Today's postings

  1. [Baren 44625] Diane Cutter's pastel, "Anchorage 2" (Pinto Lawrence)
  2. [Baren 44626] Re: Diane Cutter's pastel, "Anchorage 2" (Diane Cutter)
  3. [Baren 44627] Re: how long does it take? (Sharri LaPierre)
  4. [Baren 44628] Re: how long does it take? ("Ellen Shipley")
  5. [Baren 44629] Re: how long does it take? (thadeenz97 #
  6. [Baren 44630] Most Annoying (thadeenz97 #
  7. [Baren 44631] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Pinto Lawrence
Date: Wed, 23 Nov 2011 14:22:36 GMT
Subject: [Baren 44625] Diane Cutter's pastel, "Anchorage 2"
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Dear Diane,

I loved your pastel and was wondering what steps you would take to
bring this type of 'drawing' to a wood block print?

I'm asking because I have been making pastels from my study area on L.
Superior (many of which have a pallet like that in yours during the
summer, but with conifer-like bluish greens where there are steep
rocky areas and more pinks in the granite rocks) and I struggle to
figure out how to make this step. I'd appreciate your thoughts.
Tambien gosto que usted escreve em Espanol.


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Message 2
From: Diane Cutter
Date: Wed, 23 Nov 2011 15:17:35 GMT
Subject: [Baren 44626] Re: Diane Cutter's pastel, "Anchorage 2"
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Gracias, Larry... I mistakenly put in the Baren blog tag when I loaded that blog entry to apologies to all who wondered why Bareners were receiving it.

Now to your question, Larry. I'm probably the last person to ask about converting pastel images to woodcuts since I am famous (?) for only doing monochromatic prints. Throw color at me and I freeze. This is why I should probably rename my blog to 'The Lazy Printmaker'.

But, if I were to make prints from my colorful non-printmaking work, I'd probably look real hard at Sherrie York's work because she is my hero(ine) when it comes to color and simplicity. Another printmaker who does a lot of interesting color work is Brian Holden.

Then, when I had my courage up, I'd break down the essential colors needed to give the illusion of branches, rocks and work with overlays to see what works best. I'm sure others here can give you better step-by-step explanations of how to go about color breakdowns from other art mediums.


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Message 3
From: Sharri LaPierre
Date: Wed, 23 Nov 2011 18:43:14 GMT
Subject: [Baren 44627] Re: how long does it take?
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I agree with Barbara and Maria. My answer is generally something
like, "Let's see, how many years since I graduated? I would say,
including student work, about 60 + years, given a week or two." They
usually laugh and I add that it seems like I have been making prints
of one kind or another all my life.

Cheers ~
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Message 4
From: "Ellen Shipley"
Date: Wed, 23 Nov 2011 19:23:47 GMT
Subject: [Baren 44628] Re: how long does it take?
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I cringe at that question too. I never know how to answer it and I automatically start counting up the time. Which of course is impossible. Who knows how long you work on a project, from inception to finished print?

But I think what the person really means is, "Wow, that's really kewl. I don't know how to express my appreciation except to ask how long you must have worked on this beautiful thing. I bet it was a lot!"

A short riff on the trials and tribulations involved in the project would probably do the trick. ;-]

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Message 5
From: thadeenz97 #
Date: Wed, 23 Nov 2011 23:25:56 GMT
Subject: [Baren 44629] Re: how long does it take?
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Aside from the "it takes a lifetime" folderol, It takes what it takes. The conception, obviously, takes far longer than the actual production, depending. I have ideas I've been playing with for years, and are still not ready. As a professional printer (and by that, I mean my day job is spent in a windowless factory with screaming compressors and humming ventillation), a "print" takes several months of emails and work-ups and R&D and proofs, blah blah blah. But in the genteel world of art, your customer wants to know how long it actually takes from the moment you actually sit down to carve and print. They don't care about recuts or color mistakes. And honestly, I really don't think they care at all. All they really want to know is that you didn't just print it off your Epson while you were eating nachos and watching "The Simpsons". So, here's what I say: From concept to production, it's several weeks of work. Sure, condensed, the time I work on a print might be only a few hours. But unless the person asking is some cigar-chewing foreman who is looking at a time clock, I think this answer does nicely.Jeff Dean
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Message 6
From: thadeenz97 #
Date: Wed, 23 Nov 2011 23:43:54 GMT
Subject: [Baren 44630] Most Annoying
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Amanda Miller's letter inspired me to ask the following among Bareners who have done shows: What is the most irritating moment you have experienced in shows? I'll start. Several years ago my wife, who was doing stained glas at the time, and I teamed up at a show in Niagara Falls. Our tent was resplendant with hand-painted sidewalls and a beautiful banner which read in bright letters, "The Art of Nature". We even asked Dard Hunter's grandson for permission to use Dard's "Tree of Life" as our logo (to which he graciously agreed), and we were ready to show. As I waited for the show to open, an older man grumbled by. He looked over our wares, harumphed and said, "Art of Nature? Humbug!" He walked away. Several years later, my wife is only just gettin back her gumption. Luckily, my skin has been thicker, but jeesh!Jeff

Digest Appendix

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

Subject: Mystique Series #17 : printing steps 18~
Posted by: Dave Bull

Here we go ... let's finish this thing!

Here's the final bit of actual colour on the print - the cartouche box gets its usual touch of pink (slightly toned this time, as it was also 'hit' by the original beta block):

(entry continues here ...)

This item is taken from the blog Woodblock RoundTable.
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Subject: Loscon Art Show 2011
Posted by: Ellen Shipley

I've got a booth in the art show again this year.  Nothing's carved in wood, so to speak, but this is what I'm thinking of taking:

I lay the pictures out on my bed, which happens to be almost exactly the size of a double panel in the art show, to get some idea of what to take.

Some regulars, like the airships, printmaker and paleo-critters, but there are some new-to-Loscon pieces this year:  the Bookkeeper and Anasazi Bobcat (both zinc etchings), Pigasus, Foggy & Umi's Tears.

It gets a little cluttered with all the bid sheets attached to all the pieces, but that's the nature of the beast.

This item is taken from the blog Pressing-Issues.
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