchange. My original intent, and indeed my original name for the
technique exchange was "technique challenge". That is, I intended to push
people to a variety of techniques within the "relief" realm by holding a
yearly technique challenge exchange.

The reasoning behind this had a lot to do with the history of Baren. Most of
us joined because it was the only game in town for
woodcut/woodblock printmakers. Yes, we knew, darnit, we knew! that the focus
of the original group was to discuss the process, history and everything
else about moku-hanga. But we snuck in anyway and we felt welcomed and so
our oily prints pretty much invaded the watery world.

Fast forward a few years, the boss got busy (or sick of us oily folk, we
will never "really" know which :-) , the group got larger, the whole thing
grew and grew and our members printed linocuts and Sintracuts and
collagraphs and wood engravings and white line prints. And everyone was
welcomed and we sang kumbaya by the campfire.okay, we never really did that
but we were all welcomed.

I tried wood engraving and found it fascinating, I tried moku-hanga and
found it challenging and intriguing, I tried white line and said "huh"?
forget it! I tried collagraphs and nature prints and saw yet another world
opening up, I carved on Sintra and MDF and sandstone and I'm glad I did. A
yearly technique challenge seems like a cool thing to do.

In other words, the intent was to:

"Make voyages. Attempt them. There is nothing else."
--Tennessee Williams


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Message 8
From: "Terry Peart"
Date: Wed, 29 Sep 2010 19:03:01 GMT
Subject: [Baren 42070] Re: Yet more on the Moku hanga exchange
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Maria -
Rah, Rah, Rah! Right on!
It's all about the journey.

Thanks, once again, for shining a light into the scary dark.

----- > In other words, the intent was to:
> "Make voyages. Attempt them. There is nothing else."
> --Tennessee Williams
> Maria
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Message 9
From: "Bea Gold"
Date: Wed, 29 Sep 2010 19:15:31 GMT
Subject: [Baren 42071] Re: Yet more on the Moku hanga exchange
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I started out with the Baren in 1998. It seems amazing that 12 years have
gone by. I had been doing black and white oil prints since I was a kid and
now I discovered water based printing. I took an Elderhostel class with
April Volmer and I fell in love with the process. Hard to do, interesting,
much safer and a real challenge. I took an interlude and worked with Ray
Hudson to learn Chinese method and we wrote it up for the 'Baren-Suji,' the
Baren newspaper, for the 4th issue in January 2001. A lot has happened
since then. People coming and people leaving. I am grateful to our web
site volunteer task force who have remained much the same except for
necessary changes, including death. The Baren Membership is rich and
interesting. When the oportunity to meet face to face is available it is a
pleasure. We wrote up the delightful get together in Los Angeles in 2001 in
the first issue of the 'Baren-Suji'. I enjoy receiving the various print
methods including all that Maria mentioned in the exchanges. I don't care
if the decision is for a particular method. I will enter the exchange if I
can and I like it. It is amazing how much there is to learn! Bea Gold

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Message 10
From: Barbara Mason
Date: Wed, 29 Sep 2010 19:56:58 GMT
Subject: [Baren 42072] more on moku hanga
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Wow, this was a lively discussion! The baren has been so quiet lately I thought
no one was actually reading or posting for lack of interest...not so!
Welcome back everyone! I tried white line and after weeks of horrible prints and
lots of wasted paper, said...maybe not. Then decided to do the same image in
moku hanga...the print is not am now printing all 7 blocks with
akua those of you in the current exchange that is due Nov 1 will
get the image that has been through a lot!
It looks ok...not my favorite but I have been looking at it on and off for 6

Moku hanga is hard, really really hard. I love the carving...I love the
printing...I am lousy at both but keep on. I am up for trying this again....time
of year is not critical, I never have any extra time! hahahah and I want a
really simple image,I loved the pencil Jeanne did a few years ago...I was
inspired to simplify my work!
My best to all
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Message 11
From: "Jeanne Norman Chase"
Date: Wed, 29 Sep 2010 20:23:27 GMT
Subject: [Baren 42073] Maria's post
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Great post Maria

Guess I should hop into the fray and do a Moku Hanga, but I am a real chicken.
And I know why so many of you are afraid of the White Line woodcut.
But it was a challenge for me and I did it and was happy that it did turn out fairly well.'
HOWEVER, as I said in the Baren article. It was probably the last one for me.
Trying different techniques makes you appreciate them so much more.
So hang in there and try all the many that are out there.

NO, I am not going to try Moku Hanga. Maybe at the next Summit??????????????

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Message 12
From: Joe Martin
Date: Thu, 30 Sep 2010 06:28:52 GMT
Subject: [Baren 42074] moku hanga exchange and 9/11 project
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I am a "now and then" participant in the exchanges, but I like it when the moku hanga technique is a requirement for an exchange.

Re. the 9/11 ten years after project -- My son is a Marine and more American soldiers (and civilians in Iraq and Afghanistan) have died in America's response to the attack than were killed on 9/11 -- with very little attention paid to their sacrifice. I am against the wars and have found it pretty much impossible to make art about them, despite my close connection. So, I am not suggesting we turn the tables and focus on those killed and injured in the wars. But, I am with the people who seem to be saying move on. I write the president and my congress people, do volunteer work for veterans and speak out against war and related issues. I'd rather make art about something else.

But, for those who want to revisit the topic, go right ahead.

Suzi SM

Digest Appendix

Postings made on [Baren] members' blogs
over the past 24 hours ...

Subject: NHK filming finished
Posted by: Dave Bull

Just back home this evening after a very long day down at the NHK studios. They sent a truck to come and get me, and he arrived as scheduled at six this morning, so I've been up since about five ...

I don't remember if I mentioned it before, but because this is one of the first programs in what is to be a new series, they haven't got things worked out smoothly yet, and the day involved a fair amount of trial and error, getting the large studio set up the way they wanted it.

Here's an overview of the setup while they were still working on the lighting:

When I first walked in, I thought there had been an electrical fire or something, as the room seemed full of smoke, but I learned that this was all part of the lighting effects. They have some kind of 'mist' generator running, to make the spotlight beams visible. I think it's a bit overdone, but I guess they want even a simple interview program like this to look 'exciting'. (Now I'm curious to see/hear what kind of music they will be applying to all this footage!)

Peter and I met backstage before we started, and we 'agreed' not to talk about the printmaking until we were 'live' on the set, to avoid having to repeat ourselves, and lose the natural feeling of the conversation.

Once the tech guys were ready, Peter and I took our places on those two stools, and we got started. As you will see in the finished product, the program alternates between segments taped at my place and our conversation/reaction. Things went along fairly well, although there was a bit of stiffness between us due to the fact that it was so tightly scripted; it was difficult to get our conversation to run along as smoothly as we would have liked.

At one point, we moved to one side of the studio where they had built a little room for me:

When I first saw this I semi-chided the producer for 'spending so much money' on preparing a set that would just be used for a few minutes, but he laughed me off. It turns out that they 'borrowed' it from a neighbouring studio where a samurai drama is filmed. (And that was a hoot too, sharing the hallways with all the people in those old costumes. It's kind of bizarre, walking past a fully dressed samurai warrior on the way to the bathroom; do you catch his eye, or look away ...)

I'm sorry that I don't have any more photos to show you, as we did keep pretty busy, and anyway I really couldn't act too much like a 'tourist', snapping away at everything around me ...

So the rest is up to the editors; just how interesting they can make it we'll discover in a week or so.

Here's a reprise of the broadcast information, and how to view it:

[The scheduled time of first broadcast is: 2010:10:10:10:10 (ten past ten on the tenth of October, 2010) But that's Tokyo time, so for people in most places around the world, it will be happening on the 9th. The program will be repeated later that same day, at four hour intervals, three or four more times, so no matter where on the globe you are, you'll be able to see it at a hopefully convenient time.

How to access NHK World (cable or satellite) information is here.

Schedule (including local times) is here. (Japanophiles is a new program, and appears on the schedules there for the first time on October 2~3rd. My episode will be one week later, on the 9~10th)

View NHK World live on the net here (click the 512K button in the viewer to pop up a larger viewing window).]

* * *

And as today is the end of the month, we have another 'countdown' image!

[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Woodblock RoundTable.
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Subject: The latest studio scoop
Posted by: LAiNE

After much delay, here is the latest from the studio....

I had the opportunity to do a Lithography workshop a few weeks back and absolutely loved it!  here's what came of it....

Also, after months of work on this mezzotint plate i'm winding down on the final few sessions before it can become a print. It's part of a larger series of apothecary themed creations that i've been working on lately.  While it isn't looking so hot on paper, i think the plate is coming along nicely.

Sorry for the short words, but i'll definitely make up for it on the next. For now, enjoy!!

This item is taken from the blog In The Studio.
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