Today's postings
- [Baren 45103] Re: City of The World (Sharri LaPierre)
- [Baren 45104] Attention : Tiberiu Chelcea of Pittsburgh (Jan Telfer)
- [Baren 45105] MI-LAB artist in residence (Linda Beeman)
- [Baren 45106] Baren Member blogs: Update Notification (Blog Manager)
Message 1
From: Sharri LaPierre
Date: Wed, 08 Feb 2012 20:37:21 GMT
Subject: [Baren 45103] Re: City of The World
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are also battling nasty things, (my daughter is fighting breast
cancer), and have other debilitating things going on in our lives, and
yet we have been able to get our blocks in on time. (And, some of us
have even done more than one.) So, come on, Slugs of the World, get
your blocks into to Maria.
Once you get that block mailed off life will be good again! Promise.
Cheers ~
Sharri
Message 2
From: Jan Telfer
Date: Thu, 09 Feb 2012 03:55:38 GMT
Subject: [Baren 45104] Attention : Tiberiu Chelcea of Pittsburgh
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My Year of the Tiger New Year card was returned to me "unable to be
delivered".
If you send your current address I will forward it on to you..... sorry
I took so long to print these it hasn't been able to catch up with you.
This does seem to be a "catch up" year for everyone ! Thank you - I
have received cards from previous years - Oxen, Tigers and Rabbits.
Thank you all.
Jan Telfer
Perth, Australia
Message 3
From: Linda Beeman
Date: Thu, 09 Feb 2012 11:41:08 GMT
Subject: [Baren 45105] MI-LAB artist in residence
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As you may know, Nagasawa Art Park, where many of you studied mokuhanga, closed in 2010. But good news!
Keiko Kadota has opened a new school at Lake Kawaguchi. See the programs and details here:
http://www.endeavor.or.jp/mi-lab/index.html
What a great opportunity! Time to start saving my penniesQ
Digest Appendix
Postings made on [Baren] members' blogs
over the past 24 hours ...
Subject: All Good Things ...
Posted by: Dave Bull
|
With the end of the Mystique of the Japanese Print series near at hand, many of the display cases for the set - which have been on desktops (real desktops) all over the world for the past couple of years (as we saw in this post from some time back) - are about to be switched over from 'display mode' to 'storage mode'. I suppose that most people will do just what I intend to do with mine - put it up on a bookshelf.  After all, you're going to need that space on your desk for ... something else, quite soon! |
This item is taken from the blog Woodblock RoundTable.
'Reply' to Baren about this item.
Subject: Floating some ideas ...
Posted by: Dave Bull
|
For readers waiting for news about the knife set, please hang on a bit. While we wait for the first samples to arrive, both Sato-san and I have been tied up with other things - he's been very busy carving colour blocks for a Hokusai reproduction the Takumi workshop is making for a TV presentation, and I've been spending most of my time getting the plans for my own next subscription series finalized (watch for news on that front this coming weekend!). While Sato-san and I are busy with these things, Tsushima-san is plugging away at her current batch of the Plum Blossom print. (She booked off sick yesterday and today though - she finally got hit by the flu that has really taken hold in this area recently. Many of the local schools are closed because of this, making the game centres very happy, I'm sure!) But on Monday and Tuesday, before she got sick, there were four of us working here together, and while we worked we were discussing how we might change the way that Mokuhankan prints are being packed for shipping. So far, I've been packing single prints like this:  The problem though, is that with the print being mounted on a stiff paper/card support, inside a clear plastic envelope with a stiff 'title label', then going into a stiff cardboard type envelope, which needs another sheet of cardboard inside to stop it from being creased ... we end up with a postage cost of just over $9 ... And then - at the receiver's end - what do they do with the thing anyway? Frame the print and toss the packaging? Leave the print in the envelope? Now my own subscription prints have no problem with either point - the postage is reasonable because of my custom packaging system, and there is of course no problem with how to 'use' the print, as I supply the storage/display case for them - but these single Mokuhankan items are 'failing' on both. One place where Mokuhankan prints are OK (on both of these points) is the little Gift Prints. They are self-contained - need no framing, etc - and mail easily, cheaply and safely. So we were thinking about how we could gain those same advantages for other Mokuhankan single prints. I'm sure that all the visitors to this site are familiar with the cases I use for my recent subscription prints. Here's the box for the just completed Mystique series:  Well suppose ... that it had a baby brother, available in the Mokuhankan shop: [Long item has been trimmed at this point. The full blog entry can be viewed here] |
This item is taken from the blog Mokuhankan Conversations.
'Reply' to Baren about this item.
Subject: The beauty and mystery of printmaking paper
Posted by: Maria
|
Okay, not that much mystery but I thought I'd make the title interesting. I started to mull over paper choices this past week and have been doing some research online and off about what to use. Puzzle #1, the Web was printed on Graphic Chemical Heavyweight paper which is 250 gsm, fairly smooth but with some tooth (rhymes!) and very white. Block and left print shown below.   Puzzle #2 The Great Baren Cairn, was printed on Stonehenge Cream because the design was more "organic" and because I like the way Stonehenge paper is more forgiving when printing. |
This item is taken from the blog MCPP Puzzle Prints.
'Reply' to Baren about this item.
Subject: North and South again, all ends of the continent
Posted by: Maria
Terry Sargent-Peart from Seattle Washington USA   I love the cyclist, very nicely done! And Rachel Midori Sugo Miyagui, another of our Brazilian contributors from Santos, Sao Paulo, BRAZIL |
This item is taken from the blog MCPP Puzzle Prints.
'Reply' to Baren about this item.
Subject: And now for something completely different
Posted by: Elizabeth Busey
February can be a bleak month in the midwest if there isn't any snow. I am always searching for something new to shake things up in my studio. A Foredom rotary drill arrived at the holidays, and I was finally able to try it out.
Used mostly by jewelers, the drill has a powerful motor that I have mounted about the desk. To the casual eye, it looks a bit like I require IV fluids during marathon carving sessions. The drill has a long shaft and a very light barrel, which means much less stress on my hand and wrist. I especially like the foot pedal control, which allows me to completely start and stop without reaching up toward the drill motor's power switch. My Dremel required that I reach over the barrel and shaft to turn off the power. "Just a flesh wound" was always a possibility with my old set-up.
I like this new drill because it allows me to effortlessly scribe calligraphic lines into the linoleum. I use the drill for textures in my prints as well. The linoleum does dull the engraving bits quickly, but I simply can't get the same results from my Japanese steel carving tools. I now order the bits in bulk on-line.
This item is taken from the blog The World in Relief. |
