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

Baren Digest             Friday, 18 September 1998     Volume 04 : Number 285

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From: Graham Scholes <gscholes@islandnet.com>
Date: Thu, 17 Sep 1998 12:43:33 -0700 (PDT)
Subject: [Baren 1711] Re: Humour. 

... deleted ...

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From: Graham Scholes <gscholes@islandnet.com>
Date: Thu, 17 Sep 1998 12:45:43 -0700 (PDT)
Subject: [Baren 1712] Re: Humour. 

... deleted ...

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From: Gary Luedtke <GLuedtke@compuserve.com>
Date: Thu, 17 Sep 1998 17:32:38 -0400
Subject: [Baren 1713] Re: Humour. 

After plowing through twenty minutes of Barren matter, I have come to the
following conclusion.

_Un_limit editions ,

_ limit_ Graham's jokes!  


Matt, you mentioned Michael Verne, I've heard that name before, who is he? 
You can perhaps send that one to me personally so as not to take another
entry on Baren.

Gary

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From: Julio.Rodriguez@walgreens.com
Date: Thu, 17 Sep 1998 16:58:30 -0500
Subject: [Baren 1714] re: editions, the final word 

Thanks to Andrea, Bill, Graham, Ray E. , Ray H., Sheryl C. and all the
others that replied to my posting about editions.
I thought my postings were somewhat humorous but no one eluded to that so I
must have missed the boat. I agree with much of what was said...and
disagreed with some...so I will LIMIT my reply and signoff at that    

JULIO

About the "joke". I got it earlier in the summer but it referred to "the
CUBS winning the World Series" or building the bridge.
 I think this is one of those general types that you just plug in your own
punch line.  I think we need to be sensitive to others when putting out
messages & jokes. Remember this is a forum, and what one sees, we all see !
If you have problems or private going-ons, perhaps they should go off-line. 
Don't mean to come thru as a fuddy-duddy or whatever....

Be on the lookout for a posting about  my web-site coming up during the
next few days.

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From: kim and paul <topcogs@worldnet.att.net>
Date: Thu, 17 Sep 1998 15:11:27 -0800
Subject: [Baren 1715] 

Hello, my name is Kim Kaschimer Medina and I am new to the group.  I
recently graduated from the University of Arizona with BFA.  Thanks for
the lively discussions about editioning prints.  I can't recall if
anyone has dicussed the ethics of what I have heard is called the
"varied edition".

Also, I will be speaking in a panel discussion group at the next
Southern Graphics Council conference concerning Bill Fisher's question
about making "meaning" in art........ yes, the commentary could go in
many different directions, but I am most concerned with whether or not
printmaking should be taught at all.... to students K-12 and university
levels.  Why should students learn about printmaking, especially in this
age of technology?  Any replies, short or long, would be appreciated.
Maybe the answer is simple.......

Thanks in advance........

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From: Ray Esposito <brassring@brassring.org>
Date: Thu, 17 Sep 1998 18:07:03 -0400
Subject: [Baren 1716] 

Kim wrote:
> ... I am most concerned with whether or not
> printmaking should be taught at all.... 

Kim and Paul

Welcome to our little but growing group.  As you can tell, it sometimes
gets lively.  A sense of humor (oops!!!) is vital.  :-)>>>>

In answer to your question about teaching students, I see two areas of
thought.
The first is that schools simply do not have the money for art and it is
the first subject to be cut at budget crunch time.  Printmaking itself is
even more difficult to teach at the k-12 level because of the cost.
Without corporate participation (a bad word among many in the "artist
world"), you can forget about it on a wide level.

The second point is how do we get more business help in paying for
printmaking.  I do not have a broad based answer.  I am relocating to Snow
Hill, Maryland and will open a gallery/studio called Printhouse.
Printhouse has two goals; raise money for The Brass Ring Society, a charity
I run and to expose school children to printmaking.  

I have had discussions with schools in the area and we are developing a
plan that covers four weeks.  The first week I will give sixth grade
students a tour of the gallery and introduce them to different kinds of
prints.  The second week they will make two Collagraph plates each in
class.  The third week they will return to the studio to print their
plates.  The fourth week will be a show at the school and then the art will
be moved to the gallery where we will hold a silent auction with all
proceeds going to the kids and for art supplies in the school.  Printhouse
will not make any money on the program.  Printhouse donates all supplies
for the program.

It is my hope that we can take this idea and promote it throughout the
country and get other printmakers with the facilities to participate.
Printmaking can only grow if we have a new converts coming up though the
ranks.  I am convinced that when kids are exposed to printmaking we will
get some of them to continue as they grow older.

Cheers

Ray Esposito

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From: Gayle Wohlken <blueman@pantek.com>
Date: Thu, 17 Sep 1998 19:04:54 -0400
Subject: [Baren 1717] Re: Baren Digest V4 #284 

Graham wrote:
> Gayle,
> We know who you are.... Daves posting was dealing with the names of people
> that did not match the e-mail address.

Actually, Graham, I couldn't remember if my email return 
address gave my name or just said blueman.  After I sent it that
way, I realized I did a rather silly thing.  

As for the joke.  I wasn't offended (being a woman, et al.).  I think
as Carolyn said, you can substitute the word "men" for "women"
and the whole idea is that the sexes don't understand each other.
It's a tension that makes the world kind of interesting, I think.

Gayle Wohlken

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From: Dean Brink <interpoetics@earthlink.net>
Date: Thu, 17 Sep 1998 16:06:48 -0700
Subject: [Baren 1718] 

Kim wrote:
> ....I am most concerned with whether or not
>  printmaking should be taught at all.... 

I'm missing the point. Why shouldn't it be taught? What does an "age of
technology" (=information/computer age?) have to do with printmaking?

Printmaking is extremely technical, and will only be supplemented by new
technologies (such as imaging applications, especially Adobe products).

If you are interested in woodblock printing in general, you might dig up books
on Japanese woodblock prints (and search postings on Baren), comparing 19th c.
and 20th century print cultures, making note especially of the rise of
creative printing in the latter. Also, the use of woodblock printing in a
"return" to a folk art in an "age of mechanical reproduction" (Walter
Benjamin) was popular in early 20th c. Germany (as well as in Japan).

Why is it important? It forces students to think in terms of a complicated
process, rather than simply getting pigment to reflect light and make images
on canvas. They learn about an art that straddles modern technology (not to
mention consumerist culture) and the expressive arts.

Also, unlike painting or drawing, printing allows for reproduction of the
"original" so to speak. The children become empowered by being able to think
in terms of reproducing pieces that express their outlook, may disseminate
ideologically engaged materials (youthful angst), and of course that are more
salable (cheaper to buy, as well as more easily reproduced by the artist).

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From: jimandkatemundie@juno.com (James G Mundie)
Date: Thu, 17 Sep 1998 19:13:11 -0400
Subject: [Baren 1719] editioning 

Okay, since we're all chatting about the editioning thing, I have a
little secret to tell.  As far as my woodcuts are concerned, I establish
the intended edition size (about twenty), but may only print five at a
time.  I'll print in groups of five or so as I need them (which of course
means I may never print all twenty).  Why?  A simple matter of economics
and a lack of storage space:  paper is expensive and drawer space is
limited.  

I have printed large editions in one go (a commission for a run of 250
comes to mind), but have found the above method to be most satisfactory
for now.

One point that hasn't been brought up in this discussion about editioning
is the need to limit your edition to the point before undue wear on the
blocks becomes apparent.  It is in the artist's (and the printer's-- if
that is the system employed) best interest to provide the best quality
product.  That's your reputation on the line, so why offer a shoddy
product?  Printmaking did grow out of merchantile interests after all.

James Mundie, Philadelphia USA

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From: Daniel Kelly <daniel@vowel.or.jp>
Date: Fri, 18 Sep 1998 09:53:37 +0000
Subject: [Baren 1720] Not Funny 

Graham
Shouldn't the jokes be sent to some joke line. Besides most of us see  these 
email jokes in other places.

D

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From: Daniel Kelly <daniel@vowel.or.jp>
Date: Fri, 18 Sep 1998 10:12:00 +0000
Subject: [Baren 1721] Re:   Baren Digest V4 #283 

Hello George
You write:

>I think you misunderstood me. I don't think it's unscrupulous, immoral, or
>unethical for an artist to print as much as he wants of his open edition. I
>think it just cheapens it . Look at the examples you gave. In Edo period
>Japan were woodblock prints highly prized works of art?

What do you possibly mean?
I'm using the ukiyoe prints of Edo such as Hiroshige, Utamaro, etc. ,etc.. as
examples of the unlimited editioned prints which are not really rare. That is
not in the sense of modern prints.  (Remember less than 200 = fine art). They
are now highly prized by you and many others. I just wasn't sure you recognized
the huge numbers of these things  there are out there . They are a huge
influence on art in general. Partly due to the large numbers and wide spread
distribution they're influence has reached every corner of the earth.
There not cheap.

D

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From: Daniel Kelly <daniel@vowel.or.jp>
Date: Fri, 18 Sep 1998 10:36:00 +0000
Subject: [Baren 1722] Re: why limit your edition? 

Don wrote:
> >The more likely motive, however, is to avoid printer's exhaustion.  When I
> >set an edition size  of 20, 40, or 50 impressions, I can do the physical
> >labor of inking and printing during two or three studio stints.  Printing
> >larger editions than these would be  tedious and exhausting. 

 and Graham answered:
> You sure hit it on the head.  I hate doing the same thing over and over.
> I have to move on to create new images.  How else can an artist grow.

  One way to answer your question is to use assistants or professional studios.
You know; spread the work around. You'll then have more time for "growth"

D

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From: Ray Esposito <brassring@brassring.org>
Date: Thu, 17 Sep 1998 21:14:57 -0400
Subject: [Baren 1723] A Magazine Review 

If you have access to Biblio, a magazine about rare and collectable books I
recommend the October 1998 issue.

There is a story about George Baxter, who in 1835 took out a patent on a
way to "produce facimiles of famous paintings and other impressions in
color using steel and copper plate engravings".

What has this to do with Baren?  

I was fascinated on how Baxter, in 1835, came up with a system to produce
color prints, mostly for books, with registration that mirrored Japanese
woodblocks.

Permit me to quote a paragraph.  "He first engraved the complete picture
with all of its details and shadings on a sheet of soft steel or copper.
This first impression from the intaglio plate, which gave the finished
print 'more body and character,' according to his patent application, was
printed on a neutral colored paper.  Then, wooden or metal blocks were cut
from impressions of the plate - up to twenty or even thirty, depending on
the number of colors and tints planned for the engraving.  A separate block
had to fit the engraved outline exactly.  In succession, the blocks would
be superimposed on the original impression, which had to be dried after
each color application".  You need to remember that he used oil ink, not
watercolors.

Sound familiar?  It looks like he produced a key block and then individual
color blocks.  The story goes on to tell about Baxter's trials in getting
books published.  It does not get into how he handled registration but I
found the story fascination in that the timing parallel's what was
happening in Japan.  It does not metion other print methods so I have no
idea if Baxter knew about Japanese wood blocks.

Interesting read.

Cheers

Ray Esposito

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From: jimandkatemundie@juno.com (James G Mundie)
Date: Thu, 17 Sep 1998 22:01:21 -0400
Subject: [Baren 1724] exhibition announcements 

Just in case any of you should happen to be going through Philadelphia in
the next couple of months, I invite you to stop in and see my work at the
following exhibitions:

Creative Artists Network's Fall Exhibition
22 September to 6 November 1998
at
C.A.N., The Barclay, 237 South 18th Street, Suite 3A, Philadelphia

(three new drawings from my "Prodigies" series will be on display here:
"The Seamstress", "Lady Anne" and "The Two-headed Boy of Bengal by
Candlelight")

and

James Mundie: Recent Paintings and Prints
1 to 30 October 1998
at
the Burrison Art Gallery, The Faculty Club, University of Pennsylvania,
200 South 36th Street, Philadelphia 

Slan go tamall,
James Mundie, Philadelphia USA

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From: "Michelle D. Hudson" <hudson@panther.middlebury.edu>
Date: Fri, 18 Sep 1998 06:40:06 -0400 (EDT)
Subject: [Baren 1725] 
 
Dear Kim,
This is from Ray Hudson.   (Kim, I do this because the email address is in
my wife's name.)   Welcome!   This, as you'll see, is a lively group.
About teaching print making to children:  I found it the most rewarding of
any art projects with kids in grade school and highschool.   Whether it
was dipping string and leaves in glue and dropping them on cardboard,
letting them dry, running an inked brayer over them and printing OR wood
and lino cuts, there was something about the transfer of image that
produced immediate success.   Kids who were nervous about drawing or
painting, could, in a sense, blame the plate for failures and accept the
unique successes as their own.   Few kids could produce fine lined prints
and so we had to concentrate on the drama of color and larger shapes.
Sometimes we used wooden spoons or student barens to print with;  later, I
was able to talk the school into buying a good sized press, but that was
almost more work than it was worth for most students.   Print making was
also a way to make decorative papers that we then used in  creating
"homemade" sketchbooks, etc.  
Again, welcome.

Ray H > > > > > 

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End of Baren Digest V4 #285
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