[Baren]: The mailing list / discussion forum for woodblock printmaking. Baren Digest Saturday, 8 August 1998 Volume 04 : Number 239 ---------------------------------------------------------------------- From: Graham Scholes Date: Fri, 7 Aug 1998 08:12:32 -0700 (PDT) Subject: [Baren 1344] Re:exchange plus Julio wrote..... >I just can't imagine a Baren exchange without having one of >Gary's prints included ! > >Any suggestions out there from Baren-land so we can help Gary out >???????????????? Sure .... start carving and printing and enjoy the fun part of the fun. ------------------------------ From: jimandkatemundie@juno.com (James G Mundie) Date: Fri, 7 Aug 1998 13:43:48 -0400 Subject: [Baren 1345] Final decision 55-59,63-71 I've been busily working my chisels over this stone... I have decided to establish the below as final: DEADLINES FOR [BAREN] EXCHANGE> Participants must write to me declaring their intention to follow through with this project by 1 SEPTEMBER 1998. The number of responses I have received by that date will establish the complete number of participants. No one who does not commit (or re-commit) will be included in this year's exchange. Every participant will be informed after the above deadline of the final number of participants, so that everyone may plan their editions accordingly. All participants must submit their completed prints for collation by 1 FEBRUARY 1998. PAPER SIZE> OBAN will be our paper choice for this exchange. As the size of O-bosho sheet from which two oban sheets is derived can vary, it is probable that each individual's sheets will be slightly different from each other participants sheets. This is intrinsic to the craft and must be expected. However, each individual's sheets should fall within a range of 15.5 x 10.5 inches (39.4 x 26.5 centimeters) to 15 x 10 inches (38 x 25.3 centimeters). BLOCK SIZE> Block size is open to each individual's desire. NUMBERING> In the case of a print created exclusively for this exchange, the edition number on each print will reflect this. If submitting a print whose final edition run is larger than the number of participants, the first 1 to X prints from the edition must be the submitted to the [Baren] exchange. Unnumbered prints representing open editions are acceptable for inclusion. SIGNATURE> Each participant should sign their prints on the front of each print. SHIPPING OF COMPLETED PRINTS> Completed prints should be shipped in a pre-paid _re-usable_ carton with return postage. Prints must be packed to ensure the prints arrive and are returned in an undamaged state-- free of dents, folds, smudges, rips, etc. *** As of this moment, participation interest stands at nineteen. Mise le meas, James Mundie, Philadelphia USA ------------------------------ From: jimandkatemundie@juno.com (James G Mundie) Date: Fri, 7 Aug 1998 13:12:12 -0400 Subject: [Baren 1346] Re: Baren Digest V4 #238 Elizabeth wrote: >Baren Exchange........ >Sounds like a great idea.......I will take part, if possible. Great! You are the nineteenth to express interest, but you will have until the 1st of September to decide. *** Gayle wrote: >So what we're saying is--we use [oban] size, but we can print our image >on it working from our own block size (which in my case would be >probably 8 1/2" x 11") Yes? Will we use a specific type of paper? >A specific hue of paper? I am accustomed to using kitakata, which >is a deep toned paper. But I could certainly try something different. Paper choice is up to you, as is the size of your block. Postage stamp size, blue paper.... up to you. *** Roger wrote: >If Dave says that he would like me aboard on the exchange, I'll throw >my hat in thinking that by January I ought to be capable of producing >something. I would love to be able to _touch_ someone else's prints! >What, about thirty?? 15 1/2" x 10 1/2" prints? I knew you'd come around, so I had pencilled you as number eighteen. I suspect we won't have _thirty_ by the commitment deadline, but we're a little over halfway there... *** Dave wrote: >Julio mentioned 'holding back' his own copy of the print from his >edition ... > >This will be up to Jim as the collator to decide, but I rather suspect >that it will be easier if you send your entire edition to Jim, and not >keep any back. That way, he simply makes up a bunch of identical >sets. >If everybody keeps their own copy, he then has to keep track of which >folio belong to who - a much more troublesome task. > >It also lets him play a little game. He will make up the pile of >identical sets, wrap them all up ready for shipping, and then will mix >them up, draw them one by one, and slap on the address labels. Who >gets #1? Who gets the 'last' one? Who knows ... Dave, are you psychic perhaps? Yes, everyone should submit _all_ of their prints upon the completion date. I do not care to do all of that bookkeeping of which person is number so-and-so... ugh! Instead, I would rather assemble all of the bundles, with the prints arranged in what I think to be an attractive sequence. Then, everyone will get their "number" assigned by a lottery-type assignment. This is a very small edition (yes, folks-- even thirty is a small edition by most standards!), so there is no shame in receiving number 28 instead of number 3... Also remember that folks like Dave don't number their prints at all, so it's likely there will be a few of those in this portfolio. Does that mean Dave's print is less worthy of inclusion because it's not exclusive and limited? I don't think so. Mise le meas, James Mundie, Philadelphia USA ------------------------------ From: Graham Scholes Date: Fri, 7 Aug 1998 13:06:26 -0700 (PDT) Subject: [Baren 1347] Re: Final decision James wrote: >I have decided to establish the below as final: All sound just fine James... I would like to have seen the print set all with numbers. However you must have had feedback and consensus that no numbers will be acceptable by the group of participants. It will probably reduce the intrinsic value of the un-numbered prints in the collection. Count on me. No pun intended about the un-numbered ones. Regards, Graham ------------------------------ From: Graham Scholes Date: Fri, 7 Aug 1998 13:11:54 -0700 (PDT) Subject: [Baren 1348] Re: Baren Digest V4 #238 James wrote.... >Also remember that folks like Dave don't number their prints at all, so >it's likely there will be a few of those in this portfolio. Does that >mean Dave's print is less worthy of inclusion because it's not exclusive >and limited? I don't think so. Just not as valuable down the road when we are all dead and gone ......and then who the heck cares. Graham ------------------------------ From: April Vollmer/John Yamaguchi Date: Fri, 7 Aug 1998 22:46:59 -0400 Subject: [Baren 1349] Re: Baren Digest V4 #238 I think Roger's print is very nice, too...he is entirely too modest! I didn't understand Grahm's instructions to him about how to treat Stonehenge paper, though. Run it through a press? I just dampen the back with a single brush stroke of a wide brush, and leave it overnight between damp blotters, wrapped in plastic. The blotters don't add or subtract water,just keep the sheets evenly moist. The other suggestion I would make to Roger is to try printing gouache instead of watercolor. The added calcium carbonate in the paint makes it print more evenly. The spotty effect can look interesting, but only if you want it! I also liked Andrea's careful description of her reduction technique http://www.woodblock.com/encyclopedia/entries/000_07/000_07_frame.html : very interesting. I have done reduction prints with two blocks, but it is a feat to document them so nicely, in addition. I always feel that working this way is a real gamble...Andrea seems to have it down! I want to know more about Dave's beautiful boxes, which he says are so cheap! April Vollmer ------------------------------ From: David Bull Date: Sat, 08 Aug 1998 12:40:45 +0900 Subject: [Baren 1350] One-point lesson Here is this week's 'One-point' lesson (contributed by April Vollmer) ********** ********** ********** (#17) Transferring designs onto the woodblocks ... In Japan it is customary to cut the linear key block of an image first, print it - including the kento marks - and then glue these black line prints to the color blocks. These can then be cut through so each color block will line up. This approach is not practical for the way I work. I don't use a key block or black outlines, and I find it quite difficult to glue a thin sheet of printed washi evenly on my blocks. The first method I used for transferring designs was carbon paper transfer: working out my design on thin tracing paper, taping or weighting it down on the block, and tracing through carbon paper with a hard 6H pencil. The same drawing can be used for each color block. The trick with this technique is to cut through the tracing paper at the kento marks, so those important lines can be drawn clearly, right through the hole in the tracing paper. The rest of the design is transferred by drawing through the layers of tracing paper and carbon paper. This is a useful technique for simple designs and small blocks. I still use it often. But as my blocks got more complex, I started to go nuts trying to trace all the little details on a large block four or six times for color blocks. The tracing paper starts to wear out after a number of blocks - not to mention my patience! My solution was the WINTERGREEN TRANSFER. This technique requires an etching press, but is otherwise very simple. Hand pressure with a spoon or baren doesn't seem to work because the block becomes too slippery after it is painted with the wintergreen. Wintergreen is an old medicinal rub that smells minty; it is mostly alcohol. It is available at many pharmacies in 2 and 4 oz. narrow mouth bottles. WINTERGREEN DISSOLVES PLASTIC so pour it into a wide mouth GLASS jar for application with a brush. The design, including kento marks, is drawn on any paper and photocopied onto a fresh sheet approximately the same size as the block. (Special photocopy machines can print up to three foot copies.) Make one photocopy for each block. One extra is useful for mistakes, or if you decide to add another color block halfway through printing. Cut the photocopies to the size of your block so they will line up on the wood for transfer. Note which corner is the kento corner, because THAT will be the corner to line up. You want the kento to be in from the edge of the block (and your photocopy) at least 1/4". NOTE: everything will be reversed, including the kento, so to end up with your kento on the block in the lower right (the 'proper' corner) draw it on the lower left. Check the pressure of the press with the plain block. It should be firm, but not cause damage to the blanket, or make the block jump. One thin blanket should be enough softness to press the photocopy into the wood evenly. Be sure to protect the bed of the press and the blanket from excess wintergreen. This is especially important if the pressbed has a plastic sheet over it. The smell will eventually evaporate from the blankets, but the pressbed will dissolve! Now, set the block on a table with good light, so you can see a thin even layer of wintergreen as you brush it across the surface. (remember to use a brush with real hair, no synthetics!) It must be smooth and even, a bit like applying color - no puddles and no dry spots. Wait a moment for it to soak in, and put the block on the press bed. Place the photocopy face down on the block, leading carefully with the kento 'L' corner (kagi), then the kento straight line stop (hikitsuke) whose locations you have noted on the back of your photocopy. Put a sheet of protective paper on top, then the blanket, then run it through the press. If the transfer isn't dark enough, sometimes it can be run back again, but carefully, not to lose the registration. The block with the transferred design should be left to dry for several days before cutting, as the transferred image will smudge until it dries. ********** ********** ********** Next week, Dave gets back in the groove ... These 'One-point' lessons are being collected into a section in the [Baren] Encyclopedia of Woodblock Printmaking. http://www.woodblock.com/encyclopedia/updates.html Contributions from experienced printmakers for future 'One-pointers' are eagerly solicited. ------------------------------ From: David Bull Date: Sat, 08 Aug 1998 12:55:38 +0900 Subject: [Baren 1351] Cases, etc. Jean wrote: >I wish I could locate a woodcut artist called Jillian Gatto. I too have tried with no success to find out more about this lady. Can any of our New England members offer any clues? *** April wrote: >I want to know more about Dave's beautiful boxes, which he says are so cheap! Well I don't know if 'cheap' is the correct word ... Here is the info that I sent to Jim the other day: "My box maker here in Tokyo supplies me with cases for my print collections. These are B3 size, hand-made, cloth bound, with bone fasteners. The most recent price (last January) was just about 2,700 yen. I think that's around $20 US (at present). He'll make one, or he'll make 100. He doesn't care. Of course one can specify the exact size, what colour and type of cloth, etc. Delivery is usually about six weeks." The cases as I receive them from him are 'plain'. My helpers then paste on the appropriate labels for whatever print set they are shipping out. The particular design I ask him to make is perhaps not so suitable for this project, but I'm sure that he could come up with something that would hold 20 or so prints in a secure and safe fashion. Next time I'm in town I'll try and drop by and see what he might be able to do for us ... Dave ------------------------------ End of Baren Digest V4 #239 ***************************