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

Baren Digest               Tuesday, 2 March 1999       Volume 06 : Number 467

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From: Gayle Wohlken <blueman@pantek.com>
Date: Mon, 01 Mar 1999 08:44:23 -0500
Subject: [Baren 3295] Re: Baren Digest V6 #466 

Dave, thank you, thank you for the snapshots and information
about  the brushes.  I wasn't giving it enough energy I guess.
I soaked it a long time (overnight actually) and this morning I
went at it again, but I hadn't read your posting yet.  Anyway, no
change.  But I'm so glad you showed us that photo because
mine is straight across.  And it's still not soft.  I'm going to give
it a little hell after this.  

http://www.woodblock.com/encyclopedia/entries/001_11/images/shape_2.jpg

* * *
Daniel, thanks for tips on different types of brushes.  The one
I'm working on I bought from McClains and it's my first brush
of this type.  Man, if I could just catch a shark, but I'd probably
feel sorry for it and wouldn't be able to end its life so I could
do my brushes. :-D

Gayle Wohlken

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From: "Jeanne N. Chase" <studiojnc@prodigy.net>
Date: Mon, 1 Mar 1999 10:28:55 -0500
Subject: [Baren 3296] Re: Baren Digest V6 #466

Gayle;
My printer did the same thing, blinking lights. Have you changed printers?
I discovered that my new printer which was , I thought the same. It had a
different # after desk jet. The printer had to be refigured. { I owe you an
e mail. will do!}

Greg;
Keep those informative postings coming. I always enjoy reading them

To All;
The postings on paint was so interesting that I got my old Ralph Mayer book
out of the moth balls, dusted it off and will keep it active.
Luckily it is an old 3rd edition.

Graham;
Ordered you water color book  through my local book store. They specialize
in old books and are pretty reliable. I am still waiting for the Floating
Island. I have found some rare treasures there. A marvelous book Very old on
Rembrandts etchings.

"there is no such thing as a dumb question" Someone said. So; What is shina
plywood?  My husband who is a woodworker, has never heard of it. Is it a
specialization of a certain area? I thought plywood was so splintery that it
was not good for woodblock printing.

I have a new site, it is;     www.pages.prodigy.net/studiojnc

It has flaws still. My son has taken my Web Page up as a hobby and is
working on it still. But the old one will be gone soon.

Jeanne

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From: April Vollmer/John Yamaguchi <jy6@columbia.edu>
Date: Mon, 1 Mar 1999 11:57:29 -0400
Subject: [Baren 3297] Pity not Scorn! 

Wow, Dave, thanks for the great pictures of the 'maru bake'...(is this the
correct name?) It's what McClain's catalogue calls the flat brushes. She
calls the ones with the upright handles 'hanga bake' which just means hanga
brush, right?

Mine are not as rounded over the top, though I did trim the sides a bit
with scissors before I singed the tips of the bristles. I was alwo
wondering if your bristles are split. In one place on your photo it almost
looks like the tip is broken into flags. Not just finely tapered.

In an earlier post you said you sometimes soak the brush for a few hours
before rubbing, but the most recent post was general about the amount of
time, and said to wet the tips only. ??

I am sending Dave a scan of the Barbarian Dragon skin. Pity us, Dave, it's
just that we don't have access to your wonderful supplies! We gaigin have
to make due with what we can find.

(I did see someone prepare a sharkskin once, and it seems quite a trick to
get it stretched nicely. Yours is especially beautiful! The whole animal!)

April Vollmer

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From: Graham Scholes <gscholes@home.com>
Date: Mon, 1 Mar 1999 08:46:25 -0800
Subject: [Baren 3298] Contraption 

To all.
Received this posting.....Thought is was SPAM until I read it
But I see it is one of those new fangled contraptions like the computer
software that does fluff art.

Now I did promise not to bring this subject up until Mar.

Get your broomstick out Gary.....(,<;

Graham


>>We have an innovative, unique in the world, machine for making mezzotint
>>automatically which has been completed just two months ago with patents
>>granted in some countries and others pending.  this machine can produce
>>mezzotint absolutely hand-free and the finest texture and tonal quality
>>incompatiable ever.  The machine uses circular knife for linear rocking
>>in limitless vaiables.  A 40 x 40 cm plate, for instance, can be done
>>withing 15 hrs. while using rocker manually will normally take at least
>>two weeks.
>>Sample of the finished mezzotint is available.  If you are interested in
>>this revolutionary device that can cut the non-artistic exhausting
>>preparation work and save enery for the art creation, please contact us.
>>  Certainly we would appreciate if you could recommend other artists as
>>well.
>>Our organization is  "Sindi International Trading, Tel: 886-2-2563.8553
>>Fax: 886-2-2522.4608 Taipei, Taiwan.
>> e-mail address:   avf983@ms21.hinet.net
>>Peter Chen, General Manager

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From: Wanda Robertson <robertson@canby.com>
Date: Mon, 01 Mar 1999 09:34:21 -0700
Subject: [Baren 3299] Re: Contraption 

>> this machine can produce
>>mezzotint absolutely hand-free

Wowee.....I want one of those! Don't you guys want one? LOL!  One thing
I would like explained, however, "finest texture & tonal quality
*incompatiable*"? I would think the whole thing would be pretty
*incompatiable*, myself. Not to be compared to this wonderful,
wonderful, artistic computer that I'mworking on!
(Heehee) Sorry, couldn't resist, Graham.

Wanda

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From: Shimizu <shimizu@mail1.nai.net>
Date: Mon, 01 Mar 1999 13:13:13 -0500
Subject: [Baren 3300] Sharkskins 

I have a sharkskin here that was given to me as a going away present
when I left Japan.  Years ago I soaked the fellow and attached him to a
board.  Eventually, he tore away from the nails (or staples) and
returned to his original dried shape.   So my question is, what is the
proper way to attach the skin to the wood?   The main part of the skin
is still in good condition but some of the edges are rather frayed.  I
tried to re-attach him once before but after soaking him, the edges got
so soft that I was afraid he would tear and I stopped.  (The smell was
rather wicked too! )  Suggestions, Dave?

Lynita
Connecticut

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From: Gary Luedtke <GLuedtke@compuserve.com>
Date: Mon, 1 Mar 1999 13:21:45 -0500
Subject: [Baren 3301] Contraption 

Graham wrote,  
>But I see it is one of those new fangled contraptions like the computer
>software that does fluff art.   Now I did promise not to bring this subject
>up until Mar.

Get your broomstick out Gary.....(,<;<  "

Well Graham, it's March first and you just couldn't wait any longer to get
back into the fray, huh?

Sorry to disappoint you, but I'm not interested in mezzotints, or fluff
art, or machines to make mezzotint easier.   Easiness is not really even a
consideration, only "better".   If I find a tool that enables me to do
something better, I'm all for it.   That's the bottom line.   It may not
even be easier,  take the computer for example.  You certainly can't say
learning how to use one is easy.   Drawing is easy compared to figuring
this thing out sometimes.   

When is your museum exhibit, Graham?    Was that in any way linked to the
conclusion of your lighthouse series, or do you have more to go on that? 
Do you find that having a "series" of a print 
does better with the art collectors than individual works?   Are you
planning another series after that or will you go back to individual
prints?    Just curious.

Gary

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From: Elizabeth Atwood <elizuno@midcoast.com>
Date: Mon, 1 Mar 1999 15:36:47 -0500
Subject: [Baren 3302] Collage 

Yesterday I went to a wonderful show of black and white landscapes done in
lithograph by Claire Van Vliet (of artist book renown.) Of special interest
to me was the collaging....combining the print with some background
papers...and in some instances, applying pencil and watercolor. She did
grand things with mountains and rock formations....somewhat reminiscent of
Clare Romano's canyons.

Has anyone in the group ever experimented in collaging with a woodblock
print?? And, if so, what have they learned about the kinds of paper that
are most successful??.......ElizA

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From: "Daniel Kelly" <daniel@vowel.or.jp>
Date: Tue, 02 Mar 1999 06:48:51 +0900
Subject: [Baren 3303] Re: Collage 

Eliza,
I can tell you there are no special problems with 'chine colle (the term for
collage in printmaking) and using the wood block technique. I encourage you
to try various papers for their color, texture, etc.. The idea has been well
explored by Picasso and numerous artists since. In my own works I like the
physical dimension and touch of abstraction I get from combining various
papers.
D

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From: Julio.Rodriguez@walgreens.com
Date: Mon, 1 Mar 1999 15:57:22 -0600
Subject: [Baren 3304] Re: brush stuff & sharks, fooey!... 

Dave, somehow I think that Matsuzaki-san is not the only one laughing over there
in Japan!

 Not only you got us, barbarians, looking to using and  re-sheathing our barens
(something that takes many years to master (if at all!) and only a handful of
living japanese craftmen really know how to do right............................

but now you got us burning our brushes & chasing after shark skins...........I
hope you had a good laugh at our expense....

remember! ..... we are the same people who are afraid of water and won't  wet
our papers and try water pigments !!!!!!

What ARE you thinking ???????

JULIO {:-)

ps.  Sunday I was at a local store looking for a new stove and there they had a
huge aquarium. Some very large fishes including a giant eel an a baby shark.  Of
course my first thoughts were to forget about the stove and hide inside the
store and after closing go for that shark (skin).....but that giant eel looked
awfully dangerous...... maybe next time!

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From: "Daniel Kelly" <daniel@vowel.or.jp>
Date: Tue, 02 Mar 1999 07:49:35 +0900
Subject: [Baren 3305] Re: brush stuff & sharks, fooey!...  

PS. to a moment ago....
Hi Julio,
I just want to throw in that I never saw the discussion on the bb baren. But
I use them and find them especially good for my work because I do bleed
prints. Your right about the sheath on the traditional baren. Its a real
pain to put on and it hates to get wet. When you print to the edges the
bamboo becomes easily damp and soon wears out. In this regard I use mylar as
a sheet between. Also these days I like the silicone lubricants.
D

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From: Graham Scholes <gscholes@home.com>
Date: Mon, 1 Mar 1999 17:27:58 -0800
Subject: [Baren 3306] Re: Contraption 

Gary wrote....
>When is your museum exhibit, Graham?    Was that in any way linked to the
>conclusion of your lighthouse series, or do you have more to go on that?

The exhibits are detailed at:
http://www.members.home.net/gscholes/event99.html

The lighthouse series of prints will be in the show along with other
images.  I have been working very hard on new material that is ...well I
will be putting it in my web site.  The exhibition is called Coloured
Woodblock Prints. As I was not finished the light series (10 more to do)
the Gallery suggested they include a few of Phillips work in this show to
fill the space.  I will have approximately 35 piece in the show.

I can't answer that question regarding .......
>Do you find that having a "series" of a print
>does better with the art collectors than individual works?
I have not sold a pile of work and have but a couple of people buying these
as collectables.
They seem to dribble and drabble out of here but very slowly. I mentioned a
while back....sold nothing for 3 months.!!!!! Can't figure it.

>Are you planning another series after that or will you go back to individual
>prints?

Oh boy $64,000.00 question.  I may but it would be a small series and based
on a theme rather than the historic approach.

Thanks for your interest,

Graham

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From: Gary Luedtke <GLuedtke@compuserve.com>
Date: Mon, 1 Mar 1999 21:26:58 -0500
Subject: [Baren 3307] Re: Contraption 

Graham, 
    Was the number of your lighthouse series an arbitrary one or are you
doing all the manned lighthouses on the Canadian west coast?   How many
does that come to?

    It strikes me that you'd have the makings of a nice book, both you and
Dave with his 100 Poets series, both extended series with a theme.    

    Also Graham, since sales are slow,  it occurs to me that your idea of a
weeklong workshop up in such a scenic area ought to be quite a success if
advertised in the U.S.  You have both the Studio and Bed and Breakfast, an
ideal combination for such a venture.   Have you given that any thought
besides the Baren membership?    Perhaps advertising at Art Schools for
summer workshops might be advantageous.   The strength of the American
dollar could be an advantage right now for such an idea to be successfull

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From: Graham Scholes <gscholes@home.com>
Date: Mon, 1 Mar 1999 19:17:00 -0800
Subject: [Baren 3308] Re: Contraption 

Hi Gary
>    Was the number of your lighthouse series an arbitrary one or are you
>doing all the manned lighthouses on the Canadian west coast?

I am doing all the manned lighthouses on the coast as of 1994 when I
started the project.
A total of 35.

>    It strikes me that you'd have the makings of a nice book, both you and
>Dave with his 100 Poets series, both extended series with a theme.

Yes I think a book will be in the making in due time.  I am going to stay
focused and finish the series before venturing into that area.  Have done a
book I know that it could well take about two years to put it together. I
my very well get a writer and collaborate on the venture.

On the subject of the workshop....we have take all that you mentioned into
consideration.
I am wondering if we were a little late off the mark as many people
(including some on the baren) had made plans for summer workshops.  I will
be adding a page to the website very soon.

Cheers

Graham

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From: Mariten@aol.com
Date: Mon, 1 Mar 1999 23:10:27 EST
Subject: [Baren 3309] Re: Source for apprentice chemists 

>From Maria in Las Vegas

Greg wrote:
>the most memorable images, are not the ones who can pick out selenium from
>sulphide at thirty paces.  Fair enough.  But to me, part of the personal
>maturing process in the art is a gradual appreciation for the materials 
>themselves out of which we fashion our works

And to that, Greg, I feel that we can sometimes produce better art as we get
to know our materials better. Through school I hungered for the type of
knowledge that you can't always find at your fingertips or in the master's
words. Questions like: "what's printmaking paper made of", "why is it
different than drawing paper","why is viridian called viridian", "can I use
etching inks on relief prints" went unanswered until I dug deeper. 
A good cheap and easily available start on pigments is a book called "Classic
Paints and Faux Finishes" (Reader's Digest publication, of all things), which
explains where all these pigments come from and much more. It's kind of an
unusual source because I found it at the home supply store, but it is the
first book, outside "The Artist's Manual" that quenched my chemical thirst on
pigment knowledge. 
Perhaps there are other more traditional classical texts that the experienced
ones in the group can suggest to us thirsty learners?

Sorry, no sharks in the Mojave desert, but I can offer plenty of iguana skin
for softening brushes, I'll just get my blow-gun . . . 

Health to all,
Maria

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From: Gregory Robison <grobison@swiftuganda.com>
Date: Tue, 2 Mar 1999 08:25:57 +0300
Subject: [Baren 3310] Re: brush stuff & sharks, fooey!... 

Kampala, 2 March 1999

Julio wrote:
>...now you got us burning our brushes & chasing after shark skins...

I think the 3M industrial abbrasives division produced a synthetic shark a
few years back that we really have to consider...  ;-)  

Greg

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From: David Bull <davebull@woodblock.com>
Date: Tue, 02 Mar 1999 14:34:45 +0900
Subject: [Baren 3311] Re: Pity not Scorn! 

April wrote:
'Pity not scorn!'

Gee, I wonder what impression I gave in that posting?  I hope everybody
understands that I feel _neither_ pity nor scorn towards the other
members of this group.  Perhaps my answer was a bit flippant, but hey,
we're all friends here ...

Scorn?  No way.  Each to his_her own methods ...
Pity?   No way.  We now _all_ have wonderful access to any manner of
tools, supplies, information ... you name it.  

***

> ... pictures of the 'maru bake'...(is this the correct name?) 

Yes.  This is the type of brush that has been common here since about
the Meiji-era.  The upright type:

>'hanga bake' which just means hanga brush

was the common type back in the really old days ...

***

> Mine are not as rounded over the top, 

The photo I showed was perhaps a bit extreme.  Mine are not all that
much rounded.

> In one place on your photo it almost
> looks like the tip is broken into flags. 

The tips do get chewed up a bit by the sharkskin, and some of them do
seem to develop 'split ends'.  Whether or not this is important for
holding pigment I rather doubt, as most of the pigment seems to sit down
in between the hairs themselves, but I'm sure it can't hurt ...

 
> In an earlier post you said you sometimes soak the brush for a few hours
> before rubbing, but the most recent post was general about the amount of
> time, and said to wet the tips only. ??

When I said 'soak the brush' I hope that I added that this was the hairs
_only_.  Soak the body of the brush and you'll inevitably shorten its
life, as the hairs will start to rot at the base.  The wood warps too if
you wet it too much.

As for how long to soak - longer is better (at least with _hard_ hairs),
but if you just want to do a quick touch up on a brush, you can get away
with simply quickly wetting it ...

 
> (I did see someone prepare a sharkskin once, and it seems quite a trick to
> get it stretched nicely. Yours is especially beautiful! The whole animal!)

Matsuzaki-san thought it was stupid of me to do it that way.  The board
ends up being too big to handle easily ...  He just cuts the best parts
from the skin, and tacks them to small bits of wood.  Eminently
practical.

***

Lynita wrote:
> So my question is, what is the
> proper way to attach the skin to the wood?  

Again, I'm sorry that the Encyclopedia pages are not ready, but this is
the general procedure:

- - chuck the dried out, rolled up skin (as it comes from the fish market)
into the bathtub.
- - Don't wait too long (I mean too many days ...), as it will start to
decay and smell, but once it seems to have softened up enough, take it
out, lay it skin down on a table, and start to clean off the left-over
bits of flesh and cartilage from the inner surface.  This is a difficult
job, as that cartilage is _tough_ stuff.  Try not to cut through the
skin to the outside.  Try to get the surface as generally flat as
possible.
- - While the skin is still wet and supple, glue/nail it down to thick
plywood.  This is a job for a lot of hands.  Spread white glue all over
the board and the inside of the skin, and slap it down in place.  Use
short, fat-headed nails or strong tacks, and fasten one side securely in
place.  Use plenty of nails, and stretch the skin out as you go.  
- -When one side is done, get all the hands you can gather to pull the
skin out tight.  While they are holding and pulling, go along the edges
and nail it all down.
- -Make sure that the skin is pressed down into the glue everywhere, and
try and smooth out any bumpy places.
- -Set it aside to dry - not not not out in the direct sunshine.  This
shark will _never_ again see the direct sun.  Never. (If you put it out
in the sun, it will shrink and pull away from the nails, and you'll have
a h#@l of a time getting it smooth again.)
- - That's it.  After each use, set it aside to dry thoroughly before
storing it away - someplace where it can get fresh air ...


I mentioned that my skin is coming to the end of its life.  What happens
is that the individual 'teeth' start to come loose and drop out one by
one, leaving smooth bald patches.  Eventually there just aren't enough
left to have any effect of the brushes.

***

Gayle wrote:
> ... if I could just catch a shark, but I'd probably
> feel sorry for it and wouldn't be able to end its life so I could
> do my brushes. 

I'm sure we all feel pretty much the same way.  The skin I use was
headed for the scrap heap, if that's any consolation ...

When you think about it though, it seems that our particular craft is
pretty earth-friendly.  I don't use any plastics, I use no electricity
or gas at all, and I don't muck up the environment so much with any
waste products.  (The paper-makers sure make a mess of their local
rivers, but I don't think that the stuff they throw away is particularly
dangerous ... just rather ugly.)

***

Joe wrote:
> I have heard that once the plank has been cut to print size it
> may bend or scoop. To prevent this it is a good idea to cap an end. 
> Does anyone have experience or a suggestion on this matter? 

(You haven't been ignored Joe.  I've filed this in the 'to do real soon
now' box, and will try and get to it ... 'real soon' ...)

***

Back to my printing!  (Tsubureya-san brought back my tatami mats a few
hours later, all covered with fresh green matting, and now my workshop
smells like a field of new-mown hay ...)

Dave

P.S.  This just in!
http://www.destinationvietnam.com/dv/dv27/dv27e.htm

Woodblock printing in Viet-nam.  Description, pics pics and more pics!

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End of Baren Digest V6 #467
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