[Baren]: The mailing list / discussion forum for woodblock printmaking.

Baren Digest               Thursday, 2 April 1998       Volume 03 : Number 113

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From: Ray Esposito <brassring@brassring.org>
Date: Wed, 01 Apr 1998 10:52:18 -0500
Subject: [Baren 531] I'm Baaaccck 

I told Dave I was going to sit out Baren for a month because I thought I
was asking too many questions.  It was difficult to read the posts and not
jump in.

First, let we add my welcome to all the newbies.  A lot of new subjects
have been talked about and Baren is exciting if nothing else.  Boy..do we
have some great talent on this forum.

If you have a couple of hours, you might want to read the following.

THE FURTHER MISADVENTURES OF A ROOKIE ARTIST

My first true vacation in fifteen years was a blast - expensive, but worth
every dime. 

Before finding Baren and wood blocks, my first area of interest was
monotypes so I signed up for a workshop at the College of Santa Fe in New
Mexico the first week of March.  With just five of us, we got a lot of
personal attention.  The other four were professional artists.  I was the
only "rookie".  Everyone was great.  No elitists.  I was accepted and given
a lot of help by everyone.  A lot like Baren.  Our instructor was like Dave
- - laid back and willing to answer dumb questions and the others were like
all of you, more than willing to share.  (One of the truely great strengths
of Baren.)

Since this was my first attempt at "doing" art I was very nervous.  My
first few monotypes were a disaster but fun.  Beginning with the afternoon
of the second day I got into a rhythm and came up with three themes.  By
week's end I was really cooking.  I completed 21 prints, 6 of which will go
directly into the garbage or reworked as college, 2 will be reworked, 7
were good learning experiences but still garbage and 6 are damn good.   The
instructor told me tot ake the two of the three themes and explore the
possiblities.

Each February the College of Santa Fe holds Monothon, the largest show
anywhere dedicated to Monotype/Monoprints.  The school invites 200 artists
to come to Santa Fe.  Each artist produces as many works in four hours as
possible and a jurer selects one to be donated to the college.  This work
is put on display for a week and then sold to the public.  This is the
school's biggest fund raiser of the year.  I was invited to be a part of
Monothon 1999.  It is quite an honor and makes me think I may have a little
talent.  (On the other hand, the school may just be having trouble getting
200 idiots to cough up the $250 entry fee and travel expenses to Santa Fe.
I think they saw me coming.)

I had a terrible time getting adjusted to the 7,000 ft. altitude in Santa
Fe.  Santa Fe is an artists paradise.  Did you know there are more art
galleries in Santa Fe than restaurants (250 vs 200)?  Classes ended at 4:30
each afternoon but we all had keys to the print center.  Rather than watch
tv, I spent each evening working.  Producing 21 works in fours days is a
lot of work.  One of my themes required six plates for each print and each
had to be painted and printed individually. 

My studio at home is at desk top level so I can sit down while working.
The school's tables are at a professional standup height.  By the middle of
each afternoon, my back spasms were almost unbearable (an "old war injury"
as they say in the movies) and not being able to breathe at 7,000 ft.
didn't help.  I had no trouble sleeping.

It was an exhausting week but the most fun I have had in years.  I plan on
returning to Santa Fe in October for an advanced Monotype workshop. 

Now back to wood blocks.

NEWBIE JOURNAL

By the way, speaking of wood blocks, I finally have a theme I am
comfortable with.  Nothing I have written about in the past. 

Each of the total of eight prints will require two blocks (perhaps three in
one case) and each block will have two or more colors.  I am still trying
to decide between 12x16 or 16x20.  The smaller size can go through my press
but I want as much as possible to be done by baren.  The eight prints are
in two sets of four.  The first set tells a story and the second
contradicts the first story.  I do not know if I have the talent to do this
but it will be fun trying.

It centers around Chinese characters.  I was going to use Japanese in
keeping with the idea of wood blocks but I could not find the eight words I
need in any Japanese dictionaries so I turned to Chinese where I had no
trouble coming up with what I needed.

Dave asked me to take pictures of each step which I think is an excellent
idea.  You can follow me along as I design, cut and print the block.  I
will mail photos to Dave for scanning onto the I-net.  I hope to have the
first reports and photos up within two weeks and then updates every week or
bi-weekly.  The Newbie Journal will show only the one print, number five in
the series.  You can all watch as I make a good print or fall flat on my a...

KENTO

For those of you, if any, like me, who have difficulty with Kento, I
suggest the jigs produced by Matt Brown.  His jig is made up of a piece of
wood with the Kento marks cut into them and two wooden hinges to lock in a
block of wood.  These are attached to a piece of plywood.  His standard
model is for 8 x10 blocks but he recently made jigs for me of 12 x 16 and
16 x20 which I will screw to plywood.  I am sure he could do the entire job
for you.  The jigs are ridiculously cheap and work great.

This does not get away from learning Kento, particularly for those of us
who will be sending some blocks to Japan to be printed.  Besides, it should
be learned for the fun of learning.  But as a speedy and efficient method
of making Kento, I have found none better.  Besides, the jig is an
excellent frame for holding your block.  

Again, welcome to all the new paricipants in Baren.  You are all making a
great contribution to the forum and it is exciting to read everything that
is going on.

Now....Try to shut me up.

(Graham...I join in Julio's question.  Run out of Jokes?)

Ray Esposito
http://www.brassring.org/brassring  	

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From: Phil Bivins <pbivins@ac.net>
Date: Wed, 01 Apr 1998 11:54:50 -0500
Subject: [Baren 532] Re: I'm Baaaccck 

Ray, good to have you back. I was wondering where you had taken off to. I
suspected that you had buried yourself in woodblock. Glad you had a good time. I
too am taking a Printmaking course at my local community college. We have made
everything from collographs to silkscreen t-shirts to woodblocks and things in
between. Its been a great learning experience. The most challenging project was
the woodblock print. It was the first time I used several colors, of course using
different blocks for each color. I think I used 5 blocks including the key block.
I made my own inks using dry pigment and came up with my own design. It was quiet
a challenge but I learned a great deal. I have several prints that I will be
submitting to the Newbie's Journal including this latest. I know Dave has
probably given up on me, as I have told him that I was sending them in 4 weeks
ago. I've been waiting to have a mug shot taken. I think I will just hold off on
the mug shot for now and send what I have. Glad your are back. Hope to hear more
about your experience.

Welcome to Baren, James!

Later, Phil

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From: Graham Scholes <gscholes@islandnet.com>
Date: Wed, 1 Apr 1998 09:13:37 -0800
Subject: [Baren 533] It won't happen again 

Here's your fix.

Why is there an expiration date on sour cream?

Graham

ps   Been kind of busy.  After this weekend and our 40th Wed Anniversary
party things should calm down.

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From: Ray Esposito <brassring@brassring.org>
Date: Wed, 01 Apr 1998 14:57:27 -0500
Subject: [Baren 534] Re: It won't happen again 

Graham wrote:
>Been kind of busy.  After this weekend and our 40th Wed Anniversary
>party things should calm down.

40 years with the same woman.  WONDERFUL.  Have a fantastic party and may
50 sneak up on you before you know it.

Ray Esposito

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From: Ray Esposito <brassring@brassring.org>
Date: Wed, 01 Apr 1998 15:35:05 -0500
Subject: [Baren 535] A wild and crazy idea from a wild and crazy guy 

I have a crazy idea that might be a lot of fun...and a lot of work.

I am a member of the Maryland Printmakers.  Why would someone from Florida
be a member of this group?  I am from Baltimore and visit the area five or
six times a year.  I will be renting a press in Washington when I want to
do images larger than I can on my little in-house press and I will be
relocating to Baltimore within the next five years.  The time to get
involved is now.

Each year MP puts together a folio of member art, usually around 25 pieces.
 Every other year the folio becomes a traveling folio in the mid-Atlantic
states.  They asked if I could set up some shows in Florida.  

Preliminary calls revealed 30-40 possible museums, airports, galleries,
city halls and other locations that would be interested.  I was somewhat
surprised at the high level of interest.

I got to thinking.  Dangerous I know.  Why not have a companion group of
works limited to wood blocks? The show would be called MP/Baren Group.  

How would it work?  I am just thinking out loud and know all of you will
have additional ideas.  Depending on how many members of Baren join in, and
contributors must be members of Baren, a limit of two prints seems like a
good number.

Obviously, Ray Esposito cannot afford to pay shipping, framing or any of
the other expenses.  I will do all of the work such as setting up and
tearing down the exhibits.  

The works would have to be limited in size.  MP limits folio to 11 x 14.
The works are shipped in a flat case and each is then framed with metal
snap on frame.  This may not be what some want for their art but they
aren't doing the work.  I think Baren might take the same approach but
limit sizes to 16 x 20.  

Each participant would be asked to buy the frame and ship it and the print
unframed to me.  When the series of shows are over, everything will be
shipped back, COD, or shipping billed, the same way, unframed.

You can expect your works to be gone for 2 to 4 years since I am booking MP
in 2000-2001 now.

If someone decides they want to buy a work, two things will happen.
Artists agree to replace the work immediately and agree to donate 10% of
the sale to charity.  Which charity?  Give me a break.  This is in return
for my doing all of the work.

If anyone thinks this might be a good idea let me know.  We are going to
get into places as a result of MP and I see no reason why all of you should
not take advantage of the opportunity.

Then again, there is David.  We all know David is not excited about framing
his works.  Of course, a Baren show without a David Bull print would be
like Ray Esposito without a spare rib in his mouth.  All artists who prefer
not selling their prints will have a NFS added to the description.

All tags will be done by me.

I do not mind doing the work.  After all, I will benefit too and with luck,
so with The Brass Ring Society.  It is just that I am surprised at the
positive response I received to MP and wanted to offer all my friends a
chance to piggyback.  If all of you think it is a dumb idea, I will go no
further.


Ray Esposito

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From: Ray Esposito <brassring@brassring.org>
Date: Wed, 01 Apr 1998 15:46:33 -0500
Subject: [Baren 536] 

[Repeated message]

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From: Blueman <blueman@pantek.com>
Date: Wed, 01 Apr 1998 09:05:23 -0500
Subject: [Baren 537] Re: Baren Digest V3 #112 

Baren,

You should have seen me sitting here waiting for the Baren Digest to
arrive.

Phil said:
> Gayle, about the leather strap. Right now I am using a piece of an old
> leather belt. 

Phil, thanks for the tip about the leather strop.  How does the belt
work?  I mean does it work well?  Also could you give me a tip as to how 
to use it.  I've heard of something called "barber's laps" with the knife. 
What is that?  Or do I have to ask a barber.  We do have a little barber 
shop in our village.  I guess I know where I'm going today.

*****

Now this is for James.

Yesterday, James, I took a small 4x5 board of poplar and  a needle and
straight edge blade and proceeded to try it your way.  I like doing
portraits so I did a self portrait.  It turned out  interesting.  When my 
son came home from play rehearsel (he's director for a play the local 
little theater is producing), and he saw it drying  on the refrigerator, 
pinned by a magnet, he said and I quote, "It looks like the shroud of turin".  
The face looks like it's emerging from the wood like a ghost.  The black ink
looks soft.  I think if I could control the "picked look" a little better I
would like working this way because I was already trying some stuff 
(with the little v-gouge) that was coming near to this look.  

I have a couple questions for you.  What is "plank side" of the wood?
Also, with the needle. do you pick at the wood, or do you just make 
dots straight down?  I tended to pick at it and got a certain look that
I notice yours doesn't have.  I'd be happy to send you my first attempt
if you let me know where to send it.

By the way, working this way reminded me very much of drypoint
etching. 

****

Dave, your tools entry on the Encyclopedia is great information.  I like
the photos.  I feel like I'm in school learning all this stuff.   When I
sign off I'm going to visit your temporary entry with the description
of the cases.  I have a Japanese Bookbinding (I think that's its
title) book that tells how to make items similar to what you describe 
(not your particular cases, but ledgers, journals, folders, etc.)

 Gayle Wohlken

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From: jimandkatemundie@juno.com (James G Mundie)
Date: Wed, 1 Apr 1998 12:49:32 -0500
Subject: [none]

Baren folks,
	Many thanks to you all for your kind welcome and words of
encouragement!  

Gayle wrote:
>...What kind of ink are you using? ...I like kitakata paper, too.  The
color of it is nice, don't you think?

	I am using oil-based ink. Rembrandt Graphics (Rosemont NJ) makes
my favorite ink for woodblock-- Rembrandt Woodblock Printing Black.  It
has many lovely qualities, including the wonderful depth of its color
(there are many different shades and hues of black as I'm sure you all
know).  It's also a bit more dry and stiff than say, Daniel Smith's
quality product, which gives one a greater degree of latitude in mixing
to the desired consistency. [ I have many thoughts on the proper
preparation and selection of ink, for anyone that wants to know, but I
won't go into it now.]
	Kitakata is a lovely paper, indeed. I like it not only for its
beautiful warm color, but also for its wonderful tactile and visual
textures.  It's also remarkably strong and resistant to tearing when
spooning (a danger in oil-based printing).  I discovered kitakata through
etching.  Its an ideal paper for chine colle.  On occasion I will chine
colle one of my woodcuts onto heavy Arches or other etching paper.  The
play of color and textures between the two papers can give an extra level
of interest to the print.
	I've also been known to use moriki and masa where applicable. 
Fabriano also makes a selection of amazing mulberry papers-- thick and
available in a wide array of colors (their buff and olive being my
favorites).

Dan Wasserman wrote:
>Any chance you could illuminate us with side by side close-up of block
and print showing what it is you do with the blade and the needle and
wire brush?

I unfortunately don't have access to a scanner right now, but Dave and I
have been talking about the possibility of including these techniques in
the Baren Encyclopedia.  In what form it will eventually appear or when
I'm not sure, but I hope your patience and interest will be rewarded.

Mise le meas,
James Mundie, Philadelphia USA

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From: Phil Bivins <pbivins@ac.net>
Date: Wed, 01 Apr 1998 21:54:08 -0500
Subject: [Baren 539] Re: Baren Digest V3 #112 

The leather belt piece seems to work ok. Its not meant to sharpen the knife
only to help maintain the sharpness of the blade. I usually go in one
direction drawing the knife towards me as it tends to dig into the leather
if I go in the other direction. Phil

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End of Baren Digest V3 #113
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