[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Friday, 30 January 1998 Volume 02 : Number 054 ---------------------------------------------------------------------- From: Phil Bivins Date: Thu, 29 Jan 1998 09:23:30 -0500 Subject: [Baren 279] Re: wood II Gary Luedtke wrote: > The supply house I'm familiar with is McClain's in Portland, Oregon. > Address is ...etc. Ray, I too would like to second what Gary stated concerning McClains. The 800 number is correct, they also have a fax# 503-238-0558. I have been buying my tools from them since I was exposed to woodblock. They do have a nice catalog which is printed several times a year. I have no comparison on their pricing, but they are extremely nice and helpful people. They seem to have everything that a budding woodblock printer would need, including the Japanese Shina plywood. As a matter of fact I talked to Elaine last evening and told her about this wonderful group of friends we have here. I gave her David's webpage address, so hopefully they will become part of this group. I know they have a great deal to offer. One other thing they have a video called Japanese Woodcut Workshop. Its about and hour or so long. If I knew nothing about this artform , I would have a pretty good basic knowledge after viewing it. I still watch it frequently just to keep the basics in mind. I purchased the video, I believe it to be around $80, but well worth the investment. Thats how I look at it as an investment. I hope I have helped you and not confused you. The video cleared up alot of questions but also there are more questions to be answered. One other thing I have found out about myself. I can ask all the questions in the world but until I actually start doing something nothing changes. Its in the doing that questions are answered and more to be asked. So for myself I had to get started doing something even if it did not turn out right. Just a thought. I'm grateful to be a part of this list, what a find! Take care, Phil ------------------------------ From: Phil Bivins Date: Thu, 29 Jan 1998 09:32:07 -0500 Subject: [Baren 280] Re: Encyclopedia David Bull wrote: > I can think of _one_ idea right off the bat. I really can't remember > what it was like to be a 'newbie'. etc... Dave, your idea sounds great concerning the newbie journal. I'll give it a go. Thanks, Phil ------------------------------ From: Ray Esposito Date: Thu, 29 Jan 1998 10:29:24 -0500 Subject: [Baren 281] Re: Encyclopedia Phil wrote: >Dave, your idea sounds great concerning the newbie journal. >I'll give it a go. Did you notice Dave did not ask me to keep a journal? Do you suppose the phrase "I don't mean a great long literary adventure" is saying something about my posts???? :-) Ray ------------------------------ From: Ray Esposito Date: Thu, 29 Jan 1998 10:45:37 -0500 Subject: [Baren 282] Open letter to Baren I just want to thank everyone for putting up with my questions. I really don't mind being the butt of some of the more sarcastic (funny) comments. I downloaded all the posts and after putting them in order, discovered something. Did you guys know that, collectively, in answering all my questions over the past month or so, you have written a manual on wood block cutting? Believe it or not I am OUT of questions. ON TO THE BLOCKS!! BRING ON THE WOOD!! (Now, where did I leave that damn saw!!!!!) Ray P.S. Is anyone on this forum from Australia? One of our kids, an 11 year old from Oklahoma, has a dream to visit Australia (Brisbane) and I have some questions. This is more special than most of the dreams I do because his mom is also terminally ill and will not survive long after they return home. I want this to be a total winner. Please contact me at brassring@brassring.org. (Sorry folks for using Baren for a non-related question but you never know who is looking in.) Ray Esposito ------------------------------ From: amoss@mindspring.com (John Amoss) Date: Thu, 29 Jan 1998 10:46:46 +0300 Subject: [Baren 283] video Phil mentioned that he has a video called "Japanese Woodblock Workshop". I gave myself the same video and as Phil said, it helps. It is interesting to compare the techniques on the video with ones described by Baren's contributors. On the "workshop" video, the knife tool was used first by cutting the outlines (at an angle sloping away from the image), then following up with a counter cut to remove the wood. This is in opposition to what I understand Dave does which is to use the small gouge first to clear the wood- almost to the outlines, then following up with the knife to establish a clean edge (am I right?). I have found that I like Dave's technique better because I can control the gouge across the grain better- the knife seems to want to follow the grain. I suspect part of this is because I need to keep my tools sharper. Anyway, the video also uses graphite paper to transfer the image rather than pasting a drawing to the block and other minor differences. john ------------------------------ From: Graham Scholes Date: Thu, 29 Jan 1998 07:58:54 -0800 Subject: [Baren 284] Re: wood II Gary wrote. > The supply house I'm familiar with is McClain's in Portland, Oregon. >Address is etc. The address is correct according to my 1997 catalog. Ray, you may be interested in a video they have that is called Japanese Woodcut Workshop by Izumi Kuroiwa (Don't know him) I don't know anything about it so can't comment as to contents. It seems pricey at $80.00 Actually if you compare this cost to the price of taking a workshop it isn't to bad. I recall the workshop I took amounted to about $1800.00 At any rate get the catalog and enjoy. Graham ------------------------------ From: Graham Scholes Date: Thu, 29 Jan 1998 07:59:25 -0800 Subject: [Baren 285] Who is the artist. Gary wrote whatever you think appropriate. You'll learn and fine tune it as you go. >Mostly these subjects are more opinions than facts anyway. Your posting was well expressed and certainly food for thought. It usually boils down to the individual, except if the Public or National institutions become involved. For example, only artists, (creators) are accepted in the National Gallery of Canada in Ottawa Crafters are accepted in the Gallery of Man and Civilization which is across the Ottawa river in Hull. I know both kinds of people. Those that do there own work and believe that the whole process is part of the work of art. Then there are those that hire others do the making of plates and printing for them. They believe that the creation of the design is the ART. All else is CRAFT to be done by craftsmen. There is also another catagory.....those that are of an age that they can design but can't tolerate the labour of printing ... or ... don't have the equipment. I am of the belief that the whole process is and should be in the hands of the artist. At this point in time I don't like the idea of someone else making images that I have created. There are days however that the energy level is such that hummmmmm ....... wouldn't it be nice to direct and supervise the crafter ... then go fishing. There is a Master Printer living in Vancouver - Masato Arikushi - who was under the tutelage of Noboru Sawai and is now carving and printing artist's work. I have seen some of his work. Truely an amazing example of craftsmanship. He is doing prints for Mary Pratt and the image size is 13 1/2" x 20 1/2" - 145 colours or impressions using 26 blocks. When I made the decision to get into the woodblock medium I waited two years for the teacher (Noboru Sawai) to do a workshop here in British Columbia. He was working in Calgary and only did weekenders here. Not nearly enough time to learn such a complicated medium. When the chance came along it was a in residence session of two full weeks. I worked about 15 hours a day for those two weeks. It took me a week to recoup. The learning has been going since then through get togethers - always with a scotch - and phone conversations off and on for 5 years. Actually Noboru and I have developed a very lovely friendship. Hope this add just a little more insight into the subject. Graham ------------------------------ From: amoss@mindspring.com (John Amoss) Date: Thu, 29 Jan 1998 11:08:40 +0300 Subject: [Baren 286] video sequel Sorry all, I accidentally (doink) sent my last message without finishing writing about the "Japanese Woodblock Workshop" video. Bill Ritchie from Seattle (maybe Graham knows him) has got it for sale in site: . He also gives an introduction to basic woodblock techniques- see: and other printing techniques . Bill gives on-line support if you buy the video- something you all get for free, thanks to Mr. Bull's "Baren"! - -john ------------------------------ From: Graham Scholes Date: Thu, 29 Jan 1998 08:23:26 -0800 Subject: [Baren 287] Re: video John wrote. >On the "workshop" video, the knife tool was used first by >cutting the outlines (at an angle sloping away from the image), then >following up with a counter cut to remove the wood. A lot depends on the complexity of the area you are cutting. If it is a long straight line then cutting with the Hangito (knife) is about the only way of achieving accuracy It the line is curved then the Komusuki (gouge) works very nicely. If you are cutting very intricate and detailed areas then the Hangito is the only tool I have found that lets you get into the tight corners and angles. It is very important to keep the tools sharp. I do more honing with the 4000 grit wet stone as a posed to sharpening with a 250 or 800 or 1000 stones. With a beautifully honed hangito the grain of the wood will not come into play. I am a little late at getting into the studio this morning but will send a posting about a neat way of getting the image onto the block. Graham ------------------------------ From: Phil Bivins Date: Thu, 29 Jan 1998 15:34:39 -0500 Subject: [Baren 288] Re: video sequel John Amoss wrote: > Sorry all, I accidentally (doink) sent my last message without finishing > writing about the "Japanese Woodblock Workshop" video. etc. Just to follow up on this video. I too bought the video from Bill Ritchie not knowing the video was also being sold at McClain's. Bill is selling it for $150.00, McClain's on the other hand has it for $80.00. Quiet a savings for those of us on a budget.Take care, Phil ------------------------------ From: Matthew.W.Brown@VALLEY.NET (Matthew W Brown) Date: 29 Jan 98 22:38:02 EST Subject: [Baren 289] Blocks Baren, It has been my experience that poplar can make very good carving wood. It is actually quite stable, once it is dried. Actually there are two distinct poplar types (at least here in N.E.) and one has a denser grain and carves more smoothly than the other (the difference, even though I have personally cut, sawn, and milled a lot of poplar, I can't tell until it is planed. Actually basswood can vary a great deal also, depending perhaps primarily on where the particular tree grew (fast or slow growing perhaps). On this subject, I think cherry wood can vary a lot also, and have the impression the cherry wood that Dave gets in Japan is harder than what we have growing here (I guess I can't imagine our cherry printing the kind of detail that Dave has in his prints, but then he knows a few other tricks too. . .) Am curious about Graham's comment about varnishing blocks prior to carving. Are you printing with pigments applied to a lightly varnished block? How does this differ from printing with pigments applied to 'raw' wood? Graham, I applaud you sending Sabra Field e-mail about the ink jet prints. Time will tell but it is possible that her adopting this aspect in her work may not prove to be a very good idea in the long run. Matt ------------------------------ From: Graham Scholes Date: Thu, 29 Jan 1998 20:49:24 -0800 Subject: [Baren 290] reply to Matt Matt wrote: >On this subject, I think cherry wood can vary a lot also, and have the >impression the cherry wood that Dave gets in Japan is harder than what we have >growing here (I guess I can't imagine our cherry printing the kind of detail >that Dave has in his prints, but then he knows a few other tricks too. . .) I wonder if Dave is using boxwood......very hard and durable for those very fine lines and embossing. > Am curious about Graham's comment about varnishing blocks prior to carving. >Are you printing with pigments applied to a lightly varnished block? How does >this differ from printing with pigments applied to 'raw' wood? I don't know because I have always put a 50/50 solvent/varnish mix on the block. Is there any other way. The principle is to help prevent a lifting of the grain and fine fibres of the wood. If you want grain I suppose you wouldn't varnish.