[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Monday, 13 July 1998 Volume 04 : Number 212 ---------------------------------------------------------------------- From: jimandkatemundie@juno.com (James G Mundie) Date: Sun, 12 Jul 1998 11:59:20 -0400 Subject: [Baren 1156] Antonio Frasconi & exhibitions Elissa, I too am surprised by the scant information on Antonio Frasconi available on the web. Although I have never studied with Mr. Frasconi, I did have the honor of meeting him a few years back. Here are some Frasconi-related sites I turned up today: http://www.esperanto.com/Legacy/historypic.html (as well as "..."/united.html", ".../sugar.html", ".../textile.html", ".../womens.html") http://www.cslnet.ctstateu.edu/cca/cac.htm http://www.the-forum.com/art/art0001/.htm (print for sale) http://www.peponi.com/exhibit/40yr/main/m50/57ANs2.html and countless sites listing his Caldecott award for 1959's _The House That Jack Built_. *** Richard, Glad to have drawn you out. Perhaps you may have some information on this one: a few years ago, I had seen the prospectus for an exhibition (biennial? triennial?) sponsored by a paper company in Japan. They were interested in all types of printmaking produced on all varieties of paper (including varieties other than their own). There were a number of purchase prizes to be awarded, the prints going into this company's private collection. My memory of the company and location have gone, but I do remember that the exhibition poster was printed on beautiful thick hosho. I never bothered to apply to this show because the deadline for submission was the day I saw the poster (unlikely that I would have made it in time!). Ring any bells for you? Mise le meas, James Mundie, Philadelphia USA ------------------------------ From: jimandkatemundie@juno.com (James G Mundie) Date: Sun, 12 Jul 1998 13:15:07 -0400 Subject: [Baren 1157] Plate oil? Gayle wrote: >I have never used plate oil. I use only Daniel Smith relief ink. Is >this a wrong ink to use for [the scratched and stippled] style of >printing, James? I've only used the Daniel Smith product a couple of times (I'm much more familiar with their litho inks). It's a fine product, just a lot looser 'from the get go' than what I have been using the last five years (Rembrandt Graphic Arts blockprinting ink-- black). The texture and consistency of the Rembrandt product-- which I believe is made for them by Handschy Industries-- is similar to Graphic Chemical's Perfection Palette oil-based block inks. Whereas Daniel Smith is mixed for use right out of the can, I prefer an ink that will take a little modification (where's the fun in an ink straight from the tube? Where's the ritual of preparation?). The Rembrandt Graphic Arts product is ideal for this; I usually add a bit of plate oil "to taste" to suit the task at hand (a friend of mine liked a really dry stiff ink for his large etchings, so he would take this ink and add magnesium carbonate to it-- making it drier and fluffier). I'd say about 1 part oil to 8 parts RGA ink would equal the consistency of Daniel Smith right out of the can. Lately, I'll add only three or fewer _drops_ to the ink I'm mixing, depending on the block, the temperature, the paper, etc. However, I really think the issue with your difficulties in this technique is your choice of wood. Poplar resists the scratching, as I've said many times. Mise le meas, James Mundie, Philadelphia USA ------------------------------ End of Baren Digest V4 #212 ***************************