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

Baren Digest             Friday, 11 September 1998     Volume 04 : Number 274

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From: Ray Esposito <brassring@brassring.org>
Date: Fri, 11 Sep 1998 09:34:32 -0400
Subject: [Baren 1608] defining an artist 

To all:

I received a private post from Gary concerning my post defining an artist.
As Gary is wont to do, he brought up points in his calm, reasoned way,
illustrating I was not as clear as I should or wanted to be.  I sent him
the following response and wanted to share it with everyone in case I was
not clear to the rest of you.

***

Gary,

My point, which may not have been made as well as it could have been, is
that I am an artist.  I define myself as an artist.  I do not care what or
how others define me.  I must live and work within myself.  If I consider
myself an artist, then I will carry myself and conduct myself as an artist
and others will see me as such.  But it should be natural, not something
phoney to make a point.  You do not need to stand on a rooftop and shout,
"I am an artist".  You are an artist because YOU believe you are an artist
and work hard toward making that a reality.

If an individual is not sure of himself then success can be that much more
difficult to reach.  Some would call it arrogance or being "full of
themselves".  I call it confidence.  I look on it in simple terms.  There
are 260 million people in this country.  If 259,999,000 hate my work, I
will be a well collected artist, make money and be a success with the
remaining 1,000.  A positive attitude is essential for success.  Unless you
believe fully in yourself, no one else will.

I meet far too many artists who simply do not have confidence in themselves
so thay attack galleries, buyers and others by saying they do not
understand them.  That's silly.  As I wrote in an earlier post to Carolyn,
art is a business AND a creative affair.  Too many artists do not know,
care or want to accept the business side of being an artist.  As long as
they take that atitude, they will not succeed.

You are to be congratulated for your efforts on Baren.  And whenever I am
not clear, do not fail to jump on me.  You do it so well.   Please believe
me when I say I want ALL artists to be successful but there is more to art
than doing art.

Cheers

Ray Esposito

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From: amoss@mindspring.com (John Amoss)
Date: Fri, 11 Sep 1998 09:42:41 +0300
Subject: [Baren 1609] Ukiyo-e introduction 

Hey y'all-
For the members of Baren that are interested in an introduction of the
history of Ukiyo-e: some time ago David B. (since we now have two Davids)
mentioned "The Floating World" by James A. Michener, Random House, 1954.
I have read and reread the book and would also recommend it highly. If you
aren't familiar with the title, he (Michener) delves into the humble
beginnings of woodblock printing and traces its lineage to the decay of the
period. It is very readable and not at all "textbooky". Color plates are a
dissapointment as are the technical how-to passages.

Although he did an excellent job of profiling the Ukiyo-e world, as a
collector and historian, he seemed to consider the art dead-on-arrival
after the Hiroshige and Hokusai generation. He stayed true to the intention
of concentrating on the "golden age", Sosaku-hanga fans might be
dissapointed with his haughty distain for woodblock printing's modern
incarnations. An example would be of how he mentions Yoshida Hiroshi's
work: "Few GIs returned from Japan without at least one Yoshida print."-
nothing about their beauty...just cynical snobbery.
It's still worth it for Japanophiles like myself.

- -john

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From: "Roger A. Ball" <beckorro@inquo.net>
Date: Fri, 11 Sep 1998 07:55:05 -0600
Subject: [Baren 1610] ymmv for one thing 

In case no one else chimed in,
YMMV is a net anacronym for "Your Mileage May Vary."  There are many others
like BTW for "by the way," and Ob for obligatory... on and on.

Still carving for now.

Cherrio

Roger

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From: Sheryl Coppenger <sheryl@seas.gwu.edu>
Date: Fri, 11 Sep 1998 10:34:30 -0400 (EDT)
Subject: [Baren 1611] Re: New member 

> By the way Sheryl, what does 'YMMV of course.' mean?
> You may m.... v.....??? 

"Your Mileage May Vary"  a popular disclaimer on the Internet, probably
inspired by -- what was it, a gasoline commercial?  Some company used
that line at the end of a commercial a few years back.

Sheryl Coppenger   

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From: Sheryl Coppenger <sheryl@seas.gwu.edu>
Date: Fri, 11 Sep 1998 10:30:08 -0400 (EDT)
Subject: [Baren 1612] Re: Barens 

Ray said:
> My solution was to buy a press.  There are two approaches to this.  Buy a
> small press for $300-$400 from Speedball or Dick Blick (the better of the
> two) or buy a full size press from Patrick Designs in Canada and take
> advantage of the weak Canadian dollar.  Having your own press, especially
> full size, gives you the total freedom you need as an artist.  Of course,
> it goes without saying, you need the space for a full size press.

For those who are interested in a small press, Jerry's Artarama is closing
out their small block press for only $99.00 (list $415, I think it's the 
Speedball press).  Not sure from the brief description if it will take
thick wood or just the the thin speedball plywood, but I probably will
do enough unmounted linoleum at home to make it worthwhile if that is the
case.

Sheryl Coppenger  

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From: StudioJNC@aol.com
Date: Fri, 11 Sep 1998 11:01:47 EDT
Subject: [Baren 1613] Re: Paying the rent 

Once upon a time, when I was at my idealistic peak I started a drawing. The
drawing was called "Thoughts While Drawing" I kept a nine inch margin around
the outer edge of the drawing itself in which I made comments about what I was
thinking at the time I was drawing.  It pleased me that it was accepted in the
Society of the Four Art National Competition in Palm Beach.  The local Palm
Beach paper picked up on one of the comments that I wrote while drawing , it
went, "I first wait until all thought of the fame which the work might bring
is gone from my mind. Then I wait a few more days until all thought of how
much I will get paid for the drawing isgone. Finally, I wait until all thought
of myuself is gone. After that I know I am ready to begin work. I wish this
were so." The point being; we can still be idealistic, but realism has to rear
its head if we are to survive. To GET THERE we have to pursue leads, travel a
lot, make lots of phone calls and get exposure. So many artists still are
waiting for that magic knock on their studio doors.  It will never come unless
we make it so.
My ten cents

Jeanne

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From: StudioJNC@aol.com
Date: Fri, 11 Sep 1998 11:06:24 EDT
Subject: [Baren 1614] Re: Baren Digest V4 #271 

Thanks James
But if I am minus my finger, I will never forgive you !!!!
Jeanne

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From: Sheryl Coppenger <sheryl@seas.gwu.edu>
Date: Fri, 11 Sep 1998 11:18:25 -0400 (EDT)
Subject: [Baren 1615] Re: Baren Digest V4 #271 

Jean wrote:
> Thanks for noticing that.  I think it might be necessary to add plate oil
> to the etching ink, because the etching ink is so stiff.  Is it plate oil,
> or something else?  Or do we use litho ink? 

In printmaking class we used something called "miracle gel"(?).  I'll
try to remember to get the ordering info but it may be a couple of weeks
because I'm still on crutches and not going to class.  Graphic Chemicals 
doesn't carry the product AFAIK*.  I didn't need miracle gel in most of
the colors unless I used a high proportion of extender.  It seemed that
the extender made the paper stick to the block too much.  Plate oil
probably would work as a substitute, but I haven't tried it.  I was able
to get an interesting viscosity effect by accident using a lot of
miracle gel once, the same might happen with plate oil and extender.

Especially for class work, I think it's much cheaper to order caulking
tubes of Perfection Palette inks from Graphic Chemicals than to buy
the Speedball inks at Utrecht.  It might take a relatively large
initial investment, but the ink would last much longer. 

*AFAIK=As Far As I Know

Sheryl Coppenger   

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From: Ray Esposito <brassring@brassring.org>
Date: Fri, 11 Sep 1998 12:04:00 -0400
Subject: [Baren 1616] Re: Ukiyo-e introduction 

John wrote:
> "The Floating World" by James A. Michener, Random House, 1954.

John, just to follow up on your excellent suggestion, the book is not
longer available in hardcover but it is in softcover at Border's and
Barnes, Noble.  I agree that the pictures are terrible since they are not
in color.  I wonder if the hardback had color plates?

Cheers

Ray Esposito

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From: Ray Esposito <brassring@brassring.org>
Date: Fri, 11 Sep 1998 12:11:32 -0400
Subject: [Baren 1617] Re: Barens 

Sheryl wrote:
>For those who are interested in a small press, Jerry's Artarama is closing
>out their small block press for only $99.00 (list $415, I think it's the 
>Speedball press).  Not sure from the brief description if it will take
>thick wood or just the the thin speedball plywood, but I probably will
>do enough unmounted linoleum at home to make it worthwhile if that is the
>case.

Sheryl

A point of information.  The speedball will take thick plates.  I print
from my cut wood assemblage plates which can be an inch or more think.  I
have no problem.  

The drawback to the Speedball is that the bed is not stable.  In other
words, you place your plate or block on the bed and then feed the entire
thing through two rollers, holding the entire bed in one hand while turning
the wheel with the other.  A very poorly designed press.  It is unsteady
and a pain in the #$%.  Once you get use to it, it works but for this
reason I would not recommend it to anyone at the full price.  But for $99,
someone who does not have a press should jump on it.  

Just remember the bed is only 13" wide.  If you do not for anything larger
than a 1/4 size sheet, you are fine.

Cheers

Ray Esposito

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From: Ray Esposito <brassring@brassring.org>
Date: Fri, 11 Sep 1998 12:19:33 -0400
Subject: [Baren 1618] Re: Baren Digest V4 #271 

Jean wrote:

>> Thanks for noticing that.  I think it might be necessary to add plate oil
>> to the etching ink, because the etching ink is so stiff.  Is it plate oil,
>> or something else?  Or do we use litho ink?  

Permit me to add something here.  All I use are etching inks.  The standard
way to change viscosity in etching inks is with burnt plate oil (0000 is
best) as you suggested.  I want to repeat somethign I wrote some time back.

Consider using Flash Oil instead.  For one thing, it is 1/3 the price of
burnt plate oil.  For another you only have to use half as much to get the
same viscosity.  Thus you will get a lot of a little.  You can get through
Graphic Chemical.  Buy a small pint and give it a test.  I think you will
find it just right.  I no longer use burnt plate oil.

Cheers

Ray Esposito

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From: gscholes@islandnet.com
Date: Fri, 11 Sep 1998 10:56:02 (PDT)
Subject: [Baren 1619] Re: Baren Digest V4 #271 

Jean wrote....
> Thanks for your honest anwser about the collectors liking deckles.
> Somebopdy once showed me how to wet the paper and then tear it.  It does
> give a pretty good imitation of a deckele.  However, wouldn't the
> registration into the kento work better with a straight edge rather than a
> torn edge?

If you use a hosho paper you will find tearing it wet, is at best 
difficult, if not impossible.  It does depend on the weight. The heavier
the hard it is to tear. The fibers are so long is what cause the 
difficulty.

You have to cut the kento mark or sections with a knive. These must be
clean sharp edges of you will not be able to register the paper the
same every pass.

Try it you will like it.

Graham

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From: amoss@mindspring.com (John Amoss)
Date: Fri, 11 Sep 1998 15:00:00 +0300
Subject: [Baren 1620] reminant ruminations 

Ray wrote in reference to "the Floating World" by James A. Michener:
>I agree that the pictures are terrible since they are not
>in color.  I wonder if the hardback had color plates?

Ray, the color plates in the hardback editions are curiously even WORSE
than the black and white-
real botch jobs that don't do justice to the text.

I found a second printing on ABE book search:
<http://www.abebooks.com/cgi/abe.exe/routera^_pr=inventoryKeys^phase=1>
For collectors, the first editions can go for $250 or more, 2nd printing
and later hardbacks are $25-50.

I have met only two serious collectors and have found them to have similar
views as Michener-
a rarified sense of value based on scarcity. It is hard to talk with
collectors about making prints today- they seem to view it as folly- to
them, the artwork is meaningless without historical context. Although I do
collect prints now and then, I have to keep away from such thoughts or I
lapse into a kind of "second-hand" person- the exact opposite of who I want
to be.

As for Gary's exaltations- I love to hear such affirmations about not being
chained to the past. It is these challenges that lead to making a life of
higher passions- although whatever life you may lead, the day-by-day
routine is, I believe, inevitable. I think that there are no perfect lives,
just perfect dreams- once you are on the road to that dream, life seems to
seep in like a leaky basement.
To keep my sight on the heavens while I mop is my personal challenge.

- -john

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From: April Vollmer/John Yamaguchi <aprilvollmer@altavista.net>
Date: Fri, 11 Sep 1998 15:44:13 -0400
Subject: [Baren 1621] Existential Dilemmas 

I love Dave's pragmatism! But what could be more mysterious than simply
dealing with materials!  Actually, the sort of focus and mental clarity
that comes with doing good work, being in tune with your materials, (and
forgetting about yourself) is what I think of as a spiritual feeling!

And speaking of pragmatism: I'm with Jean when it comes to deckles.
Besides, how do you do your kento registration with a torn edge? Have to
admit I love the real deckle, though, (the "ears") and sometimes save it at
the non-register sided of my print. I like the way it identifies how the
paper was made.

I envy Jean's 10" cherry plank! Etching ink is too slippery to roll up well
(plate oil will make it worse). You may be able to find a can of something
sticky from one of the woodcut ink supppliers to add...Graphic Chemical,
Rembrant, Hanco? Woodcut ink has some kind of varnish in it to make it
sticky, it really is easier to use. I use color litho ink to print oil,
it's a better consistency than etching ink, but doesn't have the varnish of
'real' woodcut ink, so it takes a long time to dry, which can be an
advantage. I notice Dan Smith makes some woodcut ink in tubes now.

And to answer Sarah Hauser: I have used quart jars of gum arabic from NY
Central Art supplies, and Bill uses Varn, which is even cheaper...seems to
me $5 is too much!

I went to Sarah's whos who entry and was surprised to find a second print
of hers! Who scanned this one?
http://www.woodblock.com/forum/members/hauser/hauser.html

P.S. The digest is great when there's so much mail...just one per day! And
don't forget to delete unnecessary quotes.

April Vollmer

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From: Gary Luedtke <GLuedtke@compuserve.com>
Date: Fri, 11 Sep 1998 17:35:47 -0400
Subject: [Baren 1622] Getting the Business 

Baren Friends,

Something Ray wrote about the business aspects of art got me to thinking.
I like art but am not crazy about business.  Making money, yes.   Studying
business, no.  He is unquestionably right however that a "successful"
artist is a person who can do both well.  "Success" in this instance
meaning economic success, being able to live at your art.  

I know there are some of you out there who are artists making a living as
artists.  There are others, such as myself, who make a living elsewhere but
still sell our art as the opportunities arise.  There may be others out
there who do their art for sheer self-enjoyment and who do not look to sell
or market their art at all.  Those folks can stop reading now, what follows
won't interest you.

For the others, those who do and those who would like to sell, or sell
more, my question is this.  Do we have amongst our membership people
experienced in business, such as Ray, who would be willing to teach, or
mentor those others of us looking to improve our business skills, and are
there those among us who would like that information?   

It seems to me Ray has touched on something that could be developed as a
related category within Baren.   For those of us with aspirations of
"success" in art, wouldn't this issue be possibly quite an enriching one?

(And I don't mean the pun here)   Ray, and perhaps others who have
extensive business experience, if willing to offer suggestions in a
categorized sideboard to baren perhaps, could at _least_ provide some
enlightenment to the more business-challenged of us which could be quite
helpful I think.  The Baren readership has certainly grown, and perhaps now
would have a number to fill both the mentoring side, and the student side

Dave, as this might possibly broaden the scope of Baren, perhaps you're the
first one we need a response from with a logistical evaluation.  But as
Dave is probably still in bed, maybe we can get a groundswell going in the
mean time to give him some responses to consider.

What do you think?

Gary

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From: David Bull <davebull@woodblock.com>
Date: Sat, 12 Sep 1998 07:17:59 +0900
Subject: [Baren 1623] Re: Mr. Michener's book ... 

In the recent postings about Mr. Michener and one of his books (The
Floating World), a couple of things have been said that I think need
clarification ...

John wrote:
>Sosaku-hanga fans might be disappointed with his haughty disdain 
>for woodblock printing's modern incarnations. 

John, excuse me, but Mr. Michener is the last person in the world who
can be criticized for disdaining sosaku hanga. I agree that he doesn't
seem to have had much love for 'shin hanga' - the work of people like
Hiroshi Yoshida and Kawase Hasui - but he was a completely totally
passionately crazy man when it came to Japanese sosaku hanga.

In the book you have been discussing he speaks of such men as Onchi,
Hiratsuka and their contemporaries as producing "vibrant, coarse,
exciting prints", and freely uses the word "masterpiece".

He also wrote the book "Japanese Prints: From the early Masters to the
Modern" in which he shows that these men are direct descendants of the
famous designers of the past.

He _also_ subsidized with his own money the production of the book "The
Modern Japanese Print" in 1968 in which 10 of these artists were each
asked to produce an edition of 475 copies of a print, which were then
all bound together to produce the volume.  This cost him an absolute
fortune ...

He _also_ frequently made the rounds of Tokyo galleries buying all that
he could find of their work - sometimes cleaning the place out right to
the bare walls ... literally.

He _also_ made free use of his own resources to quietly and 'behind the
scenes' keep some of these men alive and working during the years when
they were getting very little recognition.

I am sure that there is more ...

Mr. Michener certainly doesn't need my words in his support, but I do
want to make sure that everybody understands that these words of John's,

>... a rarified sense of value based on scarcity. 

although they may apply to some people, do most certainly _not_ apply to
him.

The world of 20th century Japanese printmaking never had a more ardent
supporter, nor one who was as willing as he to back up his words with
hard financial support.


Dave B.


P.S.  I guess I should mention my 'bias' here.  I made an update to my
web site 'front page' about a month ago, to include a small essay by Mr.
Michener. If you take a look at it, you may understand why I'm so eager
to jump to his defense.
http://www.asahi-net.or.jp/~xs3d-bull/main_page.html

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End of Baren Digest V4 #274
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